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There are more than 7,000 islands in the Caribbean that are part of more than 28 nations. Your average seven-night cruise can visit three to five of them—so how do you narrow down where you should go? While we'd argue there's a reason to visit every destination available on a Caribbean cruise, some locales speak directly to a traveler's vacation style, be it relaxed and indulgent or adventurous and on-the-go (and anywhere in between). If you're wondering where to begin, we've gathered some thought-starters here. With nearly two dozen different locations from which to choose, Royal Caribbean makes it easy to "swipe right" on the perfect one.
The Naturalist
Belize City, Belize: pure and vibrant.
To take in all of the natural beauty surrounding you in Belize, you'll want to climb to the top of El Castillo; at 135 feet, it's one of the tallest Mayan structures in this tiny nation. From the top, you can see the lush rainforest of Peten, the nearby mountains and even across the border into Guatemala. You also can explore the amazing Altan Ha pyramid, an ancient temple built as a symbol of Mayan honor and devotion to the Sun God. If you're looking for Belize City's "wild side," look for flocks of toucans and parrots in the tree-tops, manatees along the coast, baboons at the Community Baboon Sanctuary, crocodiles and wild howler monkeys along the Old Belize River, and jaguars, pumas, ocelots and more at the esteemed Belize Zoo. Royal Caribbean's shore excursions include snorkeling along the barrier reef, cave tubing and a riverboat ride to get you up close and personal with nature.
The Romantic
Kralendijk, Bonaire: sweet, yet a little mysterious.
The main port on the island of Bonaire in the Caribbean Netherlands, Kralendijk is a picturesque and charming town lined with delightfully pastel stucco houses turned out in pink, orange and lime green. Scores of pink flamingos call the island home, but it's what lies below the surface that makes the destination even more enticing. The city is widely considered a top diving destination in the Caribbean. For a sampling of what this dreamy island has to offer, enjoy snorkeling or diving among coral reefs, turtles and brightly colored fish in the protected Bonaire National Marine Park; tour the local salt flats and mountains; and don't miss the local gastronomic delicacy, cactus soup.
The Cosmopolitan
Roseau, Dominica: stunning and chic.
The capital—and largest—city of Dominica, Roseau is a small and compact urban settlement. If you appreciate the finer things in life, we have two words for you: Champagne Beach. These effervescent waters produce an actual "fizz" from the volcanic sea floor. After swimming alongside parrotfish in bubbly waters, there are plenty of other ways to pass the time, including ogling the West Indian architecture in town while scouring the local boutiques. You also can treat yourself to the relaxing and therapeutic powers of Dominica's natural mineral waters while surrounded by the island's lush tropical vegetation.
The Adventurer
Roatan, Honduras: wild and untamed.
This narrow strip of land was born with an adventurous spirit, as it was once the domain of Spanish conquistadors and British pirates. Roatan lies in the Caribbean at the southernmost tip of the second biggest barrier reef in the world. Diving with sharks and snorkeling with pods of squid and other exciting sea life are popular pastimes, and Royal Caribbean also offers a survivor-style challenge course that will have you scurrying along jungle paths in the thick rainforest, crawling in mud ravines and climbing cargo nets and hills. If you prefer your challenges with altitude, the Adrenaline Zip-Line Adventure will take you soaring through the skies and between mountains on an exhilarating zip-line tour.
The Scholar
Puerto Costa Maya, Mexico: fascinating and soulful.
Costa Maya, once a trading post for the Mayan Empire, is located in the Mexican Caribbean and best known for its jungles, beaches, lagoons and ruins. While this corner of the Caribbean might look serious and sedate at first glance, there is a wealth of history to be explored. The ancient city of Chacchoben dates to 360 AD, when it played an important role in the distribution of such precious items as wood, jade and exotic birds. It was largely unexplored until 1999, but archaeologists now believe this fascinating locale was a thriving metropolis 1,500 years ago. On its Chacchoben Ruins Exclusive Drive, Royal Caribbean gives you the chance to marvel at the temples, stroll their surrounding gardens and dive deeper into this culture.
To see all of Royal Caribbean's captivating Caribbean cruises and their ports of call, head here.


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Assessing Interdisciplinary Work at the Frontier: An empirical exploration of symptoms of quality. Veronica Boix Mansilla and Howard Gardner
- Nickolas Howard
- 3 years ago
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1 GoodWork Project Report Series, Number 26 Assessing Interdisciplinary Work at the Frontier: An empirical exploration of symptoms of quality by Veronica Boix Mansilla and Howard Gardner Address for Corresponsence Veronica Boix Mansilla Principal Investigator Harvard Interdisciplinary Studies Project Project Zero 124 Mt Auburn St. 5th Floor Cambridge MA Phone: Fax: Paper presented at Rethinking Interdisciplinarity, A seminar supported by the C.N.R.S. project Society of Information, and moderated by Gloria Origgi and Christophe Heintz. December 1, We would like to thank The Atlantic Philanthropies for their generous funding of the Harvard Interdisciplinary Studies Project and the many researchers whom we interviewed for their illuminating insights. 1
2 I. Introduction Arguably, the most dynamic research at disciplinary frontiers and in novel terrains is interdisciplinary. i Yet a re-emerging awareness of interdisciplinarity as a pervasive form of knowledge production is accompanied by an increasing unease about what is often viewed as the dubious quality of interdisciplinary work. ii Central to the controversy is the lingering challenge of assessing interdisciplinary work. iii Addressing the lack of available criteria to assess interdisciplinary work on its own terms, Donald Kennedy, Editor in Chief of Science, comments: It is a terribly difficult issue.interdisciplinary research institutes have the challenging task of producing as much good research as the departmental silos, judged however in a somewhat different [disciplinary] universe. iv Criteria for judgment constitute the least understood aspect of interdisciplinarity, adds Julie T. Klein, in part because the issue has been the least studied and in part because the multiplicity of tasks seems to militate against a single standard. v Against this background how does one determine what constitutes quality interdisciplinary work? In this paper, we present the initial results of an empirical study of experts views of interdisciplinary research. Specifically, we address the ways in which individuals in established and well regarded interdisciplinary research institutions assess the quality of their work and describe the dilemmas they confront. Our findings reveal that researchers systematically rely on indirect quality indicators (e.g., number of patents and publications-or type of journals and funding agencies associated to the work). Measures that directly address epistemic dimensions of interdisciplinary work (e.g., explanatory power, aesthetic appeal, comprehensiveness) proved rarer and less well articulated. In what follows, we introduce the study and summarize our findings. We delineate three core epistemic symptoms of quality interdisciplinary work emerging from our analysis: consistency, balance, and effectiveness. 2
3 II. Study overview In the last two years, we conducted an exploratory study of research and teaching practices at exemplary interdisciplinary institutes and programs. Our goal was to understand qualities of expert interdisciplinary work in order to inform educational practice that fosters interdisciplinary understanding. In this study we defined interdisciplinary work as work that integrates knowledge and modes of thinking from two or more disciplines. Such work embraces the goal of advancing understanding (e.g., explain phenomena, craft solutions, raise new questions) in ways that would have not been possible through single disciplinary means. In our formulation, disciplines comprise rich collections of theories, accounts, and findings believed to be acceptable within specifiable scholarly communities at a particular time. Such bodies of knowledge cannot be detached from the dynamic repertoire of methodological choices and forms of communication that give birth to them. We view interdisciplinary work as a purposeful means to reach a cognitive or practical goal (e.g., understanding, solving a problem) as opposed to as an end in itself. Our definition stipulates that disciplinary lenses be integrated in mutually informative networks of relationships rather than simply juxtaposed. By focusing on disciplinary integration as opposed to the integration of multiple perspectives, disciplinary or not - our focus is more stringent than the transdisciplinary one presented earlier in this forum and in the literature. vi The insights that we report stem from interviews with 60 researchers working in interdisciplinary institutes- specifically: the MIT Media Lab (ML), the Santa Fe Institute (SFI), the Center for the Integration of Medicine and Innovative Technologies (CIMIT), the Center for Bioethics at the University of Pennsylvania s (CB-UP), The Art-Science Laboratory (ASL), and the Research in Experimental Design group at XEROX-PARC (RED). We selected these institutions for their accumulated experience exploring novel disciplinary combinations (e.g., nonlinear dynamics and history; technology and music) and their good reputation. We expected that the difficulties associated with developing such novel integrations would have engendered a certain epistemological awareness among these researchers a trait we were interested in capturing. Our 3
4 data consisted of in-depth, semi-structured interviews (including questions on how to assess interdisciplinary work), selected samples of work, and institutional documents. III. Assessing interdisciplinary work Challenges and measures Most of the researchers in our study referred to the validation of interdisciplinary work as an obscure and challenging topic. They identified three sources of difficulty. First, they noted that disciplines themselves bring a variety of, often conflicting, standards of validation to the interdisciplinary meeting ground. Second, our subjects pointed to a lack of conceptual clarity about the nature of interdisciplinary work and its assessment, recognizing the need for a more systematic reflection in this regard. Third, they emphasized that in highly innovative work where novel territories are charted and few precedents are available, developing validation criteria is part of the inquiry process itself. Faced with the task of making their assessment criteria explicit, researchers typically referred to indirect or field-based measures vii of quality. They pointed to indicators such as the number of accepted patents, publications, devices, and citations stemming from the work; the prestige of the universities, funding agencies, and journals in which it is placed; and the approval of peers and a broader community. Simply counting things are easy answers as far as I m concerned, claimed Jonathan Rosen, Director of the Office of Technology Implementation at CIMIT. How many patents have you filed? How many patents have been licensed? How many new companies have been started? How many Science papers? How many Nature papers? Field-based measures of this kind sidestepped the question of what constitutes warranted interdisciplinary knowledge by relying on social procedures of peer review, inter-subjective agreement, and ultimately consensus as generators of acceptable insight. Our subjects were often critical of these proxy criteria because they saw them as ultimately representing a disciplinary assessment of their interdisciplinary work. Yet they described these criteria as the standard way - however flawed - in which the quality of interdisciplinary work is determined at the forefront of knowledge production today. 4
5 When probed, most individuals also referred to more primary or epistemic measures of acceptability - i.e., epistemological indicators directly addressing the substance and constitution of the work. Researchers referred to a broad range of epistemological criteria (e.g., experimental rigor, aesthetic quality, fit between framework and data, power to address previously unsolved questions in a discipline). When considered collectively, these criteria shed light on three realms that demarcate symptoms of quality interdisciplinary work. IV. Toward an epistemic framework for assessing ID work Our interviewees highlighted the complexity of knowledge validation at disciplinary borders. In their view, interdisciplinary findings, theories, or exhibitions were not assessed as a sum of independent claims to be tested against equally independent disciplinary bars. Rather, researchers tended to provide a dynamic picture of knowledge validation in which the work as a whole can be assessed on three fundamental grounds: 1. the way in which the work stands vis à vis what researchers know and find tenable in the disciplines involved (consistency with multiple separate disciplinary antecedents) 2. the way in which the work stands together as a generative and coherent whole (balance in weaving together perspectives) 3. the way in which the integration advances the goals that researchers set for their pursuits and the methods they use (effectiveness in advancing understanding) 1. Consistency with multiple separate disciplinary antecedents While the impetus of their interdisciplinary work was to move beyond established disciplinary boundaries, researchers often evaluated the degree to which their work was reasonably consistent with antecedent disciplinary knowledge (i.e., accepted methods, preferred conceptualizations, and epistemic values). They referred extensively to the act of satisfying multiple -sometimes conflicting- disciplinary standards at once. 5
6 In their view, borrowed disciplinary theories, methods, and communicative genres embodied epistemic values, which collectively informed the acceptability of interdisciplinary outcomes. For example, seeking to satisfy two masters, SFI researcher John Padgett expected that his computer models of political life in Renaissance Florence would meet standards of scientific elegance and historical significance. Padgett valued work that could explain coherently, highly heterogeneous phenomena... explaining heterogeneity with simple principles, while revealing important qualities of the period under study: in a hundred years, will anyone read it? Historians care a lot about that. The disciplinary canon was often a basic parameter against which researchers assessed their work. If a new finding was consistent with the the laws of physics or current predictions in biology it gained credibility. There is a tremendous sense of freedom associated to breaking [disciplinary] rules commented Mark Chow from RED, as he described his group s search for new ideas for an exhibit on Experiments in the Future of Reading (EFR) at the San Jose Technological Museum. At the same time, he added you can do a lot of wild things, [but you need] somebody down the hall.who adheres to the scientific method [and is] squarely involved in the disciplines.to say, well, this is against the laws of physics. If indeed interdisciplinary findings violated fundamental disciplinary tenets or revealed their limitations, additional justification was often seen as required. The burden is on me to get a deeper understanding of their [disciplinary] methods and show them how their methods do and don t relate to our interdisciplinary methods noticed Rosalind Picard, Media Lab Director of Affective Computing Research. Ensuring appropriate fit between interdisciplinary products and findings and their antecedent disciplinary counterparts was not without challenges. Disciplines often conflicted vis à vis what they considered worth studying and what they viewed as warranted understanding. What is this physicist doing writing a sociology proposal? asked SFI researcher Mark Newman, as he imagined how colleagues in physics would critique his work on social networks. Illustrating differences in validation standards, SFI s Doyne Farmer commented: Computer models are looked down on much more in economics than they are in physics. Mathematical proofs are 6
7 regarded as much more important in economics than they are in physics. Physicists are more comfortable with approximations. Occasionally, standards stemming from different disciplines appeared as openly incompatible. For instance, the Experiments in the Future of Reading exhibit and the San Jose Technological Museum invited visitors to experience new forms of reading (e.g., interactive books, image and sound enhanced texts) while an explanatory voice guided them at each stop. XEROX-PAIR artist Paul DeMarinis spoke about what he and his colleagues perceived as the conflict between aesthetic and scientific dimensions of the exhibit. He claimed, In art contexts you don't want a lot of text. You don't want to be told what it [the exhibit piece] is. You want it to come through and allow your mind to make other associations. In a science context you want to be sure that the person isn't misunderstanding what they are seeing. DeMarinis perceived the exhibit as embodying a central tension between science and postmodern theory in which the [explanatory] text had the upper hand in formulating the theory [more] than anything you might experience yourself. In sum, while a reasonable fit with antecedent knowledge in multiple disciplines strengthened the credibility of interdisciplinary outcomes, it clearly did not suffice as the sole source of rigor in deeming outcomes acceptable. Quality interdisciplinary understanding did not rest on a sum of established disciplinary rules, but rather on a unique coordination of disciplinary insights where disciplines played particular roles in the overall composition of the work. It is not surprising then, that our interviewees viewed reflective balance as a second symptom of quality interdisciplinary work. 2. Balance in weaving together perspectives Assessing interdisciplinary work involves an appreciation of how disciplinary insights are intertwined and the relatively different roles that they play in yielding an overall composition. When disciplinary values conflict, compromises and negotiations are in order. Our interviewees valued work that exhibited a thoughtful balance of perspectives. Reflective balance did not imply an equal representation of disciplines in a piece of work, but a sensible one. For example, Arthur 7
8 Caplan, Director of the Center for Bioethics at the University of Pennsylvania, described the relative contribution of law and philosophy in his work. He illustrated how inquiry goals largely determined what counted as a workable balance. There is some tension between law and philosophy, he claimed, as to what is the best way to talk, literally [about matters such as organ donation or human cloning]. Should we talk like lawyers and use case precedents and analogical reasoning? Do we use principles? That battle goes on. I think each [view] has a case and I think healthy tension is ok. Caplan crafted a pragmatic balance. For certain issues you do want to know what really is the legal framework that you're operating in. And for some other issues like, Should we ban cloning? starting with the law is really not a good idea. For those, you really need to think philosophically about what cloning is and why it would be bad. You can make a law later. Caplan critiqued work that made legal recommendations prematurely, before there is consensus about the values as well as other cases where there's a lot of consensus about the values and you don't need to dig in the same old ethical holes again. Relatedly, our subjects referred to finding an appropriate balance vis à vis the levels of depth at which various disciplines were engaged. Again in this case, specific inquiry purposes seemed to inform the weighing of options against each other toward a sensible balance overall. In assessing the Experiments in the Future of Reading exhibit, Mark Chow noticed how the inclusion of an animal character in his piece made the content of the exhibit more accessible and interesting to his audience. He established that the exhibit succeeded at being a dog that could read aloud, rather than a computer exhibit, adding that such success allows you to relax some of the more stringent requirements of technology. For example, in terms of engineering, the performance of the reading was not 100% accurate, but it was, after all, only a dog. Researchers found isolated disciplinary assessments of interdisciplinary work dissatisfactory because they failed to capture the knowledge composition as a whole a critique often applied to peer review panels composed of specialists working in isolation. Donald Kennedy agreed; Sometimes very good interdisciplinary papers may be viewed in a very negative light simply because narrow disciplinary criteria are used to assess them. If you have a paper that is 8
9 interdisciplinary and you think that it really does require a broad-gauged person, then I assume you try to find that kind of person. I think for reviewers it is hard not to make mistakes [when it comes to interdisciplinary pieces]. As our interviewees described it, the interdisciplinary balancing act seemed to involve maintaining generative tensions and reaching legitimate compromises in the selection and combination of disciplinary insights and standards. Such a delicately balanced whole gained credibility if it did not violate central tenets of the disciplines involved. It gained relevance and acceptability if it afforded new understandings, solutions, products, and questions including proposed transformations in established disciplinary practices. Determining the effectiveness of the leverage afforded by interdisciplinary integration was a most informative criterion to ascertain the success of interdisciplinary enterprises - the third symptom in our categorization. 3. Effectiveness in advancing understanding Not surprisingly, researchers overwhelmingly tended to assess the success of their work in light of the aims of their inquiry. Interdisciplinary inquiries varied broadly in their specific aims and their favored validation criteria varied accordingly. When SFI physicists James Crutchfield and Mark Newman assessed their mathematical theories of innovation and network behavior respectively, they favored qualities such as their theories ability to predict unstudied social and biological phenomena and their tangible success in explaining something that wasn t explained by somebody else before. At CIMIT, the combination of physiology, molecular biology, nano-physics, and material sciences brought scientists like Joseph Vacanti closer to the creation of an unprecedented entity-- a vascularized artificial human liver that works and whose creation could have a transforming effect on organ transplantation surgical practice. No single set of assessment criteria can do justice to the enormous variation in inquiry aims. Still it is worth noticing that, among our interviewees, contributions oriented toward pragmatic problem solving and product development seemed to place a premium on standards of viability, workability and impact. Contributions that seek formal algorithmic models of complex phenomena seemed associated to measures of simplicity, predictive power, and 9
10 parsimony. viii Contributions aiming at a more grounded understanding of multidimensional phenomena (e.g. lactose intolerance or organ donation viewed in their intertwined biological, cultural, and psychological dimensions) tended to favor work that reached new levels of comprehensiveness, careful description, and empirical grounding. ix In addition to assessing the substantive leverage afforded by interdisciplinary work, researchers highlighted their methodological contributions. For example, Media Lab ethologist and artificial intelligence expert Bruce Blumberg claimed that his computer models of animal behavior provided novel method for cognitive scientists to test out their hypotheses. Increasingly, computation is going to be a very valuable way to test out models [in psychology and cognitive science], he claimed. Because it is one thing to write a book and say this is how it [animal intelligence] must be organized. The proof is, could you take those ideas and actually implement them? Enhanced methodological options, in turn, raised the standards for the interdisciplinary inquiry that followed. What we used to do in the past are now things that 16 year-olds on the Internet can do, explained MIT s Rosalind Picard. We were the only ones doing that 10 years ago. Because of their non-paradigmatic approaches to knowledge production, our interviewees often confronted the challenge of a lack of precedents or viable contenders against which to compare their achievements. We don t know if we are doing better than people working by themselves we don t have these kinds of measures, noted Jonathan Rosen from CIMIT. Working in uncharted terrain implied that there is no higher authority to appeal to adjudicate what s relevant knowledge and what s not or what is useful and not, claimed Anne Balsamo, Principal Scientist at RED, Xerox-PARC. [When] you are at the cutting edge of anything, by definition you're taking risks that most do not take, added Joseph Vacanti. So having somebody who can, in an expert way, help you is problematic because there's this vested interest problem, where the status quo and building on the status quo is most of what goes on. For these researchers, the effective advancement of interdisciplinary understanding involved not only developing new insights and methods, but also fashioning criteria with which to gauge their progress. 10
11 V. To Conclude Under close scrutiny, researchers views about the epistemic evaluation of their work revealed three realms in which to discern the acceptability of interdisciplinary work: (1) the degree to which new insights related to antecedent disciplinary knowledge, (2) the sensible balance reached in weaving perspectives together, and (3) the effectiveness with which a particular piece of work advances understanding and inquiry. As these researchers portray it, quality interdisciplinary understanding does not rest on an accumulated set of established disciplinary rules. Instead, each piece of interdisciplinary work revealed an idiosyncratic coordination of disciplinary insights geared to accomplish researchers cognitive and practical goals. Distilling workable criteria to assess the epistemic dimensions of interdisciplinary work requires that we tackle the problem at a productive level of analysis. Criteria too local (e.g., innovative experimental methods, accurate protocols, or rich original sources) will fail to account for the formidable diversity of aims and approaches legitimately characterized as interdisciplinary. Categories too generic (e.g., coherence, accuracy, parsimony) will be ill-fit to capture the particular challenges associated with interdisciplinary integration. Categories with the greatest potential for the assessment of interdisciplinary work, our analysis suggests, will capture (1) the relationship between interdisciplinary outcomes and their multiple disciplinary antecedents, (2) the delicate adjustment that takes place as disciplines are intertwined toward a well-balanced whole, and (3) the leverage provided by the newly created hybrid insights. In the end, while the assessment categories we propose might contribute to the cause of a more reasoned and reasonable consideration of interdisciplinary work, they will not render interdisciplinary work immune from the unfortunate propensity for error that characterizes human knowledge construction. x Indeed, interdisciplinary work gains its strength from its keen awareness of the provisional epistemic status of its findings. In our view, a serious assessment of interdisciplinary work should not seek to establish warranted truths nor, on the contrary, to let all interdisciplinary flowers bloom. Such assessment should instead yield illuminating evidence to grant provisional credibility to the work in question. Thus the acceptance of an interdisciplinary insight (much like that of the framework here proposed) rests on the assumption 11
12 of the inherent provisionality of understanding and the endless human capacity to retrench, retool, and try again xi 12
13 VI. Notes i Julie Thompson Klein, Interdisciplinarity History, Theory, and Practice. Detroit: Wayne State University, Diana Rhoten, A Multi-method Analysis of the Social and Technical Conditions for Interdisciplinary Collaboration. In Hybrid Vigor, Final Report. National Science Foundation. September Nancy Sung et al Educating Future Scientists Science 301 p September, ii Julie Thompson Klein. Crossing Boundaries: Knowledge, Disciplinarities, and Interdisciplinarities. Charlottesville VA: University Press of Virginia Michael Gibbons, et al The New Production of Knowledge. London: Sage Peter Weingart and Nico Stehr, Eds. Practising Interdisciplinarity. Canada: University of Toronto Press, iii Lisa R. Lattuca Interdisciplinary Research and Teaching among College and University Faculty Nashville: Vanderbilt University Press, Julie Thompson Klein, 1996 Ibid. iv Interview excerpt November, 2002 v Julie Thompson Klein, 1996 Ibid, p vi Helga Nowotny, The Potential of Transdisciplinarity. In Rethinking Interdisciplinarity Christopher Heintz and Gloria Origgi moderators. Julie Thompson Klein et al, Transdisciplinarity: Joint problem solving among science, technology, and society: an effective way for managing complexity. Basel: Birkhauser Verlag, vii Mihaly Csikszentmihalyi, Society, Culture and Person: A systems view of creativity. In The Nature of Creativity: Contemporary psychological perspectives Robert Sternberg Ed. New York: Cambridge University Press, pp , In this chapter Csikszentmihalyi defines field as the social organization of a domain i.e., as a network of interlocking roles (peers, reviewers, gatekeepers) in charge of selecting among proposed variations in a domain. viii See examples of this kind of work in James P. Crutchfield, Peter Schuster Eds. Evolutionary dynamics : exploring the interplay of selection, accident, neutrality, and function. New York: Oxford University Press, ix For examples, see William Durham. Co-evolution: Genes, Culture and Human Diversity. Stanford: Stanford University Press, 1991; and Rene Fox & Judith P. Swazey. The Courage to Fail: A social view of organ transplants and dialysis. Brunswick, NJ: Transaction Publishers, x Catherine Z. Elgin. Considered Judgement. New Jersey: Princeton University Press, p. 12, xi Catherine Z. Elgin, Ibid p
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subset: commoncrawl


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Bullet Ride's ITB Project: I can go with the flow...
So I figured that since I've got over 5000 posts here now I might as well try and post some stuff that you might find remotely useful :rolleyes:
I've been wanting to try my hand at a DIY ITB project for a little while now, and now that my 2.8L stroker has been up and running for a summer I figured that while it's away for the winter I'd try and hash out a design.
I've seen a handful of DIY M20 ITB set-ups on-line but I haven't come across very many well documented builds, and the one big thing that's usually missing is before and after dyno plots. I'm hoping to take my stroker to the dyno this spring and get some tuning done with the stock intake manifold, and then swap over to the ITBs and see what they can do.
My goals for this project are as follows:
- as always it's a budget build so try to keep the cost down by doing as much as I can on my own
- try to retain the stock brake booster if possible (most DIY set-ups I've seen are running a brake booster delete or remote booster)
- design the manifold so that it will be possible to try different size throttle bodies in the future if at all desired
- If I'm really feeling ambitious I may play with different length velocity stacks
So the first thing I started with was finding some throttle bodies on the cheap. From what I've read, people seem to say that 38-40mm throttle bodies are what should be used (That's a whole thread on it's own so I'm not going to get into it here). From what I've seen GSXR 750, or BMW K75/K100 throttle bodies are good picks because they are in that size range and separable. However, at the time I was looking on ebay for throttle bodies there wasn't much available that fell into the price range that I wanted (aka dirt cheap lol). Then I came across some 2006-2009 Triumph Daytona/675 throttle bodies which seemed plentiful and some sets could be had for dirt cheap. The motorcycle aficionados amongst you will know that those bikes are triples, so two sets would give me 6 throttle bodies. The throttle body diameter is 44mm which is on the larger side (according to what people say) but they were so cheap that I couldn't pass them up, and since the manifold design is going to be somewhat modular, I could always try some smaller throttle bodies later if these happen to be junk.
I was able to pick up two sets for $55 + another $55 or so for shipping so $110 for 6 throttle bodies. They are separable and look like this...
Then I set about hacking up the manifold from the motor I pulled when I swapped in my 2.8L stroker...
And that's when I had an epiphany.... I could mount the throttle bodies vertically and then cut my hood and run huge stacks out the top!!!
How gangster would that be......
...not very gangster in my opinion so I continued hacking and after a little skim on the mill I ended up with this...
Now, as you can see the issue I had was that due to the angle on of the first and last runner the cross section of the cut is larger and that would pose a problem when going to weld on some new runner extensions. Using a straight edge I estimated roughly how far down I'd have to machine the runner for it to have roughly the same cross section. I'd like to retain the stock fuel rail mounting provisions if at all possible, so I'm only going to machine down the first and last runners and then make a decision as to whether or not the silicone couplers I plan on using will be able to compensate for the slight variation in angle on the two runners. The black line is roughly where I need to machine down to...
After that I wanted to take some measurements off of the car and develop a CAD model so I could come up with a rough design concept to check my clearances. Since it's hard to take measurements off of the car with all the wires and tubing in the engine bay in the way I decided to just use copper wire and touch off some key points relative to the manifold then cut the wire and attach it to the motor I had on the engine stand...
Point A (the horizontal piece with a small bend downwards) represents point on the brake booster that is closest to the intake manifold. Point B (the point where 3 wires come together) is a common point on the brake booster that will allow me to constrain the brake booster in my CAD model. Point B is also significant because I chose it by touching a wire off of a lower stud on the manifold and then laying it tangent to the brake booster. So as long as I can stay above the lower of the three wires I should be able to clear the brake booster. Finally Point C (the tip of the vertical wire) is a reference the lowest point on my strut brace that I could interfere with.
Then I took a side view holding the throttle bodies up at an angle that I thought might work and I imported it into autocad and scaled it so I could draw on it....
That way I was able to find roughly where the centre of the brake booster was as well as roughly what angle I will try out when I mock up the manifold. A 24 degree angle seems as though it will work.
The next step was to get my model going. I came across this drawing for the flange on some Swedish website for boosted cars...
The rest of the measurements I just measured off of my manifold...
Adding some 1.75" x 0.125" wall tubing cut at a 24 degree angle. (The cross section of the 24 degree cut happens to match up fairly nicely with the cross section of the manifold)
I roughly measured up the throttle bodies. In this picture they are spaced on 91mm centres just like the intake ports...
Putting it all together with some 2" to 1.75" silicone reducers looks something like this...
And with a rough estimate of the brake booster (I'm not actually sure of the placement of the booster depth wise but that's not really the limiting factor in this case)...
One observation that I had was that the outlet of the throttle body is actually roughly the same size as the cross section of the intake runner...
Unfortunately it's in the wrong orientation and off centre of the throttle body axis. It creates this situation in the transition...
I can blend the transitions so that going into the engine the air flow won't hit any steps, however any reversion will encounter a fairly big step at the exit of he throttle body. I'm not sure if this will have a positive or negative effect. It would be possible to bore out the throttle body so that it's round however I'm going to leave them be for now.
That pretty much brings me to where I am right now. I've ordered the silicone reducers as well as the aluminum tubing so it'll likely be a couple weeks before I'll have anything to update. However in the mean time I'm going to investigate potential methods of coupling both sets of throttle bodies and I'll work on making the spacers needed to space the throttle bodies as well as modifying the throttle syncing tabs to compensate for the spacing. One other consideration that I'm mashing around in my brain right now is making custom velocity stacks. I'm thinking of bringing them out at an angle towards the front of the car like this...
The reasoning is that it will allow me to have longer velocity stacks as well as afford me more space for air filters. However that will be on the back burner until I receive a set of velocity stacks (which are in the mail somewhere right now).
As always comments and questions are welcome.
Thanks for reading :cool:
Looks great! How will the throttle linkage be rigged up?
Also when doing your estimating on position with those wire pieces I see you decided on approximately a 24 degree angle from the axis perp. with the head. In the car the motor angles away from the intake side increasing that 24 degree's. Will that put them poking up a bit high? just a thought I had.
Vertical ITBs. Cut hood. Mad gangsta. /thread.
Seriously, looks like good work. I envy your fabrication skills. You're thinking of filters between the TBs and the head? Or before the TBs? I didn't quite grasp that last bit...
Triumph TBs is a cool choice, usually see the gsxr stuff
My measurements are all relative to the booster. As you can see in the picture with the 24 degree angle the booster is a few inches lower than the valve cover, where in reality it probably sits slightly above the valve cover in the car. So if I rotate the model a bit it gives a better picture of what it'd look like in the car...
I think it should be ok, I'll find out when I mock it up. Also, if I go with the angled velocity stacks I'll be able to rotate them to gain clearance if I need it.
Is this set up going on your stroker or another motor?
Looks good so far.
I was thinking of doing an ITB project a while ago aswell, not for an e30 though
It'll be going on the stroker.
Man this'll be sweet and sound awesome! You still owe me a ride in the rocket!
Also I was wondering about the TPS. are you going to adapt it to the end of the set like how it already is here?
Tuning in for this build. Great progress so far Steve!
Looks great so far Steve, I'll be watching this one for sure.
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I am so sorry for the famine of updates, the camera broke a week and half ago, and so i haven't really been able to get any pictures or videos of the pups. Which is oh so sad since they are constantly doing things that I absolutely adore. However I will update you on their wonderful developments. They are all getting sooo big. Yellow is so big that our scale no longer registers his weight because he's over the max weight. Also they have become so adorable running around, wrestling, growling at each other. They are really starting to act like Vizslas now a days they come running whenever they hear or see us.
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In regards to their development- they are completely weaned! As for the behaviors, they are right on schedule. We're working on no biting or chewing on anything other than toys, but there are 7 of them and only one of us most of the time since Jeff works, but they will get it once they are home with their new families and have more one on one time. Also they will be 8 weeks Oct. 25th, and that is when they will start going to their new homes. They are getting their first round of shots tomorrow the 21st. Well I'm excited for the little puppies to move on to their new homes, and for their families to get to know them, shower them with love and experience the fun stuff I get to see them do on a daily basis.
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This section contains 826 words
(approx. 3 pages at 400 words per page)
Chapter 2, Part 2 Summary
Yakov hates living in the dingy Jewish neighborhood in Kiev. The poverty reminds him of home and he seeks something better. He ventures further away from the neighborhood each day, as he searches for work and attempts to get a job where Jews are forbidden. He finds odd jobs but is not making very much money.
Yakov finds a man passed out drunk, face-down in the snow one night on his way home. Yakov is afraid to get involved in any trouble, but turns the man over. The man is a member of the Black Hundreds, the violent anti-Semitic group in Kiev. Disgusted, Yakov almost does not help the man. As Yakov drags his body toward the house, he meets the man's crippled daughter. Yakov is invited to return to the house the next day to be properly thanked for saving...
(read more from the Chapter 2, Part 2 Summary)
This section contains 826 words
(approx. 3 pages at 400 words per page)


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About us
We are a curriculum development and publishing company, based in the UK. Our team has been working towards 'science done right' for 20 years, through curriculum materials, courses, syllabuses, assessments, professional development, and consultancy to schools, national UK organisations, and ministries in other countries.
Download the company and supplier details
Our work
We have developed Blueprint, a rigorous 5-year curriculum plan for science in collaboration with a large awarding body. It will finally offer schools an antidote to the problem of having to get through an overstuffed KS3 and GCSE specification. Focussing on the concepts and skills students most need for GCSE success and developing them over 5 years, it will allow learning on depth so students are more prepared for demanding exam questions AO2 and AO3).
The KS3 Science Syllabus (2015), which we designed for UK awarding bodyAQA, which offers a mastery approach to 11-14 science, based around 10 Big Ideas, and integrates enquiry skills with the content.
ENGAGE (2014-17): a European Commission project that has spread teaching of science through contemporary issues and enquiry to 15,000 teachers in 12 countries. We created the design and wrote all the curriculum materials. Download free Engage activities
WIKID (2008-2011): an 11-14 curriculum for teaching science through authentic problem solving and enquiry, which was adopted by 20% of the schools in the UK. Download free wikid activities
Science upd8 (2003-2007): science-in-the-news curriculum materials developed and published within a week. Most teachers in the UK used upd8, and there were 50,000+ subscribers worldwide. Download free upd8 activities
The team
We have a core team, shown here, plus a large group of teacher-writers and trialling schools.
Tony Sherborne
An academically successful but completely off-putting science education showed me what to avoid and motivated me to save others from the same fate. As a teacher I never had enough time to create the curriculum I wanted. Science upd8 and its successors come close to the kind of science teaching I'd like to have experienced. I'm obsessed with 'backwards design' in other words starting from the capabilities we want students to emerge from school with, and working backwards towards the curriculum that will deliver this – for all students.
Gemma Young
Gemma has been working on projects for Sheffield Hallam University's Centre for Science Education for the past 10 years. These have included science upd8 and Wikid – an inquiry-based Key Stage 3 curriculum. She was a writer on the Engage project and is a visiting researcher at the Open University. She has authored several books and worked on projects for organisations including The University of Oxford; the Royal Society for Chemistry; BBC Bitesize and was a writer/developer of the AQA KS3 syllabus. Prior to this, she was a science teacher for 8 years.
Helen Harden
Helen has an in-depth knowledge of the science curriculum from KS1 through to KS4 and A- level Chemistry. For over 10 years Helen Harden has worked in curriculum design including the AQA KS3 Science Syllabus, upd8 Wikid, upd8Cruical, York Science and 21st Century Science. Helen has particular expertise in bringing science research and global learning to the science classroom as well as innovative lesson approaches such as role-play simulations and most recently virtual reality Google Expeditions. Helen is currently chair of ASE's 11-19 committee and is also a member of RSC's Curriculum and Assessment Working Group.
Jude Sanders
Jude has been working in STEM education and teacher development for more than 20 years. She was a secondary science teacher and then teacher educator in London before moving on to develop online courses and learning activities for teachers and schools. Projects include BBC Jam, LG&T learning networks, the first online PGCE for Science teachers in the UK and the award winning HCUK Subject Knowledge Enhancement courses. Jude is also part of the team behind WIKID science, ENGAGE and Mastery Science and is now conducting PhD research into online learning.


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Mugi (무기)Mugi is an Imugi carrying the title of Kirin. He is also the younger brother of Karin. Mugi has three golden eyes, thus the title of 'Kirin' (기린, Girin); the third is on his forehead. His clothing is formal enough to match his status but he is less garish than most noble characters. His hair is neat, black and sits above his shoulders. It is unknown if he has a snake form, like Karin.
(Source: Abide in the Wind Wikia)
Voice ActorsNo voice actors have been added to this character. Help improve our database by searching for a voice actor, and adding this character to their roles here.


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INDIA HOTELSHOTELS IN INDIAMAHARASHTRAAURANGABADROKADIA HANUMAN COLONYHOTEL VENKATESHWARCheck Availability
Hotel Venkateshwar
Venkateshwar, a budget hotel in Aurangabad is located at a distance of 1.5 kilometers from the railway station and just 7 kilometers from the airport. This two-storey property has 18 well-furnished rooms to choose from. A well-informed front desk which caters to the needs of the guests is available round-the-clock. For uninterrupted service, the hotel also has a power backup generator and Wi-Fi connectivity can be availed to stay updated with news from across the globe.
Check-in time : 10:00AM
Check-out time : 9:00AM


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Thursday, October 6, 2016
Think Pink in October
October is Breast Cancer Awareness month. So many ladies close to me have fought / are still fighting a battle with this awful disease.
I made this card with inspiration from the following challenges:
CASology Week 218 - Support
Time Out Challenges #67. The theme is Breast Cancer Awareness/Friendship
8 comments:
This is a perfect card to send someone to let them know you are thinking of them - that butterfly with the hope ribbon for the body is beautiful! Love the frame too!ReplyDelete
So lovely, i like this card !ReplyDelete
Adore how you used the ribbon and the splatters are the perfect finish. Thanks for joining Time OutReplyDelete
Such pretty cards!! Love the beautiful butterfly and blinged awareness ribbon!ReplyDelete
This is so beautiful. I love how you combined the ribbon with a butterfly. I saw a bunch of images on pinterest that did this, and tried it unsuccessfully myself. Love how you made it work. Thanks so much for playing along at CASology this week.ReplyDelete
Very pretty! I love pink against the black/white chevron frame. Wonderful contrast! A lovely, supportive card!ReplyDelete
Thank you so much for joining us over at CASology! :)
Lee this is beautiful for both challenges! Thank you for sharing with us at CASology and the colourQ this week!ReplyDelete
Such clever use of the hope ribbon as the body of that beautiful butterfly, Lee ... love how the pinks pop off that graphic zigzag frame! Thanks so much for playing along with us at Time Out! Anita :)ReplyDelete


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The Greatest Guide To minimalist running benefits
Feel The World, Inc.
Email: email@example.com
Phone: 303.447.3100
Fax: 303.786.9292
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"On the whole, it's probably a positive pattern Over time for steady runners to get getting into much less of the shoe, or no less than a shoe with considerably less of the cumbersome heel," claims Coster.
In case you're interested to learn more about this subject and they are from the Vancouver place on January 26, I invite you to definitely show up at the Vancouver Running Symposium.
Spencer was an Energetic male until stress and Bodily complacency received the greater of him. He devoted to modify, made a approach, and misplaced 100 lbs in a single yr! Go through much more
I can be extra careful in regards to heel drop. Gonna a zero-drop shoe For lots of runners are going to be set an excessive amount of pressure over the Achilles tendon and reduce posterior chain. Try to find a 4 – 8 mm heel fall originally.
Goal: Minimalistic footwear has garnered popular fascination within the running Group dependent mostly to the premise that the footwear may well decrease selected running-linked injury chance components by way of adaptations in running mechanics and foot strike sample.
You can find excellent proof that the shoe development of the final 30 a long time or so has not attained what it absolutely was originally meant to do. Injuries rates in runners currently continue to be as substantial as at any time.
Subjects then completed a four-week familiarization period of time consisting of running in MFW and easy gait-retraining, prior to repeating the checks (posttest). In the pretests, 30% of subjects adopted a forefoot strike in MFW, subsequent familiarization this amplified to eighty%; no transform happened in CRS. A big decrease in M F ¯ in equally MFW and CRS (P = 0.024) was noticed from pre-submit, and a significant decrease in heel pressures in MFW. M P ¯ was increased in MFW through testing (P Reply
A new analyze identified that habitually shod runners who abruptly transition into barefoot running encounter elevated tibial shock, knee flexion, and internal calf engagement.
For a minimalist runner, I've seasoned it initial hand. I didn't even enable it Going Here to be a 50 percent-mile my to start with day out. It took me per week to go a mile.
People have been running considering that the start of time—prolonged ahead of the creation of the modern running shoe.
Add five minutes each day or two inside a minimalist shoe Incorporate a mile everyday or two in minimalist footwear Operate slowly but surely and listen to how you are feeling
The Samsons aren't one of the most glamorous sneakers regarding style, and when you are taking them out on the rocky trail you may really feel just about every pebble along the way in which. But in the helpful confines of a health and fitness center, they are a very well-created and comfortable possibility if you're looking to receive as near as feasible to barefoot.
Honestly I had been a bit intimidated when I first started sewing using this type of machine. I've only been sewing for a handful of months now and I was just obtaining the cling of my wife's Kenmore (which she had purchased when she was in Junior Superior). On the other hand we have been destroying it trying to sew this weighty substance–it had been only Lower than the activity. Back towards the Singer, the motor is probably sturdy adequate to turn a cement mixer, and it's Actually Terrifying due to the fact if you truly move over the peddle you could potentially blast by way of your get the job done inside a heart conquer or injure your self holding the wheel that is connected to the belt.
At read this article this time I can definitely only see myself sewing other models of sandals, but two or three a long time ago I'd personally under no circumstances have imagined I could be starting a sandal earning firm.


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I have my form on the page and have added all the files according to the instructions. I have added my email address to the Globals but it will not send.
Also at the bottom of each form element is a message that says "a value is required". I am sure they already know that. So how do I get rid of this and make the form send.
The form in question is at contact.php


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Rob Stephenson's new book Passes Through (FC2) is truly a book like no other. It's poetic and plainspoken. It's wildly transgressive and it is also, at times, kind of homey, especially once his voice is in your head. Rob passed through Providence a few weeks ago and he was kind enough to read for the cousins assembled at Abe's. And he submitted to this Q&A:
Can you describe the composition process of Passes Through? How did that process dictate its structure?
The text was made by passing four times through a journal I kept for over ten years. The journal started out as description of daily events and morphed over the years into detailed thoughts on all sorts of subjects. Eventually, I tired of keeping the journal. I never intended it to be published. A few years later I considered the time I'd spent writing it and decided it should be transformed into a fiction. Prior experience with writing memoir and autobiographical essays left me dissatisfied and questioning the value of expressing truth about the past by using traditional storytelling. I decided to move in another direction. Using innumerable constraints, I deleted most of the journal and combined the remaining pieces with all sorts of material external to the journal. The form (and formlessness) of the text grew into its shape as I moved along. Without going into all of the specifics, the architecture of Passes Through comes from an improvisatory linear accumulation over time within a semi-rigid overall scheme designed to create non-linear movement.
The book makes me think of David Markson's description of his work: "nonlinear, discontinuous, collage-like, an assemblage." Those terms apply to Passes Through, but in addition, there is a genuine narrative and a strong sense of the narrating character. What were some of the benefits to this lyrical, collage-like approach? Were there specific challenges that emerged that would not have been a factor if you had taken a more conventional approach?
I've been making art of various sorts with found material for over 30 years. At 19, inspired by punk rock concert posters (whose creators were sometimes inspired by Dada poets, Burroughs, or the Situationists), I cut up the pink entertainment section of the San Francisco Chronicle and taped words to paper. I only remember one phrase: "Your hero moves to a boring age." Soon I was cutting up abandoned grammar school science textbooks and remaking them into my own stories. I still have some of these. I felt comfortable with non-linear approaches very early on. For years I made short or small pieces using various systems of organizing material: films, texts, music, drawings, photo collages, videos. I have always based a certain amount of my work on bringing disparate elements together to see how they suggest something that is not there when they remain separate. I've made many shorter precursors to this book. Paris Over Paris possesses some of the qualities that became more elaborated in Passes Through. I am now more interested in making extended pieces that take on other qualities altogether. One challenge for me in making Passes Through was to invent good methods and then trust and finesse them enough to carry them out for longer than I usually do.
And WOW. This is the third time in recent weeks that David Markson has come up in conversation about Passes Through. I finally read a book of his, The Last Novel, about a year after finishing my book. I loved it. Really loved it. It moved me in ways that I did not expect to be moved. It's such a beautiful book. I was completely unprepared for the way the last fifteen pages left me dewy-eyed. The only other long list that has affected me in an emotional way is on Maya Lin's powerful Viet Nam war memorial. While it's true that Markson and I both use short bits of text that accumulate over time into something unexpected, I think our intentions and modes of composition are quite different. And from what I surmise, I often built things up from much shorter elements in Passes Through, than he did in The Last Novel.
Stylistically, there are many incomplete sentences in this book. Which I love. I always tell students that incomplete sentences are OK as long as meaning is not sacrificed. You somehow make more significant meaning with your incomplete sentences. Can you say how this style developed for the book?
I often work with much less than sentence lengths of text. Passes Through especially points up one-, two-, three-, and four-word combinations. If you have ever kept a rambling journal, you know that a lot of mistakes creep in and a home-grown shorthand emerges. Sloppiness gets the upper hand late at night. I kept, even embellished, aspects of that in Passes Through. My rhythmic flow became a finely tuned word-by-word, sound-by-sound jaggedness. I was interested in creating a version of English that mirrors the way thoughts bounce around in a mind over time with all sort of collisions and interruptions between inner modes of being and external distractions. I pushed hard against the way most people tell stories by progressing linearly through argumentation or by using uninterrupted chains that build towards specific inevitable goals. All sorts of voices coalesce and compete to infiltrate the narrator as he speaks. He becomes all of the voices that are speaking. My hope is that the reader, by the end of the text, has adjusted to this Hydra of selves and feels in spite of it all that they do perceive a narrator. You, in fact, did feel "a strong sense of the narrative character."
You are a composer as well. How does writing music inform your prose writing? And vice-versa?
Music influences everything I make in a number of ways. I think of my writing as music. Passes Through is as much a musical composition as it is a novel or a long poem. The text is tuned to my speaking voice and inflections. I consider the sound and rhythm of words as much as the meaning of words.
Compositional methods from medieval to contemporary times directly influenced Passes Through. Specifically, the constantly shifting and momentum-driven multi-layered music of J. S. Bach permeates the work as much as the Moment Forming and Integration theories of Karlheinz Stockhausen, the asymmetrical pattern distribution techniques of Morton Feldman, and John Cage's thoughtful forty years of chance operation deployment. Composers create wonderful abstract languages, how can contemporary writers not look to them for inspiration?
Passes Through was published by (the great) FC2. What was it like working with them?
Absolutely terrific! I am amazed and grateful to have such a beautiful book object with my name on it. I know, I know. The author is supposed to be dead, but I'm secretly glad I've lived long enough to become one.
You read from Passes Through at AWP recently and you're touring to promote the book. Can you describe this life on the road? And can you describe audience response to your readings?
Though this is my first published novel, I have been reading for years in public and I enjoy it very much. I get strong responses from audiences, mostly positive ones, but sometimes my subject matter causes some negative reaction. That's fine with me. I feel it is important for writers to know how to read and perform their work. (This is the composer in me speaking.) I have been to many readings by authors who mumble their way through a passage as if it's a bother or who have no idea how to relate to a microphone or a sound system and have never considered how the sound of their voice changes in every public situation according to the acoustics of the environment in which they find themselves. Reading out loud is as much about communicating something as is writing the book. By reading your text, you are asking an audience to absorb and contemplate something (usually a small piece of something longer) that they could probably more easily understand by taking it off the page at the rate they are comfortable with and that allows them to reread at will. I think readings in general would be more compelling if authors thought more about what is special about these events and how best to make their words have a life off of the page. I'll save the part about using video projections, pre-recorded animal sounds, and having someone peel and chop onions during the performance for another time.
(our standard closing question) Can you name some of your literary cousins (contemporaries or precursors)? That is, what writers inspire you to the point that you feel a kinship?
Among my favorite fiction writers are Michael Snow, Brian Ferneyhough, Charles Darwin, Robert Altman, Alice Aycock, Daniel Liebeskind, and Robert Ashley. I can't come up with a short list without feeling that I'm leaving out so many I ought to mention. I've loved so many writers long and hard that you will find tiny bits of them sprinkled liberally throughout Passes Through. Even Marguerite Duras' cookbook makes an appearance.


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Triangle Studios' Heron: Steam Machine (US$0.99) and Celsius Game Studio's Chromodyne ($0.99) are now available at the App Store. The former is a Pipe Mania-style game that puts players in charge of a factory where a steam-powered engine produces rubber duckies. They must watch the steam, electricity, water, and oil gauges, connecting the right-colored pipe when a gauge starts to rise. The game ends if a gauge rises too much and explodes.
Chromodyne is a match-three puzzle game in which players defend the Earth against collisions with asteroids, comets, or other objects by using a Quantum Chromodyne Cyclotron to combine exotic matter and shoot it at the threat. In Story mode, the player defends Earth against aliens sending various threats its way, while in Survival mode they must keep a black hole from growing too large for as long as possible.


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If you are a first time home buyer then GDS (Gross Debt Service) or a TDS (Total Debt Service) are two things you should know about. GDS measures the percentage of your debt that is taken up by your mortgage while TDS measures your total debt.
4701 Baldwins Road, Montague - a great choice for a first time home buying couple in Montague
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Food and drink leads to sex and to post-coital snacks.
Posted by dan on January 22, 2009 4:59 AM
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