text:
I'm sitting in a café on Salisbury high street and a frail old man in a big black hat has just told me that he is going to die. "No medicine can prevent it," says Sir Terry Pratchett, 64, national treasure, author of 54 books and counting, campaigner for assisted dying and professional morbid bastard. "Knowing that you are going to die is, I suspect, the beginning of wisdom," he explains.
This is a story about death. Not Death with a capital "D", that bony guy with the scythe and the sparkling blue eyes who shows up in nearly every one of Pratchett's 30-plus novels in the Discworld series, swearing and smiling ineffably and being kind to cats. This is a story about death with a small "d" – the inconvenient little fact, the "embuggerance" that has been an implicit feature of Pratchett's life and work since the author was diagnosed with posterior cortical atrophy, a rare form of early-onset Alzheimer's, in 2007.
Pratchett's writing career spans 45 years. He is Britain's second-best-read author, having sold more than 80 million books worldwide. His Discworld series began as a pure comic fantasy with The Colour of Magic in 1983. It is the story of a lacklustre wizard tearing haplessly arounda flat world that travels through space on the back of a giant turtle. The books that followed have proved to be something more complicated, something deeper. A terse and bitingly moral satirical voice developed over the series. Most science-fiction and fantasy authors who become successful must confront their own politics sooner or later, because inventing a universe from scratch and inviting millions of readers to join you there demands a certain moral responsibility. Writers from Ursula K Le Guin and Robert Heinlein to China Miéville have used the fantastic as an explicitly political space, imagining other worlds where humanity might organise itself differently.
Pratchett went in precisely the opposite direction. He began to write like a man who knows that the most fascinating place in the known and imagined universe is this one, right here. Pratchett uses nerdy fantasy and slapstick comedy as tools to tell stories about racism and religious hatred, war and the nature of bigotry, love and sin and sex and death, always death, knotted into the ersatz adventures of talking dogs, zombie revolutionaries, crime-fighting werewolves, tooth fairies, crocodile gods and funny little men who sell suspicious sausages on street corners.
The stranger his books become, the more they look and sound like Britain in the late 20th and early 21st centuries: girls meet boys meet gender-bending dwarves; decent people are destroyed by their own cowardice; priests tell lies and blood-sucking lawyers run everything, although in the Discworld they truly are vampires.
"Terry is just really good at human beings," says the author Neil Gaiman, a collaborator and close friend of Pratchett's. The two co-wrote the 1990 bestseller Good Omens. "He's good at genuine human emotions, in the tradition of English humour writing.
"You can point to classic P G Wodehouse, you can point to Alan Coren – these people who define the style of English humorous writing – and Terry is a master of it. He also understands all of the tropes of various different genres and can deploy them. When Terry began, people pointed to Douglas Adams, because he also wrote stuff set on different worlds, but Wodehouse is the closest person out there – although Terry's range is wider."
Like many friends of Pratchett's, Gaiman finds it difficult to discuss his illness, so much so, that he agrees to speak about it only over Skype, email being too cold and stark. "I love the fact that Terry fucking embraced his Alzheimer's," Gaiman says. "I love that he took it and used it to raise the profile of the 'dignity in dying' campaign."
Alzheimer's is always cruel, but the form of the disease with which Pratchett has been diagnosed has a peculiarly savage irony. He has lost the ability to use a keyboard altogether and can do very little with a pen. His most recent four books have been written entirely by dictation, and with the help of his assistant of 12 years, Rob Wilkins.
"I can no longer type, so I use TalkingPoint and Dragon Dictate," Pratchett says, as Rob drives us to the café in a rather unexpected large gold Jaguar. "It's a speech-to-text program," he explains, "and there's an add-on for talking which some guys came up with."
So, how does that differ from using his hands to write?
"Actually, it's much, much better," he says. I hesitate, and he senses scepticism.
"Think about it! We are monkeys," says Pratchett. "We talk. We like talking. We are not born to go . . ." He turns and makes click-clack motions, like somebody's fusty grandfather disapproving of the internet. Indeed, Pratchett is as passionate about technology as any fantasy writer should be. Decades ago, when the internet first opened up to non-specialists, com – munities such as alt.fan.pratchett quickly eveloped for readers of his books to share stories and meet each other. "You have to have a bit of nerd in you to get used to it, of course," he says. He sizes me up suspiciously. "If you're not a nerd I don't want to speak to you. You must at least have taken the lid off your computer at some point?"
I don't dare say no, because I suspect if I admitted that I work on a Mac and am worried about voiding the warranty, the interview really would be over. "Anyway, the algorithms are amazing," he says. "I gave them everything I'd ever written that was electronic, and overnight it stewed it all up and worked out how the words would, should, sound."
"We've got workarounds," Rob says. "We've built the system so once the alarm goes off [in the morning] the computer switches on, so Terry doesn't need to find the switch to turn on the computer."
The great dictator
Pratchett's assistant juggles the smartphone and pulls in to the café where we're due to have our meeting. You can't really understand Terry Pratchett without understanding Rob Wilkins, whose name I keep accidentally writing down as Willikins, a loyal butler-character with hidden depths who turns up in many of the Discworld books.
Rob is, in many ways, the archetypal Terry Pratchett fan. He's big-hearted, fizzing with all the nerdy energy of a first-generation immigrant to the digital universe, crammed into a badly fitting black T-shirt, and utterly devoted. If there is a reason why Pratchett's debilitating illness has had so little effect on his output to date, Rob is it. He's the one who turns up at the house at any time of day or night to take dictation or fix a problem, and Terry's wife has resigned herself to the fact that this is part of the job.
"If we create a workaround, that's great, because we've got something to beat the disease," he says, hurrying off to order the drinks. Both of them use the plural "we" to describe their work; the author's Twitter feed is @terryandrob. Together, they are like boyhood friends, chatting about Alzheimer's as if it were a particularly difficult video-game level they are determined to conquer. "We'll soon have a system where Terry will be able to turn the lights on, open the curtains and all of those things just by talking," says Rob. "It's good fun. It means that we're beating the disease every day." He nods. "We like doing that."
Where Pratchett is gruff and practical, Rob is expansive, the sort of man who gives a reporter he's just met a great big hug when he recognises a fellow fan. In Choosing to Die, the Bafta award winning BBC documentary about the work of the Dignitas clinic in Switzerland that Pratchett presented last year, the writer is terse and solemn as he watches two men with terminal illness end their lives by choice. Rob is the one who rages about how unfair it all is.
Since his diagnosis, Pratchett has become a campaigner for the cause of dignity in dying. He spends all the energy he can on giving talks and making programmes to raise awareness of the condition. "We have a problem now that people think they are not going to die," he says. "Previous generations understood about death, and undoubtedly would have seen a reasonable amount of death. Once you get into the Victorian era, you might well have seen the funerals of many of your siblings before you were very old.
"When people go to funerals these days, they don't really know what to do. They don't go to church anyway – that's because they're sensible – but they don't know what to sing or when to go up or where to stand."
Rituals are important in Pratchett's world. He isn't the sort of writer who was ever going to refuse a knighthood when offered it, but he did arrange to have a sword of his own forged using a lump of meteorite metal, reasoning that if one is to be a knight one should do the thing properly.
Country boy
Terry Pratchett grew up in Buckinghamshire and Somerset in the 1950s, an only child. Songs and stories were part of that rural upbringing from the outset – stories about aliens and space travel alongside traditional tales of the dubious doings of maidens fair and their mates.
"I got into science fiction by being interested in astronomy first," he says. "My mum used to tell me lots of stories as she took me to school – she'd take me all the way to school, which would be about a mile and a half, and then she'd go to work.
"I was a kid from the council houses. The house I was born into was one which anyone on the dole would not set foot in because when you're poorer in a rural area you're really poor. My dad got the occasional rabbit here or there, mushrooms and stuff, and because he was a good mechanic he could keep a car down.
"They didn't know they were incredibly good parents and I didn't realise they were incredibly good parents until I grew up. Parents that stick kids in front of the television by themselves should be shot in the head." He reserves the elderly curmudgeon's privilege of wishing a good death on everyone, and an early one on anyone who disagrees with him.
When he began writing novels, more than 40 years ago, he and his wife, Lyn, were "hippies, but hippies with jobs", he says. "I had a beard that Darwin would have got lost in, but I worked as a sub-editor on a paper, and we just had about enough room in our small cottage to have one child. Rhianna's an only child, which is probably a good thing. You either go under when you're an only child or you become a fighter. Rhianna is a fighter."
Rhianna Pratchett is already a respected games writer in her own right. It was recently revealed that she is the creative mind behind the new Lara Croft franchise reboot, and she will be a co-writer on the BBC Discworld series The Watch, news of which has had fans like me chewing their cheeks in excitement. Mine may never recover after hearing some particularly exciting casting details that I'm absolutely not allowed to tell you about.
Run by Pratchett's new production company, Narrativia, The Watch will continue the wellloved City Watch saga where the books left off, and Rhianna will be an important member of the writing team. The author tells me that he will be happy for her to continue writing the Discworld books when he is no longer able to do so. "The Discworld is safe in my daughter's hands," Pratchett assures me.
Rhianna has grown up immersed in her father's universe and knows it inside out. Listening to him talking about his daughter, I realise it is the first time I've heard him acknowledge the possibility of not being able to write any more.
"The biggest thing about Terry for me, the thing that I've always found fascinating, is how much he loves writing," Neil Gaiman says. "Not every writer does –we go from one end of the scale to the other. With Douglas Adams, novels had to be squeezed out of him like the last bit of toothpaste out of a tube, but then you have people like Terry; he would rather write than anything. As long as I've known him, since I met him when he worked [at the Central Electricity Generating Board] as a publicist, he would get home every night and write his 400 words."
Right now the books are still coming out, rapidly but erratically – as if there's wrapping up to be done. Stories that were waiting to be told are emerging haphazardly. Last summer, Pratchett published The Long Earth, a hard-sci-fi epic about alternative universes and resource allocation set in the near future; this winter it's Dodger, a historical-fantastical story of Victorian London starring Charles Dickens, Henry Mayhew and a fistful of stock Dickensian characters brought stinkily to life. Though they are marketed to teenage readers, the stories have grown increasingly bleak, with resource wars, human cruelty and rivers of shit floating with corpses.
"What do you tell kids?" Pratchett asks, while we are still in the café. " 'Prepare for a short life,' " he says, before taking a sip of his tea. "We are going to end up fighting each other for resources. And waste most of those resources fighting with one another.
"I was in Indonesia a little while ago, and you can see the palm oil plantations. We went up in a helicopter, and they go from horizon to horizon. And once the palm oil has been taken away what you've got left is desert. And I mean desert – desert which is stone. We're not going to get out of this one alive."
It is at this point that he breaks into song. I don't mean this figuratively. I mean that he calmly and decisively starts singing the old English folk tune "The Larks They Sang Melodious". He has a good voice, a quavering baritone that has lost none of its strength, and he doesn't give a damn that half of the café has turned to look.
Pratchett sings two whole verses. The song is full of firelight and longing and nostalgia for warmer, younger days, and if you half-close your eyes you could be sitting around a country fire, listening to some elderly relative tell you stories about love and death that are no less true for being ever so slightly made up. Except that that's not where we are – we're in a branch of Starbucks, drinking slightly stale tea, and "The Larks They Sang Melodious" was not written to be sung over piped-in Brazilian jazz.
"When you're all singing together, it brings things together," he says. "I know the songs that my grandfather and my father sang. Rhianna knows the songs that I sang, 'cause these days just about any songs that have ever been written are available somewhere."
He is a raving fan of traditional music, and tells me with pride that he once "got a kiss from Maddy Prior. No, no, I won't get in trouble if you write that down. Have you ever heard of Thomas Tallis?" he asks. Without waiting for an answer, he says: "Well, I was walking through the kitchen one day recently and we'd got the radio on, and 'Spem in alium' was on, and I went down on my knees. I wouldn't give you tuppence to go to church, but I really did."
I don't mention that the reason everybody now knows about Tallis's harmonies and 40- part canticle is that they feature in the bonkbuster Fifty Shades of Grey.
"Of course, that song I just sang, it's all about sex, really," he says, grinning.
Is this the end?
Sex and death and nature red in tooth and claw. Humour black as a fantasy writer's hat. Dumping uncomfortable human truths on the table and sprinkling them with a little bit of fairy dust. That is what has been in Pratchett's work from the start, steeping the nasty stuff in music and magic to make it bearable without ever lying to the kids, not for an instant. The campaign for assisted dying just takes that sentiment to its logical, practical conclusion.
"Let's start with Harold Shipman," he says, and that's when I know Pratchett is trolling me. Because I'm not the first to notice that, with his bristly white beard and sharp features, the fantasy author bears an uncanny resemblance to . . . Harold Shipman, aka "Dr Death", the GP who hanged himself in 2004 after he was exposed as a man who had murdered countless patients in their beds.
"What [Shipman] did was terrible . . . it knocked all the moxy out of all the doctors. It means that these days everyone has to fight like hell to keep some poor bugger alive even though he's struggling. The difference is that Shipman was killing people that weren't ill!" Talking about death with a man who is, in all likelihood, significantly closer to it than you are is terrifically uncomfortable, especially when you start getting into the particulars of the disease that will, one way or another, end his life. But Pratchett's gruff matter-of-factitude makes the whole thing much easier, like a plaster being ripped off all at once.
I start to ask, "Have the doctors told you – I mean —" He intercepts before I can work through the knot in my tongue. "Have they told me when I'm going to die?" he finishes. Suddenly I suspect that in recent months he has often had to finish difficult sentences for relatives and reporters.
No, he hasn't had the date yet. "If you didn't know I had anything like this, you wouldn't know," he says quietly. That's not quite true: Pratchett is whip-sharp, and talking to him makes you want to sit up straight and make sure your shoelaces are tied, yet he is noticeably frailer than his 64 years might lead you to expect, and occasionally he drifts off at the end of a sentence.
In fact, just before this interview went to press, Rob contacted me to say that Pratchett had almost died of what they had thought was a heart attack, in early November, while in New York on a book signing tour. The pair were on the way back to their hotel from a visit to Ground Zero, Rob says, when Pratchett "took a very bad turn. We were sitting in the back of a taxi when I noticed his breathing had become laboured." A few minutes later, Pratchett passed out.
In a written account of the incident, which he plans to publish, he claims not to remember much, other than feeling "simply dreadful, and very cold, although sweat was pouring down my face, and I couldn't even focus and just seemed to be slipping away. Rob kept asking me if I was OK and telling me we didn't have far to go . . . I have to take his word for what happened next."
What happened next is that Pratchett collapsed. "I had to kneel on the back seat of the taxi and give him CPR," Rob says. "It was fingers down throat stuff. He nearly died."
The author was rushed to hospital, but recovered swiftly. Doctors told him that he had suffered an atrial fibrillation, caused by the cumulative effect of drugs he had been prescribed for high blood pressure and made worse by his busy touring schedule. He now downplays the incident. "I once heard it mentioned that signing tours can kill you quicker than drugs, booze and fast women," he tells the New Statesman. "Some of which I haven't tried." It's made him wonder if he should slow down and devote more time to writing and his family, but he enjoys life on the road too much to give it up.
Earlier, when we met, I had asked Pratchett how his health affected his outlook on life.
"Mostly, I'm incredibly angry. Anger is wonderful. It keeps you going. I'm angry about bankers. About the government. They're fecking useless." He really does say "fecking". "I know what Granny Weatherwax [a no-nonsense witch who crops up in several Discworld novels] would say to David Cameron. She'd push him to one side and say, 'I can't be having with you.' [His sort] don't do anything but suck up to the lawyers. Why isn't someone hanged?"
There is a starkness here that runs throughout the Discworld books. Isn't he worried that he might be scaring the kids with all this discussion of death? Not at all – in fact, if there's one thing that distinguishes Pratchett's contributions to the young adult section of bookshops, it is his willingness to bring young people face to face with some of the more gruesome facts of human existence, with the silly seriousnessness you would expect of a dying comedy writer who'd had a personal coat of arms made up with a Latin motto that features in his own books. The motto is "Noli timere messorem" – don't fear the reaper.
His latest children's book, I Shall Wear Midnight, features a set piece in which the young heroine has to prevent the suicide of a man who has recently beaten his unmarried, pregnant, 13-year-old daughter so badly that she has miscarried – and bury the foetus. Harry Potter it ain't. Yet the kids gobble it up, because one thing that Pratchett understands is that just because kids like stories doesn't mean they like to be lied to.
So, the possibility of young readers seeing their favourite author on television talking frankly about his own death worries him not a whit. "Scaring the kids is a fine and noble thing to do," he says. "I'm happy to tell kids to prepare for a short life. But it works like this – you can take them through the dark forest, but you must bring them out into the light."
Read Helen Lewis on the politics of Pratchett, and the New Statesman leader "Facing Death (and Binky)" about the significance and afterlife of his work.


text:
PC sales continue to plunge, but the drop is less steep
PC sales continue to plunge, but the drop is less steep
Mark Hachman@markhachman
Oct 9, 2013 3:15 PM
The PC market moved into its sixth straight quarter of declining
sales, analysts reported on Wednesday, although the dip was less pronounced
than one firm expected.
Market research firm Gartner
reported that third-quarter PC sales dipped by 8.6 percent to 80.3 million
units for the July-to-September quarter. IDC, with its own report, said the
drop was 7.6 percent to 81.6 million units; the firm had previously projected a
worldwide decline of 9.5 percent.
Normally, the third quarter
marks the beginning of the upswing for the PC market, as students and educators
invest in new hardware during the so-called back-to-school buying season. But
sales apparently failed to materialize, either an indication that students are
turning more to tablets or simply were using notebooks that they had bought
previously. On the other hand, emerging product categories and a greater
assortment of Windows 8-based models pushed sales volumes slightly higher, IDC
reported, as did the migration from Windows XP to Windows 7.
"Consumers' shift from PCs to
tablets for daily content consumption continued to decrease the installed base
of PCs both in mature as well as in emerging markets," Mikako Kitagawa,
principal analyst at Gartner, said in a statement. "A greater availability of
inexpensive Android tablets attracted first-time consumers in emerging markets
and as supplementary devices in mature markets."
Rajani Singh, an analyst with
IDC, noted that the U.S. market was essentially flat at 0 percent growth,
helped by Chromebooks and what the company called "ultraslim" devices.
"Whether constrained by a weak
economy or being selective in their tech investments, buyers continue to
evaluate options and delay PC replacements," Loren Loverde, an analyst with IDC
added. "Despite being a little ahead of forecast, and the work that's being
done on new designs and integration of features like touch, the third quarter
results suggest that there's still a high probability that we will see another
decline in worldwide shipments in 2014."
Both Gartner and IDC said that
Lenovo had again edged out rival Hewlett-Packard for a second straight quarter,
with Lenovo showing a 2.8 percent increase in unit sales to 14.1 million units.
HP and Dell also demonstrated 1.5 percent and 1.0 growth, respectively. But
Acer's sales plunged 22.6 percent, followed closely by Asus, with a 22.5
percent decline in shipments. However, both Acer and Asus have shifted their
focus towards the tablet market, Gartner said.
Lenovo's market share is 17.6
percent, followed closely by HP, at 17.1 percent, Gartner found. Dell, Acer,
and Asus make up 11.6 percent, 8.3 percent, and 6.1 percent, respectively.
According to Gartner, HP was the top U.S. PC vendor, with a 26.9
percent market share. Dell (21.0 percent) and Apple (13.4 percent) followed,
then Lenovo (10.5 percent) and Toshiba (7.0 percent). Apple was the only vendor
among the top five to record a drop in shipments, down 2.3 percent.
IDC largely agreed with
Gartner's numbers (as shown in the above chart), although the firm said that
Acer and Asus recorded a steeper drop in shipments.
Both IDC and Gartner typically
release tablet sales as part of a separate report, which will provide more
insight into how the overall market will fare.
So far, the promise of Windows
8.1 has failed to ignite the PC market, as has the new "Haswell"-based
notebooks from Intel's PC partners. Will the fourth quarter show some signs of
life, as Microsoft has predicted? So far, the best news is that it looks less
gloomy than predicted. And that isn't saying much.

subset: commoncrawl


text:
Simon Roberts, South Downs Way, West Sussex, 8th October 2007, from We English
By Ailsa McWhinnie
Simon Roberts is a British photographer who for a number of years worked on assignments for magazines and weekend supplements. His eventual disillusionment with being asked to produce what he describes as "the definitive story" on a topic, and then being given three days in which to do it, led to him embarking on a year-long trip across Russia. The resulting images were published to great acclaim by Chris Boot, under the title Motherland.
The success of Motherland put him in the position where he was able to raise funding for his next project from Arts Council England, the National Media Museum and the John Kobal Foundation. His latest book is We English.
Simon lives on the south coast of England with his wife Sarah and their children Jemima and Florence. Of his daughters, he says, "Jemima was conceived in Russia and Florence as we traveled through England, so I can't go traveling any more as we can't afford any more children!"
Ailsa McWhinnie: We English is photographed in a quite different style from Motherland. What prompted the change?
Simon Roberts: It's not quite the departure it might look. There are a couple of pictures in Motherland that inspired the direction I took with We English. One in particular shows a Victory Day picnic at Yekaterinburg [a major Russian city on the eastern side of the Urals]. Victory Day is a very important public holiday when the Russians celebrate victory over Nazi Germany. When I blew the picture up for an exhibition I became really interested in the relationship between these constellations of people and the geographical space. There are all sorts of little signifiers in the photograph, such as the silver birch trees—which are a motif in Russian landscape painting—but also when you look more closely you'll see balloons in the trees, so it becomes a natural landscape adapted by human presence. It was something I decided I'd quite like to explore in the England work.
Sunday picnic, Yekaterinburg, from Motherland
AMc: What inspired the project that became We English?
SR: I was quite struck by the relationship between the Russians and their geography, and it started me thinking about my relationship to England. I started to want to explore that sense of identity. There's a very rich tradition of British photographers photographing the British landscape, from Benjamin Stone in the 1890s to Bill Brandt and Tony Ray-Jones, but there had been a bit of a lull more recently, so it felt quite timely to go on this journey. My generation has travelled abroad a lot, there's this sense of the "exotic other"—and I've done it myself with Russia, albeit trying to take an anthropological approach. However, it was really important I wasn't derivative of what had gone before in terms of photographing Britain—I had to find my own voice. So in summer 2007 I started exploring different ways of photographing.
Motherland was shot using a Mamiya 7, because I needed a light camera when travelling—but this time I started playing with a 5x4-inch camera and began to see something quite interesting when the people in the picture appeared small in the frame. I wanted the landscape to be as important as the people within it, but to make sure the people weren't so small you wouldn't be able to make out the detail of what they were wearing and how they related to one another.
AMc: So did you try to avoid the places that have formed parts of other photographers' work?
SR: No. I deliberately went to New Brighton [the seaside town photographed by Martin Parr in his book, The Last Resort]. The pictures didn't end up in the book, but I certainly went to some of these places because they'd been done before. I was intrigued, because historically we're doing many of the same things we did a hundred years ago, it's just we're wearing different clothes. A lot of old traditions and festivals are being revived by local councils who are looking for new ways of getting tourists. Actually, there are very few photographs of that sort of event in the book, because I wanted to steer clear of events that were being quite deliberately marketed and promoted. The images that ended up in the book often depict quite mundane activities.
AMc: Were there any surprises as the project got underway?
SR: It was interesting to see that people are quite parochial. They end up doing things very close to where they live: the guy fishing on the banks of the river, or the Sunday-league football, these are very ordinary things, but to the person doing them they're very important, so I wanted to make them more grand—and that was one of the challenges. When you're doing a project in your own back yard you have to learn to tune into the ordinary things you see every day that you don't consider to be a photograph—so in many ways I was looking for the "non" photograph.
AMc: You invited members of the public to submit ideas for places or events to photograph. How successful was that?
SR: What I liked was not just the suggestions themselves but also the way that people talked about them. What's interesting is the way they think about England. A lot of it is about memory—how they remember a place and how that might be different from how they experience it now. If the person was writing from abroad, it would often be to suggest something they missed about England. I probably photographed only five or ten percent of the ideas, but it was a great way of generating interest. Other ideas would come from local newspapers, or I'd stop by the local village hall and see what was posted on their noticeboard. There were probably 12 main anchorpoints—places I wanted to be at particular times in the year, such as Ladies Day at Aintree—and then I'd build in other places around them.
Ladies' Day, Aintree Racecourse, Merseyside, 4th April 2008
AMc: Even though you worked with a 5x4 camera, which by its very nature slows things down, the pictures are still very much about the "decisive moment"—I get the sense of you waiting for the choreography to come together.
SR: It was very challenging because often there were a lot of people in the frame, and how do you find the decisive moment when there are a hundred people moving around? Sometimes I would just take the picture and not really be too bothered if one person was standing in front of another, or if a lamppost was coming out of somebody's head. But another reason for using 5x4 was because everyone's a photographer now—whether with a mobile phone or a high-end DSLR—and I had to ask myself what differentiates me from them? So by using a 5x4 I was actually making a very public statement that I was there to take a photograph of this landscape.
People were quite interested in what I was doing but, more importantly, they didn't feel threatened. If I'd been on a beach walking around with a 35mm camera I suspect people would have felt a lot more threatened. Funnily enough, I was getting quite spontaneous pictures with a very cumbersome piece of equipment. It would take five or ten minutes to set the camera up, so people would get bored with watching me and end up carrying on with what they were doing. There are only a couple of frames where you can see in the distance that someone's looking at me, but generally it's almost as if I wasn't there.
AMc: What other considerations were there?
SR: I shot using only a 150mm lens, which is pretty much how the human eye sees, and I always wanted, where possible, to have an elevated position as this gives a greater sense of the people and their relationship to the landscape. So often I would photograph from the roof of my motorhome.
I wanted to explore the notion of leisure because often this is something we do quite subconsciously, and what people do with their leisure time not only says something about them as individuals, but us as a collective, too. I also knew I only wanted to work outside, to give a sense of the pastoral. And even though I worked in cities, too, there is still a sense of people gravitating towards the green spaces.
AMc: Why England and not Britain?
SR: Because of devolution, and with Scotland and Wales having a lot more local power politically and to some extent economically, there is a sense of Welshness and Scottishness, but people often see being passionate about being English as rather dirty. I deliberately put the flag of St. George on the cover because I wanted to be quite provocative and suggest there don't have to be right-wing connotations to it. I'm not suggesting I'm a nationalist, but I do find it interesting how people align themselves with a geographical border.
Saunton Sands, Devon, 23rd May 2008
AMc: Would you say the photographs are romantic?
SR: I was certainly inspired by romantic paintings of England, but even so there are probably only one or two images you would describe as picturesque. I did deliberately photograph in quite evocative light sometimes to try to generate a particular feeling, but yes, I did want to create quite beautiful pictures—and unashamedly so.
AMc: Thank you very much Simon.
SR: Thank you.
We English, by Simon Roberts
Hardback, 112 pages
Published by Chris Boot Ltd.
Price £26.20
For more information visit www.we-english.co.uk
A major exhibition of the work will be on show at the National Media Museum, Bradford, from March 12th to September 8th, 2010
Motherland, by Simon Roberts
Hardback, 192 pages
Published by Chris Boot Ltd
Price £15.75
My friend Ailsa McWhinnie, now a freelance writer and book editor, was founding editor of Black & White Photography magazine. My thanks to both Ailsa and Simon. —MJ


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November 8, 2012 — A hydration regimen tailored to the patient's fluid status was effective in reducing damage to kidneys in patients undergoing cardiac catheterization, according to a study presented at the 24th annual Transcatheter Cardiovascular Therapeutics (TCT) scientific symposium, sponsored by the Cardiovascular Research Foundation (CRF).
Contrast-induced acute kidney injury (CI-AKI), or contrast-induced nephropathy, refers to kidney damage that may occur due to the use of iodine contrast dye that is necessary for visualization during catheterization and other procedures. Hydration remains the cornerstone for the prevention of kidney damage. However, there are no well-defined practical hydration protocols available for the prevention of CI-AKI. The Prevention of Contrast Renal Injury with Different Hydration Strategies (POSEIDON) clinical trial investigated a novel sliding scale hydration protocol based upon routine, invasively obtained left ventricular end-diastolic pressure measurements (LVEDP) in patients undergoing cardiac catheterization.
To see a video of this presentation at TCT, click here.
Patients undergoing coronary angiography with stable renal insufficiency (an estimated GFR <60 mL/min/1.73m2) and one additional CI-AKI risk factor were randomized to an LVEDP-guided hydration strategy or a standard hydration strategy.
Both groups received 0.9 percent saline at 3 mL/kg for at least one hour prior to cardiac catheterization. The LVEDP was measured in all patients at the start of the procedure and prior to contrast administration. In the LVEDP group, the fluid rate was adjusted according to the patients' LVEDP as follows: 5 mL/kg/hr for LVEDP <13 mmHg; 3 mL/kg/hr for 13-18 mmHg; 1.5 mL/kg/hr for >18 mmHg.
The standard hydration group was hydrated at 1.5 mL/kg/hr. The fluid rate was set at the start of the procedure (prior to contrast exposure), continued during the procedure and for four hours post-procedure. The primary outcome, CI-AKI, was defined as a greater than 25 percent or greater than 0.5 mg/dl increase in serum creatinine — an indicator of kidney damage — up to four days post-procedure.
There were 396 patients randomized, 196 in the LVEDP group and 200 in the standard hydration group. Kidney damage was found in 6.7 percent of the LVEDP-guided hydration group and in 16.3 percent of the standard hydration group (P = 0.005). There were no significant differences between groups for baseline renal function or LVEDP. The relative risk (95 percent confidence interval) for LVEDP-guided hydration versus standard hydration was 0.41 (0.22-0.79). The absolute risk difference was -9.5 percent in favor of LVEDP guided hydration; therefore, 11 patients would need to be treated to prevent one CI-AKI event.
"This is the first trial to test the hypothesis of a left ventricular end diastolic pressure-guided hydration strategy for prevention of contrast nephropathy. We found that this technique resulted in a significant 59 percent relative and 10 percent absolute reduction in contrast nephropathy," said lead researcher Somjot Brar, M.D., MPH, interventional cardiologist and vascular specialist at Kaiser Permanente in Los Angeles and an assistant clinical professor of medicine at the University of California, Los Angeles. "This is an easily implemented protocol that can be readily adapted in both inpatient and outpatient settings."
The trial was funded by Kaiser Permanente.
For more information: www.crf.org


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Create a Website Account - Manage notification subscriptions, save form progress and more.
You can file any code concerns by filling out the Code Enforcement Complaint Form on our documents page and sending to the Lincolnton Planning Department. You also may contact the Zoning Administrator at 704-736-8729 or by email under the Staff Directory to file a complaint.
Show All Answers
To find out if your property is located within the City limits, you may visit the Lincoln County Geographic Information Systems (GIS) mapping web site. Once you have located your parcel, the property record will appear on the left side of the screen. It will indicate whether the site lies within the city limits. Properties located within the city limits appear in light green on the County map. You can also contact the City of Lincolnton Planning Department at 704-736-8930 or the Lincoln County Planning Department 704-736-8440 to determine if the property is located within the city limits.
No, however before installation, you need to ensure that the fence is located entirely on your property and not on any right-of-way, utility easement, on an adjoining property, or inside an intersection site triangle. There are some restrictions regarding the height of the fence. Fences typically cannot exceed 6 feet in height if located within residential districts. Fences can be placed on the property line. You should check your boundary survey to determine the property line and the location of any utility easements.
You can obtain an application for a change in zoning or for a conditional zoning on the City's web site. However, you should also discuss the application with Planning Staff prior to filing.


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Resting on some 100 acres on the east bank of the Mississippi River, Bocage Plantation is one of the jewels of the River Road plantations between New Orleans and Baton Rouge. The plantation house is a grand Greek Revival mansion. Constructed in 1801, the original mansion was a wedding gift from St. James Parish planter Marius Pons Bringier to his eldest daughter, Francoise "Fanny" Bringier and her husband Christophe Colomb, a native of Paris, France, who claimed to be a descendant of Christopher Columbus. For many years, the belief was that the current house was the result of a full remodeling of the original 1801 building that took place around 1837. However, a recent renovation of the home, which in some places involved the removal of exterior stucco and interior plaster, revealed no hint of the remodeling of an earlier building. During the process, the bases of four symmetrically placed chimneys surrounded by extensive charred remains and fragments of brick and broken glass were discovered buried about 40 feet behind the house. Experts involved in the recent renovation believe that these remains are of the original 1801 home and that the current building is a replacement for the one that burned. Bocage was obviously designed by an architect well skilled in the Greek Revival idiom. Although no documentary evidence exists to confirm the designer's identity, circumstantial evidence points to renowned architect James H. Dakin. A New York native, Dakin relocated to Louisiana in 1835 and came under the Bringier family's employ. He would later design Louisiana's fine Gothic Revival Old State Capitol (1847-1849) in Baton Rouge. Bocage's façade features square columns, an impressive entablature with a denticulated cornice, a pediment shaped parapet (which is unusual for Louisiana) and a double gallery. Dr. Marion Rundell, a native of Louisiana, has returned the mansion to its original splendor. "The plantation has never been open for public tours," he said. "When I purchased Bocage in 2008 my goal was to open it for the public to enjoy. It is a unique property that maintains an important role in the history of the great plantation houses of the United States. Now you can visit it and see why it holds such an important historical role." Now a bed and breakfast, the stately mansion is open for tours and group functions. The mansion is furnished with fine antiques, paintings, and accessories. Located about 47 miles from New Orleans or 20 minutes from Baton Rouge, LA, Bocage is on the East Bank of the Great River Road, just a short distance from Interstate-10 (turn off I-10 at Highway 22). Tours are available by appointment Wednesday through Sunday, 12:00pm – 5:00pm. Admission is $20.00 per person, with no charge for children under 12. Group discounts are available. To schedule a tour, book a bed and breakfast stay, or for details on group events, call 225-588-8000 or visit the plantation's website for further information. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Adams Mill
The Mill itself is open to the public during posted hours, for the fees listed. Admission fees are used for acquisition and maintenance costs. There is a video presentation available inside the ground floor, and the public can tour the first through third floors, although areas above the first floor are not handicapped accessible. Power has recently been restored to the mill so that running of belts and pulleys for the grinding appartus can be shown in demonstration to visitors.
Camping and Recreation Facilities
Adams Mill is a popular venue for fishing, tubing, canoeing, kayaking, hiking, and biking. The grounds are also available for weddings, reunions, and company outings but there are not inside accommodations for group events.
An Indiana Department of Natural Resources Fishing area is across the road from the Mill, and the Oxbow Natural Area is adjacent to that.
Primitive tent camping sites are available along the picturesque Wildcat Creek for $15 per tent per night. A bathroom and shower are available.
Adams Mill also offers three rustic cabins that will sleep up to four (see photos). Cabins have electricity and a ceiling fan, and visitors have access to the bathroom and shower. The price is $50 per night.
RVs and campers are not allowed.Firewood is available separately to both tent and cabin campers for $5 per bundle.


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SAN DIEGO – Jamaal Franklin had 12 points and 14 rebounds to lead San Diego State to a 58-51 victory against Air Force on Wednesday night and avenge a loss to the Falcons from earlier in the season.
JJ O'Brien also had 12 points, while Xavier Thames had 11 and Chase Tapley 10, for the Aztecs (21-8, 9-6 Mountain West), who are trying to hold onto the No. 4 seed in the conference tournament next week in Las Vegas. They finish the regular season at Boise State on Saturday.
Tapley is one of six players who were honored on Senior Night. Although Franklin is a junior, he might have been playing his final home game if he opts to declare for the NBA draft.
Michael Lyons scored 10 points for Air Force (16-12, 7-8) before fouling out. The Falcons beat the Aztecs 70-67 in Colorado Springs, Colo., on Feb. 2.


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I just started reading G.K. Chesterson's Orthodoxy and came across this quote:
In this remarkable situation it is plainly not now possible (with any hope of a universal appeal) to start, as our fathers did, with the fact of sin. This very fact which was to them (and is to me) as plain as a pikestaff, is the very fact that has been specially diluted or denied. But though moderns deny the existence of sin, I do not think that they have yet denied the existence of a lunatic asylum.
In context, he seems to be talking about a movement within Christianity, not an atheistic movement, that denies the very existence of sin.
Certainly I've heard atheists make the claim that sin is a man-made concept, and that it's "relative" - what one person considers sin may be perfectly OK for someone else, for example. But within the bounds of official Christian doctrine and understanding, the concept seems incomprehensible to me. Why would someone bother self-identifying as a Christian if they didn't need Christ's atonement for their sins? What would be the point?
My own incredulity aside, there are enough beliefs within Christianity that it wouldn't surprise me to find teachings that deny the very existence of sin, but I've never really paid attention to such things, or bothered to learn about them. Now my curiosity is piqued.
Was there such a movement at the time of the writing of the book, and how widespread was it? And further, is there still such a belief within recognized traditions (even those considered cults by more orthodox Christianity) that are known for teaching the idea that sin doesn't exist?


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Poverty reduction through productive activities
UNIDO seeks to enable the poor to earn a living through productive activities, thus to find a path out of poverty. The Organization provides a comprehensive range of services customized for developing countries and transition economies, ranging from industrial policy advice to entrepreneurship and SME development, and from technology diffusion to sustainable production and the provision of rural energy for productive uses. Through this thematic priority, UNIDO mainly addresses MDG1, MDG3 and MDG8.
Trade capacity-building
Developing countries are benefiting from increasingly participating in the global trading system. Thus, strengthening their capacity to participate in global trade is critical for their future economic growth. Especially after their accession to the WTO, their technical ability to enter into global production and value chains is key for their successful participation in international trade.
UNIDO is one of the largest providers of trade-related development services, offering customer-focused advice and integrated technical assistance in the areas of competitiveness, trade policies, industrial modernization and upgrading, compliance with trade standards, testing methods and metrology.
Through this thematic priority, UNIDO mainly addresses MDG1, MDG3 and MDG8.
Environment and energy
Energy is a prerequisite for poverty reduction. Still, fundamental changes in the way societies produce and consume are indispensable for achieving global sustainable development. UNIDO therefore promotes sustainable patterns of industrial consumption and production.
As a leading provider of services for improved industrial energy efficiency and sustainability, UNIDO assists developing countries and transition economies in implementing multilateral environmental agreements and in simultaneously reaching their economic and environmental goals. Through this thematic priority, UNIDO mainly addresses MDG1, MDG7 and MDG8.
To view a selection of field projects, click here
In addition, UNIDO's activities are divided by:
- Geography – Focusing on least developed countries and Africa
- Sectors – Focusing on agro-based industries
- Target areas – Focusing on small and medium enterprises (SMEs)


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Second Epistle of Peter
The Second Epistle of Peter, also abbreviated as simply 2 Peter, is a book of the New Testament of the Holy Bible. Written, at least in part, by the apostle Peter, the letter denounces false teachers who pervert the teachings of Jesus Christ and his apostles. Saint Peter also discusses the end of the world, employing the beautiful phrase, "one day is with the Lord as a thousand years, and a thousand years as one day" (2 Peter 3:8), and explaining that God wishes all to be saved.
Perhaps no other letter has been subject to such criticism and accusations of forgery as the second epistle of Peter. These arguments have been advanced in spite of the fact that certain unique aspects of the letter all but exclude this possibility. Here careful analysis of these positions will be made.
The opening verse of the letter states that it has been written by "Simon Peter, a servant and an apostle of Jesus Christ" (2 Peter 1:1). In many places, the author clearly presents himself as Peter the Apostle, stating that the Lord revealed to him the approach of his own death (2 Peter 1:14), that he was an eyewitness of the Transfiguration (2 Peter 1:16-18), that he had previously written another epistle to the same audience (2 Peter 3:1; presumably a reference to the First Epistle of Peter), and he called Paul the Apostle "our beloved brother" (2 Peter 3:15).
The internal claim to have been written by "Simeon Peter" is unique. "Simeon" is an archaic Hebrew form of the standard "Simon", and out of all the ancient literature it appears only in Acts 15:14, and then just as "Simeon" (not "Simeon Peter"). "Simeon" is not used in any other place in the New Testament, in any of the Apostolic Fathers, or in any pseudepigraphic (forged) literature.[1] The First Epistle of Peter uses simply the name "Peter", and it is unlikely that a later writer attempting to feign an original letter would use a different name than one used in the genuine text, especially an archaic and obscure naming convention like "Simeon Peter."
This is not the only characteristic that distinguishes the letter from the known forgeries of antiquity. First, the common convention in ancient forgeries, when attempting to add a sense of realism to their claims to authoritative authorship (by an apostle or the like) was to adopt a first-person narrative style. However, 2 Peter nowhere employs this convention, even in the passage concerning the Lord's Transfiguration, where it would be most expected.[2] Furthermore, the account of the Transfiguration differs in certain details from the accounts in the Holy Gospel – something unexpected of a forger. Additionally, forged documents, which are later in date than the apostolic texts, tend to added embellishments to the gospel accounts, a feature completely lacking in this letter.[3] Also unusual is the description of Paul as "our beloved brother" (2 Peter 3:15). Later literature referred to Paul as "the blessed Paul", "the blessed and glorious Paul", and "the sanctified Paul right blessed", and thus the subdued usage in the letter is more fitting of genuine Petrine use than of a later forgery.[4] Lastly, the statement that the author finds Paul's letters difficult to understand (2 Peter 3:15-16) runs counter to the tendency of forgers to enhance the heroic qualities of the alleged author.[5] Hence, Donald Guthrie concluded that, if the letter were pseudepigraphy, it would be in many respects unparalleled with other such literature, so much so that it would be "of its own class".[6]
One of the main points cited by critics is the textual evidence that the author incorporated elements of the Epistle of Jude, and from this it has been conjectured than an apostle would not himself use another source (often in such arguments the authenticity of Jude is also disparaged). Before any refutations are elaborated it is worth observing that such speculation need not be accepted as definitive.[7] Donald Guthrie stated simply that it was "a fallacious supposition" to assume that an apostle would not have made use of an earlier source, and that, though it might be unexpected, it would be equally or more unexpected for a forger to do so.[8] But, besides this, another possibility is that the textual evidence can be interpreted to point the other way, namely that the Epistle of Jude used 2 Peter. In this interpretation, Jude would have extracted information from 2 Peter and added a doxology, perhaps being motivated by the recent fulfillment of the prophetic statements of 2 Peter.[9] Lastly, the opinion of Ben Witherington III should be noted. The scholar argued that 2 Peter, as we have today, is a composite document including points taken from the Epistle of Jude but containing a genuine "Petrine fragment", which he identified as 2 Peter 1:12-21.[10] Hence, even if credence is given to some points of the critical scholarship, from this it in no sense follows that the text's claim of Petrine authorship is an error.
Given the flurry of arguments, mostly wholly speculative, that have been made against the authenticity of the letter, it is impossible to sufficiently address every point. However, it is necessary to address the majority of them in brief. The different styles of language between 1 Peter and 2 Peter are often cited as proof that the same author (i.e. Saint Peter) could not have written them both. Very often these linguistic differences are overly stressed, and, even accepting such arguments, it is simply a fallacy to deduce, from such a tiny sample, a complete picture of the style and vocabulary of one author in a way that could exclude either of the letters. But the real difficulty with this position is that it ignores the widespread practice in antiquity of employing secretaries in drafting letters at one's behest, and it is even explicitly stated in 1 Peter that such a secretary (Silvanus, also called Silas) has been so utilized. Moving on, other objections include a reference within the letter to the writings of Paul, which is often misinterpreted to be necessarily referring to a complete collection of all his epistles, which would not have been in circulation before Peter's death. However, the reference in question does not in any sense imply the existence of a complete or authorized corpus of Paul's letters.[11] Historically, Peter and Paul can both be located in Rome around the same time, creating a plausible opportunity for Peter to become acquainted with some of Paul's writings - writings which, whatever the case, could have been partially in circulation before Peter's martyrdom. The penultimate objection to be addressed is the accusation that the letter's reference to "the fathers", interpreted as a reference to a bygone generation of Christian founders, presents a perspective that Peter himself could not have had, since he would not have been far enough removed from this generation. Perhaps the most significant part of this point is the absurd position it puts the critics in, who are perfectly willing to accept that a forger was of such skill as to create a letter wholly unique amongst ancient forgeries on so many points, yet was able to make such an obvious blunder. This aside, the solution to the objection is to observe the misinterpretation of the reference in question. The phrase "the fathers" (οι πατέρες) is not used to refer to Christian "patriarchs", or the first generation of Christian leaders, anywhere else in the New Testament or in the Apostolic Fathers and, given the context, is much more likely a reference to the Jewish Patriarchs of the Old Testament.[12]
Lastly, critics often cite the lack of early attestation amongst ancient Christian sources as evidence of the letter's late authorship, and the general hesitancy that the Church Fathers had in accepting the genuineness of the epistle. Though there is admittedly a lack of definite early quotations from the letter in the writings of the Apostolic Fathers, many scholars have found evidence of possible use of the epistle, or signs of its influence, in the writings of certain early Fathers. This includes the works of Clement of Alexandria (d. c. 211), Theophilus of Antioch (d. c. 183), Aristides the Athenian (d. c. 134), Polycarp of Smyrna (d. 155), and Justin Martyr (d. 165).[13] Hence, the evidence before Origen's time is best described as inconclusive,[14] and thus the evidence does not go nearly as far as the critics would wish to make it seem. The earliest record of doubts concerning the authorship of the letter were recorded by Origen (c. 185 – 254), though Origen mentioned no explanation for the doubts, nor did he give any indication concerning the extent or location. As D. Guthrie put it, "It is fair to assume, therefore, that he saw no reason to treat these doubts as serious, and this would mean to imply that in his time the epistle was widely regarded as canonical."[15] Origen himself, in another passage, would seem to have considered letter to be Petrine in authorship.[16] It is unfortunate that the vague comments of Origen have been taken too far. The first author of record to have professed his own doubts concerning the letter was Eusebius of Caesarea (c. 275 – 339), though he stated that the majority supported the text, and by the time of Jerome (c. 346-420) it had been mostly accepted as canonical.[17] Hence, the evidence from the authors may best be summed in the negative: "nowhere did doubts about the letter's authorship take the form of definitive rejection."[18]
See also
Second Epistle of Peter (Translated)
- ↑ M. R. James, 'The Second Epistle General of St. Peter and the General Epistle of St. Jude', in, Cambridge Greek Testament (1912), p. 9; Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 820.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 820.
- ↑ E. M. B. Green, 2 Peter Reconsidered, p. 27.
- ↑ J. B. Major, The Epistle of St Jude and the Second Epistle of St Peter (1907), p. 166; Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 826; references to quotes from antiquity are 1 Clement 47.1 and Polycarp, Ad Phil. 11; Polycarp, Ad Phil. 3; Ignatius, Ad Eph. 12.2.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 827.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 820.
- ↑ E. M. B. Green, 2 Peter Reconsidered (1961), p. 10-11; ibid., 'The Second Epistle General of Peter and the General Epistle of Jude', in Tyndale New Testament Commentary (1987).
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 831; on a reason for the use of Jude, see E. H. Plumptre, 'The General Epistles of St. Peter and St. Jude', in The Cambridge Bible of School and Colleges (1879), p. 80.
- ↑ S. T. Zahn, Introduction to the New Testament II p. 250; F. Spitta, Der Zweite Brief des Petrus und der Brief des Judas (1885), pp. 145-146; C. Bigg, 'The Epistles of St Peter and St Jude', in International Critical Commentary (1901).
- ↑ Ben Witherington III, "A Petrine Source in 2 Peter", Society of Biblical Literature Seminar Papers (1985), pp. 187-192.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 824.
- ↑ R. J. Bauckham, Jude, 2 Peter (Word) 1983, p. 290; Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 829.
- ↑ C. Bigg, 'The Epistle of St Peter and Jude', in International Critical Commentary (1901), pp. 202-205; R. E. Picirilli, 'Allusions to 2 Peter in the Apostolic Fathers', in Journal for the Study of the New Testament 33 (1988), pp. 57-83; J. W. C. Wand, The General Epistles of St. Peter and St. Jude (1934), p. 141.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 807.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 806.
- ↑ M. R. James, 'The Second Epistle General of St. Peter and the General Epistle of St. Jude', in, Cambridge Greek Testament (1912), p. xix; cf. Origen, Homily in Josh. 7.1.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), pp. 808-809, though the exception of the Syrian canon is noted, with acceptance occurring sometime before 509; cf. Jerome, De viris illustribus chapter 1.
- ↑ Donald Guthrie, Introduction to the New Testament 4th ed. (Leicester: Apollos, 1990), p. 806.


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March 7, 2007 Citroen has teamed up with the world famous Espera Sbarro School to develop the Cruise Crosser all-terrain concept car. Based on Citroen's first SUV, the C-Crosser, also making its world debut at Geneva, the new concept features three axles and six wheels to provide outstanding traction to tackle even the harshest of off-road conditions. The vehicle is designed to tackle the roughest possible road and weather conditions.
The Cruise Crosser invokes the spirit of the early 1900s when Andre Citroën, the Company's founder, captivated the world with a series of adventurous automotive expeditions across Africa and Asia, including the first motor crossing of the Saharain 1922.
Despite its imposing looks, the Cruise Crosser also displays strong green credentials. To minimise its impact on the environment, a hybrid drivetrain combines a conventional diesel engine with an electric motor located under the rear floor to cut fuel consumption and CO2 emissions. And when the electric third axle is used alone, it is even possible to drive silently in 'Zero Emission Vehicle' mode.
With its intense orange body work the Cruise Crosser is hard to miss, while the large red compasses located on either side of the vehicle reinforce the cars 'go anywhere' attitude. The vibrant exterior colour scheme is echoed throughout the interior, in the contours of the leather seats in rows one and two, on the dash and on the door panels.
The spacious Cruise Crosser has enough room at the back to provide extra seating, with a removable third row, or to create a vast loading area to carry equipment. The tailgate design makes loading easier, sand boards are stored at the rear to help extricate the vehicle from any tricky situations, while step plates on either side of the car offer easy access to the rear compartment. The Cruise Crosser also features an advanced satellite navigation system and DVD player to make long journeys more enjoyable.
Note to Editors: Citroën and the Espera Sbarro School have a long history of working together designing and developing concept cars. Founded by Franco Sbarro in 1992, the Espera Sbarro School offers young car enthusiasts the chance to discover the automobile trade. Students learn about different aspects including design, bodywork and mechanics and are encouraged to be creative.


text: J.Serrano Textile Corporate Identity – World Brand Design Society (-1/344) List item Submitted to "Inspirim" Approved by Fitore R. August 5, 2023, 10:55 MoreReport Item navigation Previous submission Next submission View full list Read Later What do you think? 0 Points Upvote Downvote Browse and manage your votes from your Member Profile Page Leave a ReplyCancel replyYour email address will not be published. Required fields are marked *Comment * Name * Email * Website Save my name, email, and website in this browser for the next time I comment. Post Comment Reply with GIF


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Lyrics Depot is your source of lyrics to Masterman And Baby J by Randy Newman. Please check back for more Randy Newman lyrics.
Masterman And Baby J Lyrics
Artist: Randy Newman
Album: Land Of Dreams
People tell me that I brag a lot 'cause I call myself the Masterman
Always talkin' 'bout how I got dynamite in every hand
Hit it
Me and my brother we live alone got no television got no
But when we walk down the street people get out of the way
They say "Here come the Masterman and Baby J"
"Here come the Masterman and Baby J"
Hit it hit it
When we get on the mike we'll be number one
Even top D.M.C. and Run
Everybody's really gonna have some fun
'Cause we're takin' 'em all the way down
We're takin' 'em all the way down
Gonna rap about this, gonna rap about that
Gonna tell everybody where it's at
All over the world people gonna say
You got to dig the Masterman and Baby J
You got to dig the Masterman and Baby J
Hit it
People tell me "Man you live in a dump"
"You won't never be nothin' but a pumped-up chump"
You got no money--you got no sense
You won't never be nothing, you won't ever be nothing
I say well-well-well-well
When I look out my window, you know what I see
I don't see no whores in the stinkin' street
I don't see no drunks and junkies dying
I don't see no bums or garbage flyin'
I see me and J in the L.A. Coliseum
100,000 people on their feet
And they're laughin' and bumpin' and screamin' and cryin'
And jumpin' up on their seat
And then the band begins to play and then they hush up
And then the band begins to play and then they hush up
And it gets real quiet in the Coliseum with the stage all
dark and bare
Maybe a little rain begins to fall--yeah
But the people stayin' right there
Then you can hear that announcer say
Please welcome! (the crowd roars)
Please welcome! (the crowd roars)
L.A.'s own, the number one
The biggest, the best, the number one bad in the USA
The Masterman and Baby J!
The Masterman and Baby J!
Randy Newman Lyrics
Randy Newman Land Of Dreams Lyrics
More Randy Newman Music Lyrics:
Randy Newman - Birmingham Lyrics
Randy Newman - Every Time It Rains Lyrics
Randy Newman - Kingfish Lyrics
Randy Newman - Let's Burn Down The Cornfield Lyrics
Randy Newman - Miami Lyrics
Randy Newman - New Orleans Wins The War Lyrics
Randy Newman - Old Man Lyrics
Randy Newman - Short People Lyrics


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When you picture the average button, you probably don't consider it an exciting promotional product. In fact, the custom promotional celluloid button is often overlooked and underappreciated nowadays, which makes it a great branding opportunity. Custom imprinted celluloid buttons are another affordable promotional product for any marketing campaign! Personalized celluloid buttons can be given to people from all demographics. Logo buttons are a great item to invest in if your business is in need of a low-cost branding opportunity that will reach tons of people.
Create a fantastic, easy giveaway when you personalize custom promotional celluloid buttons with your imprinted company name, logo or message. Our logo imprinted buttons can go a long way in helping you achieve more brand exposure. You can rest assured of reaching a wide target audience when you hand out promotional buttons at trade shows!


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CHEN, CHARLES - Auburn University | |
Dang, Phat | |
Holbrook, Carl - Corley | |
Lamb, Marshall | |
Sorensen, Ronald - Ron |
Submitted to: ASA-CSSA-SSSA Annual Meeting Abstracts
Publication Type: Abstract Only Publication Acceptance Date: 10/21/2012 Publication Date: 10/21/2012 Citation: Chen, C., Dang, P.M., Holbrook Jr, C.C., Lamb, M.C., Sorensen, R.B. 2012. Yield and Grade Response of Five Peanut Genotypes to Drought Stress at Different Stages. ASA-CSSA-SSSA Annual Meeting. Oct. 21-24-2012. Cinncinati, OH. http://scisoc.confex.com/scisoc/2012am/webprogram/Paper73182.html Interpretive Summary: none required. Technical Abstract: Drought is a major factor in reducing productivity in peanut (Arachis hypogaea L.). There is an urgent need to develop adaptive agricultural strategies. These include: changes in traditional irrigation management and agronomic practices, improvement of drought-related traits through direct or indirect breeding selection, and development of transgenic crops with enhanced tolerance to drought and improved water-use efficiency (WUE). The objectives of this study were to examine the main effects and interactions of five drought stress treatments (Irrigated, 30 DAP, 60 DAP, 90 DAP, and Non- Irrigated) on five peanut genotypes and to indentify the most and least drought tolerance genotypes to be used for further genetic study and breeding program. Five genotypes represent different digresses of drought tolerance of runner- type and Virginia-type peanut. The five genotypes were planted in split plot designs, with drought stress regimes as the main plot, with three replications in 2010 and 2011under rain fall control shelter. An adjusted yield to 7% moisture content and total sound matured kernel (TSMK) were used to measure yield and grade of peanut. Highly significant differences were found for genotype, treatment in both years for yield and TSMK. No interaction of genotype x treatment was detected both years for yield while the interaction was found only in 2011 for TSMK. Results from t tests indicated that the greatest differences for yield and TSMK among main effects were for genotype (ranging from 3874 to 4810 kg/ha / 0.70 to 0.76) and Treatment (from 3272 to 5236 kg/ha / 0.71 to 0.75), respectively. These results indicate that 'C76-16' has a consistent highest tolerance to drought stress while 'AP-3' has the least drought tolerance. Compared with irrigated and non-irrigated regimes, Yield and TSMK have the greatest response for the stress occurred after 60 DAP, following by 90 DAP, and 30 DAP. Therefore, 'C76-16' could be used as a drought tolerance parental donor in breeding program and stress after 60 DAP could be used as treatment stage for screening drought tolerance for breeding populations. |


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A sequel to Deus Ex: Human Revolution?
Recommended Videos
It looks like we'll be getting a sequel to Deus Ex: Human Revolution. Square Enix has taken out a trademark on Deus Ex: Human Defiance, and since the first game was rather successful, this isn't a huge surprise.
Maybe this time around, the developer won't outsource the boss battles to another studio. Eidos itself admitted the boss fights were weak, so hopefully the company takes that to heart and either drops them or significantly improves them.
Square Enix trademarks Deus Ex: Human Defiance [All Games Beta]


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Storms hit Midwest, 'dangerous evening' forecast
DES MOINES, Iowa (AP) - Homes and cars in parts of Nebraska and Iowa were pummeled Tuesday by baseball-sized hail and damaging winds as potentially dangerous storms targeted a swath of the Midwest, including the Omaha area, where flooding left dozens of drivers stranded and prompted home evacuations.
The National Weather Service said reports of extensive hail damage and flooding had trickled in as storms pushed into Nebraska and moved into neighboring Iowa, where winds of up to 85 mph were recorded. Up to 4 inches of rain was expected in parts of Nebraska and Iowa.
"This is one of these days we can't let our guard down," said Bill Bunting, forecast operations chief at the Storm Prediction Center in Norman, Oklahoma. "It's unfortunately panning out as we thought it would. This is shaping up as a very dangerous evening."
Officials said the highest risk for severe weather was centered in parts of eastern Nebraska, western and southern Iowa, and northeast Missouri. Officials said there was the potential for a weather event called a derecho, which is a storm of strong straight-line winds spanning at least 240 miles.
Terry Landsvork, an observation program leader for the National Weather Service in Valley, Nebraska, said heavy rain and flooding was reported in the Omaha area.
"The storms, we call it training. It's like a train going down the track. One car goes by, another one follows. That's what's happening," he said, in reference to eastern Nebraska and western Iowa. "These thunderstorms ... keep moving right over the same areas."
In the northeast Nebraska cities of Norfolk and Blair, residents reported shattered windows in homes and vehicles after baseball-size hail passed through. At least one severe thunderstorm capable of producing a tornado was reported near the city of Fullerton. Another was reported in the western Iowa community of Elliott.
On Interstate 29 north of Council Bluffs in western Iowa, more than 25 vehicles had their windows shattered by hail, Landsvork said.
"They were driving along Interstate 29, had no place to go, and whether they were driving or pulled over, they just didn't escape the hail," he said.
The storms, which are also expected to affect parts of Illinois, Kansas and South Dakota, caused heavy rain in the Omaha area. Police spokesman James Shade said dozens of residents were evacuated from low-lying homes on the northeast side of the city, where several inches of rain fell in an hour.
"It's just completely flooded these areas, and these homes are now filling up with water in their basement areas, so we're pulling people out," he said, noting a 95-year-old woman in a wheelchair who was rescued.
Police also used boats to assist dozens of drivers stranded in floodwaters around the city. Shade said many cars remain stuck on those flooded streets.
The bad weather impacted primary elections taking place in Iowa and South Dakota. Officials in Pottawattamie and Montgomery counties in Iowa, where polls closed at 9 p.m. CDT, reported closing some precincts temporarily due to poor weather.
"It's nasty here. You can't imagine," said Pottawattamie County Auditor Mary Jo Drake. "It's as black as the ace of spades."
In South Dakota, where polls closed at 8 p.m. CDT, a morning thunderstorm forced Senate candidate Mike Rounds, who was flying to Rapid City, to land in Pierre.
The severe weather threat arrives amid an unusually quiet late spring, with far fewer documented tornados in May than in many recent years. Bunting said the current system could be most severe because of widespread straight-line winds.
"As we like to say, it doesn't have to rotate to be dangerous," he said.


text: What is the role of Indigenous Peoples in the current climate crisis? What responsibility do Indigenous Peoples feel towards Mother Earth today? Listen to three Indigenous women leaders give their perspectives on their feeling of the interconnection between all living things and our planet in the face of climate change, and what they feel should be done with that knowledge.


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In response to Jess on organising one's information.
FavoUrites: Social Bookmarking (PART)
My own use of social bookmarking isn't that social nor that efficient. At this point, I tend to simply add things to my del.icio.us account as a way to remind myself that I would eventually like to blog about those links. Sometimes they're academic items, but more often than not, they're not.
On the other hand, I do tend to blog as a way to keep links handy for later reference. It reminds me of what I was thinking about when I approached the material at first. Those can be academic, especially if they come through academic mailing-lists, but they're often ideas which connect to my research interests in some ways.
Reading notes, to me, are different. I tend to take notes on my Clié, with page numbers. I can then search through my Clié for a specific idea I was thinking about. I also take a lot of notes about different projects, usually linking them in different ways. Instead of sorting my references, I prefer to search through them. After moving 19 times since December 2000, I wish I had all my books and articles online.
Reference managers can be very useful and some of them are getting to feel a bit like social bookmarking. For instance, RefWorks is online (so you always have access to your citation data) and you can share those references publicly. In fact, you can even use RSS, comment on the references, and have some tagging "descriptors." What's more, there's a RefGrab-It bookmarklet to help you insert references from webpages you visit. Especially useful if people use DOI.
In terms of database design, tagging is almost a revolution. In fact, the "Web 2.0" concept has a fair bit to do that information may be non-hierarchical because you can tag instead of taxonomise (as in "classify in a taxonomy-style hierarchy of paradigmatic concepts"). Of course, your tags can be in a taxonomy. But they don't need to be. And the taxonomy can be completely ad hoc (yes, yes, "folksonomy" is the term used for those ad hoc taxonomies). Think Technorati and the benefits of tagging blog entries (which explains why my WordPress.com "categories" are really thought of as Technorati tags).
As for bookshelves… Mine are well-disorganised. I still wish I had everything online instead of having to go through shelves, all the time.
My Mac desktops have always been known to represent chaos, to other people. Yet I could always find what I was looking for, and I would only resort to folder hierarchies for very broad classifications (academic texts vs. homebrewing resources, for instance, though I still plan on publishing on homebrewing culture). Different courses usually have their own folders but folders for current courses were usually on my desktop and I would move between different things by using the outline view. Searching was always very efficient and Spotlight almost makes folders irrelevant. Metadata elements are more powerful than any folder hierarchy. Even the Piles interface is less needed now. Especially since desktop files and database items (including email messages) are integrated in the same search.
Having switched to a PC, I tend to have a harder time making my way through things, for several reasons. Cramps my style. I can't be as "chaotic" as I used to be. Yes, there are "Desktop search" solutions. But they just don't do it for me. And the lack of a high-quality outliner makes my life less fun than it was with OmniOutliner. I'm slowly discovering OneNote but it's not the ideal solution to repurpose data.
So I end up keeping many things online. Especially on Gmail, actually. Or in Technorati-tagged blog entries. Or in del.icio.us. Or in Zoho documents (looking forward to Zoho Notebook!). Or in Refworks.
Well, to be perfectly honest. Many things I tend to keep in Scrapbook, with the firm intention of going back to them if I ever get a chance. I never do. I also use browser tabs as reminders that I should do something with specific pages. But I eventually end up keeping them on the back burner anyway.
Ah, well…


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Walgreens announced an enhanced daily living business organization with the promotion and leadership expansion of key marketing and merchandising executives to further accelerate the company's strategic growth drivers and advance its vision to be the first choice in health and daily living for everyone in America, and beyond.
The promotions and other changes in Walgreens' daily living organization, which are effective October 1, accompany the announcement by Walgreens and Alliance Boots GmbH that Alex Gourlay, chief executive of Alliance Boots' health and beauty division, has been named Walgreens' executive vice president, president of customer experience and daily living. Reporting to Walgreens president and CEO Greg Wasson, Gourlay will lead the enhanced Walgreens daily living organization overseeing U.S. merchandising, marketing, customer insights, customer experience and daily living products and promotions.
"With our enhanced daily living and merchandising organization, combined with Alex Gourlay's experience and expertise in global health and beauty, we are further expanding and complementing Walgreens already strong leadership team including Mark Wagner, president of operations and community management; Kermit Crawford, president of pharmacy, health and wellness; Graham Atkinson, our chief marketing officer and the creator of our 79-million member Balance Rewards loyalty program; and Sona Chawla, president of e-commerce and our omni-channel strategy," said Walgreens president and CEO Greg Wasson. "By combining the best marketing and merchandising practices of Walgreens and Alliance Boots, we are accelerating our 'Well Experience' strategy to step out of the traditional drugstore format and create a truly differentiated experience for customers and patients."
The announcement includes a number of promotions and expansion of leadership roles of Walgreens daily living and merchandising executives:
- Bryan Pugh becomes corporate vice president, U.S. merchandising program development and execution. As Walgreens continues to hone and expand transformational merchandise programs and prepares for further joint merchandise initiatives with Alliance Boots across beauty, personal care, health and wellness, Pugh's newly created role will bridge operations and merchandising functions and oversee rollout of new merchandising initiatives to the field, including operating standards, cross-functional deployment and flagship rollout.
- Moe Alkemade becomes group vice president, global sourcing. With his deep experience in developing and marketing consumer-packaged goods programs, Alkemade successfully led the restructuring and strong growth trajectory of Walgreens private brand portfolio, and established the foundation for Walgreens global sourcing capabilities. In his newly created role, Alkemade will focus on optimizing global sourcing and daily living buying synergies with Alliance Boots and AmerisourceBergen.
- Shannon Curtin is promoted to group vice president and general merchandise manager, beauty. Curtin will accelerate development and growth of Walgreens beauty proposition and customer experience across the United States, particularly underserved U.S. markets, and collaborate with the Alliance Boots and global partnership teams in maximizing U.S. opportunities for the Boots beauty proposition.
- Robert Tompkins is promoted to group vice president and general nerchandise manager, health and wellness. Tompkins will accelerate development of innovative health and wellness products and programs for the U.S., collaborating with Alliance Boots and global partnership teams on joint program development.
- Jim Jensen becomes divisional vice president and general merchandise manager, seasonal and general merchandise, providing high-level, single-accountability focus on seasonal daily living products and promotions that are a key driver in Walgreens monthly daily living sales.
- Beth Stiller is promoted to group vice president, category planning, formats and innovation, and takes on an expanded role in merchandising with responsibility for category development, space planning, merchandise formats and program innovation, and private brands.
- And Linda Severin, formerly of Kroger, where she led the redevelopment of its private brand portfolio, joins Walgreens as divisional vice president, private brands, responsible for product development, brand management and program execution of Walgreens private brands.


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Product Description
THIS ITEM IS NO LONGER IN STOCK AND IS LOCATED IN THE PAINTBALL GRAVEYARD. THE MANUFACTURER HAS DISCONTINUED THIS PRODUCT AND THERE IS NO CHANCE OF EVER RECEIVING IT. DO NOT PURCHASE THIS ITEM BECAUSE IT WILL NEVER SHIP OUT TO YOU!!! This section was built to let you read and learn about products from the past.
Product WalkThrough
Visual 360: Black/Graphite
Product WalkThrough
Visual 360: Black/Graphite
Dye is proud to introduce the DM13, the newest and most advanced member of our original series of markers of the famed DM line. This is the marker that has guided the Ironmen and Damage to numerous titles, and has been the backbone of Dye's product line for almost a decade. The DM is the most reliable, well established, longest-running marker in Dye's history. It also has the capability to shoot the most fragile tournament-grade paint on the market, and carries a tradition of being among the smoothest, quietest, and most accurate paintball marker in the world. We've made the DM13 with a combination of tried and true technology, innovative new features that truly make this marker The Choice of Champions. The Dm13 is also available in a wide variety of other colors and PGA patterns. The DM13 weighs in at 2.24 lbs.
The quick release bolt system is a feature on the DM13 that incorporates magnets within the back cap. These magnets allow for the back cap to extend and give you enough surface area to grip the bolt and unscrew it by hand. This makes maintenance easier than ever before.
The DM13 utilizes DYE's patented closed spool valve design. DYE's one-piece Fuse bolt system operates at an extremely low 145psi. This low operating pressure produces a smooth bolt cycle, minimal recoil, and extreme accuracy.
The Eye Pipe, patent pending, internal design houses multiple critical systems that ensure worry free performance. The polycarbonate pipe shields the self-cleaning anti-chop eye system from dirt and broken paint ensuring the eyes are always monitoring the breech and ball drop. The seamless pipe is wiped clean by the bolt tip o-ring on every cycle. The Eye Pipe system eliminates miss feeds and double feeding. In addition it eliminates external eye plates and the potential of stripped or corroded plate mounting screws.
Introduced in 2010 the UL airport has dramatic curves and an aggressive look. It is designed to be as small and light as possible. The UL airport is a balanced cam lever system with an easy turn on/off toggle. When the knob is in the locked on position, air is delivered to the marker through the linear front port for maximum comfort and a streamlined design. When released trapped air is vented allowing easy removal of tanks, reducing wear on regulator threads and o-rings.
The adjustable cam lock lever allows you to securely lock you Rotor™ onto your gun without tools. DYE's cam lock feed neck sits low and tight on the marker making sure your Rotor™ stays low profile with the rest of your gear.
The Tool-less full, wraparound Sticky Grip allows for easy access to the battery and circuit board for programming without using tools. The front body contact pad allows for maximum comfort and stability.
The Reach Trigger is the next evolutionary step in individually customized ergonomic comfort, as well as optimal trigger speed. With the Reach Trigger it is possible to adjust the angle and reach of your trigger externally. The new angle adjustment combined with the Travel and Spring Tension allows you to create a personalized fit to reach your ultimate shooting capabilities.
The proven Hyper3 regulator design has been greatly improved. This design is sleeker, smaller, more consistent and offers precise increments of air pressure adjustment. Our new shim stack is more responsive and reacts quicker to pressure changes allowing better flow and a faster response. The size has been dramatically reduced allowing us to incorporate the soft rubber of our proven Sticky Grips. In addition, the Hyper3 air input swivel ring allows it to work with all bottom line configurations..
The UL 45 frame is the culmination of top pro player influence and progressive engineering. The hour-glass UL frame was ergonomically designed to give the player complete control of the marker. It also allows players to quickly and effortlessly pull the trigger. An integrated heads up display LED light alerts you to the status of your marker without taking your eyes off the game.
The DM13 is the only spool valve marker in production that utilizes the advantages of a Low Pressure Regulator. The LPR is a critical component that gives the DM13 it's ultra smooth and quiet function that has made the DM series markers famous. The LPR provides you with precise control over the DM13's cycle speed and force at an extremely low 60-70psi, ensuring you the ability and confidence to shoot brittle paint. Refined over the last 9 years, the LPR system works perfectly with the fuse bolt system.
Color coded o-rings make it easy to quickly identify the correct replacement o-ring when performing maintenance on your marker.


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If you've ever spent time on the streets of London, you know how frustrating and expensive the experience can be. Navigating central London while surrounded by motorbikes, taxis, public transportation vehicles, cyclists—not to mention other drivers—is something that few find much joy in, and many work hard to avoid.
Ford Motor Company is working to change this by challenging developers around the world to submit new or existing software applications that have the potential to assist in reducing traffic congestion on London streets and add value to London drivers.
Have a generic traffic app? Apps are not required to use London data specifically, but must benefit London drivers, commuters, and pedestrians.
Getting Started
- Get inspired. Explore app ideas and Ford's "Blueprint for Mobility."
- Impact the Problem. How can your app(s) be used to help traffic congestion in London?
- Brainstorm. What apps can you create that might help reduce congestion? Could an app that "talks" to a car's sensors add value to London pedestrians, drivers, and other commuters? What about better public transit or parking? Or perhaps that brilliant idea that you've been mulling over?
- Check out Ford's OpenXC platform. OpenXC is an open source API to your car that runs on a combination of Arduino and Android. Consider how it enhances your app, or how it could enhance a future iteration of your app. (No specific API, SDK, or data integration is required in this competition, however, the use of Ford's OpenXC platform is encouraged.)
- Decide: enter an existing app, update it, or build from scratch?
- Start your draft today. Begin filling out your application now so that you don't feel rushed as the deadline approaches. Even if you don't have all the details yet, you can choose the "Save as Draft" option and come back to it later.
This challenge is open to: Most individuals around the world; Teams of individuals; Organizations.
See official rules for details.
- Submit a working app that can be used to reduce traffic congestion on city streets. (I.e., Apps are not required to include London-specific data specifically, but must benefit London drivers, commuters, and pedestrians.)
- Make sure your app is safe. Apps must conform to In-Vehicle Approval Criteria from Ford for safe and non-distracting in-vehicle interfaces if the intent is to use the app while driving. For more information, see the national generally accepted principles for in-vehicle interfaces.
- Create a demonstration video (YouTube or Vimeo) that includes footage that walks through and clearly explains your app's features and functionality.
- Describe how your application can help reduce congestion in London and potentially assist London drivers, pedestrians, and residents. If possible, please also explain how Ford's OpenXC platform enhances, or could enhance a future iteration of your app.
- Provide a way for us to access your app by including an installation file with your submission, sharing a test build, or by providing a URL where your app can be accessed for testing and judging.
- Submit your app by providing: 1) access to your app for testing; 2) screenshots of your working app; 3) a video (YouTube/Vimeo) demonstrating your working app.
Platforms: We're accepting apps that run any of the following devices: Android, Blackberry, iOS, Windows Phone smartphones/tablets, web/mobile web browsers, or Windows/Mac desktop computers.
$25,000 in prizes
Grand Prize
Second Prize
Third Prize
Popular Choice
OpenXC Integration Prize
Awarded at the discretion of the Judges to the app that demonstrates the most outstanding creativity, user experience, or other remarkable qualities AND integrates the OpenXC platform.
Large Organization Recognition Award
Non-cash, recognition only for Large Organizations
Devpost Achievements
Submitting to this hackathon could earn you:
K. Venkatesh Prasad
Senior Technical Leader, Open Innovation - Ford Motor Company
Andreas W. Schäfer
Professor of Energy and Transport - University College London
Saul Klein
Partner - Index Ventures
Paul Mascarenas
Chief Technical Officer and Vice President - Ford Research and Innovation
Rich Brown
Manager – Advanced Product Group & Business Planning, Ford Motor Company
Mark Higbie
Instigator | Advisor - Ford Motor Company
Desire Athow
Editor - Tech Radar Pro
Chris Hall
Editor Pocket-Lint
Judging Criteria
Quality of the Idea
Includes creativity and originality of the idea. -
Implementation of the Idea
Includes how well the idea was executed by the developer. -
Potential Impact
Includes the potential impact and value provided to London drivers, pedestrians, and residents.
Tell your friends
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Having an issue with an SR861 booklet finisher. It is connected to a 2075. Occasionally when either powered up or when the finisher door is opened at idle it will throw a jam. If I try to reset it a couple of times it throws a SC730 (staple error). I have swapped staple unit (not the booklet staplers) cleaned all sensors (even swapped a few). I have updated the firmware. Any ideas as to what to look for next?
Gopal Singh Solanki
Junior Member


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Tiger Attracts Star-Studded Field
Woods will be playing in his own event for the first time since 2007.
THOUSAND OAKS, Calif. (AP) -- Tiger Woods
will join two major champions and at least a dozen players from both Ryder Cup
teams in his Chevron World Challenge in December at Sherwood Country Club.
Still to be determined is whether the All-Star field will be without the No. 1 player for the third straight year.
Woods' foundation announced the 16 players Monday who qualified from the world ranking
, a group that starts with Woods and goes down to Sean O'Hair at No. 28. The field includes U.S. Open champion Graeme McDowell and PGA champion Martin Kaymer.
The tournament is to be held Dec. 2-5.
Lee Westwood, who could replace Woods at No. 1 in the world next month, will be competing in Sun City, South Africa. Woods has not played his tournament since winning in 2007 -- he was recovering from knee surgery in 2008, and ran over a fire hydrant a week before last year's tournament, setting off revelations of infidelity.
Others scheduled to play are defending champion Jim Furyk, Steve Stricker, Paul Casey, Luke Donald, Rory McIlroy, Dustin Johnson, Matt Kuchar, Ian Poulter, Hunter Mahan, Zach Johnson, Anthony Kim and Bubba Watson.
The foundation will announce two exemptions next week. Because the 18-man field offers world ranking points, the two exemptions must come from within the top 50.


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World Generator
This generator is a system that generates the world.
- Please input the first name from 4 to 7 people.
- The level of beauty in the world is displayed. (The highest point is 100 points.)
- (ex) Nancy
Now loading ...
- Please link these Web sites freely. (banner)
- Please report it freely on the magazine and the television.
- Please put the image on the blog etc. freely.
- I do not assume the responsibility concerning the trouble at all.


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This weekend I have downloaded the latest beta version of NuoDB. I found it much improved and better UI. I was very much impressed as the installation was very smooth and I was up and running in less than 5 minutes with the product. The tools which are related to the Administration of the NuoDB seems to get makeover during this beta release. As per the claim they support now Solaris platform and have improved the native MacOS installation. I neither have Mac nor Solaris – I wish I would have experimented with the same. I will appreciate if anyone out there can confirm how the installations goes on these platforms.
I have previously blogged about my experiment with NuoDB here:
- SQL SERVER – Weekend Project – Experimenting with ACID Transactions, SQL Compliant, Elastically Scalable Database
- SQL SERVER – Beginning NuoDB – Who will Benefit and How to Start
- SQL SERVER – Follow up on Beginning NuoDB – Who will Benefit and How to Start – Part 2
- If ACID properties are crucial why many NoSQL products are not adhering to it? (There are few out there do follow ACID but not all).
- I do understand the scalability of the database however does elasticity is crucial for the database and if yes how? (Elasticity is where the workload on the database is heavily fluctuating and the need of more than a single database server is coming up).
- How NuoDB has built scalable, elastic and 100% ACID compliance database which supports multiple platforms?
- How is NOSQL compared to NuoDB's new architecture?
In the next coming weeks, I am going to explore above concepts and dive deeper into the understanding of the same. Meanwhile I have read following white paper written by Experts at University of California at Santa Barbara. Very interesting read and great starter on the subject Database Scalability, Elasticity, and Autonomy in the Cloud.
Additionally, my questions are also talking about NoSQL, this weekend I have started to learn about NoSQL from Pluralsight's online learning library. I will share my experience very soon.
Reference: Pinal Dave (https://blog.sqlauthority.com)