text:
Lee Boroson
Flatware: Tools for dining
Dishfeed
Lucky Storm, 2004
Outer Limit, 2005
Pleasure Grounds, 2005
Trim, 2005
CI: Star Swarm, 2005
Lee Boroson- Outer Limit, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY 2005
The eighth installment of the Opener series features seven large-scale works by Brooklyn- based artist Lee Boroson. Since 1995, Boroson has been known for his room-filling inflated sculptures. These colorful sewn-nylon enclosures find inspiration in many sources, from historic garden design to the architectural details of their sites. Integument, a buoyant piece installed in the Tang's vestibule, compares an often-overlooked section of the building to a layer of skin. Pleasure Grounds, an inflated environment of lily pad-like forms, and Dewpoint, an accumulation of thousands of tiny glass spheres that form a hanging cloud, are amalgams of the manufactured and the magical. Other new works grow from the microscopic to the macrocosmic, such as a meticulously manipulated photograph that attempts to picture the visible night sky with all of its black space removed.
"Outer Limit", 2005, dimensions variable, wood, paint, metal flake. Installed at Tang Museum. Based on architectural forms derived from similar representations in Hudson River School painting practice where looming architectural structures are presented as a sort of garden folly. (Part of exhibition: Lee Boroson, Outer Limit, Tang Museum, Saratoga Springs, NY)
"Trim", 2005, 45'x17'x3', polyester fabric, embroidery. Installed at the Tang Museum. (Part of exhibition: Lee Boroson, Outer Limit, Tang Museum, Saratoga Springs, NY)
"Lucky Storm", 2004, Dimensions vary. Nylon, monofilament, stainless steel, hardware, blower. Seven "crepuscular rays" (an atmospheric optical phenomenon) appear out of an ominous "storm cloud". This is one part of a three-part installation that alters the spaces of the gallery with elements derived from American romantic landscape painting, especially the pre-photographic interpretation of landscape found in Thomas Cole's paintings and those of the Hudson River School painters. Nature is frequently presented as a fantastic amalgam of real detail and impossible phenomena, not observed but reinvented for the purpose of allegorical narrative.
The rays are in the shapes of lucky and superstitious charms laser cut out of stainless steel, then strung like a harp with fishing line. The cloud form is made of nylon fabric, supported pneumatically. The coloration is an effect caused by colored material sewed into the translucent fabric.
"CI: Star Swarm", 2005, 12' x 12', digital c-print, mounted on aluminum under plexiglass
Celestial Incorporation – Technical Background on data and processing
The images come from the Sloan Digital Sky Survey[1] (SDSS) , a multi-year project that aims to image about one-fifth of the sky in 5 colors and obtain spectra of about one million galaxies and 100,000 quasars. The survey began its observations in 1998 and now, at the end of 2004, they are almost complete. Observations are made with a 2.5 meter diameter telescope at Apache Point Observatory, in southern New Mexico. The images are obtained using a custom camera that uses thirty separate 4 megapixel CCD detectors, with 6 dedicated to each of the 5 color bands. The instrument is used in a TDI (Time Delay Integrate) mode, in which the telescope is fixed in position, and the sky drifts past (because of the rotation of the earth). The data comes out as a long swath on the sky in each of the five colors, which are slightly offset in time. The effective integration time per color is about 55 seconds, and the "limiting magnitude" for the data is between 19th and 20th magnitude[2]. SDSS maintains an excellent web site (www.sdss.org) on which can be found many details about the instrument, the software, the survey operations, and the data. The data are made publicly available over the internet through a data access tool called SkyServer[3] (http://cas.sdss.org/dr3/en/).
At the time that we began the Celestial Incorporation project, Data Release 2 (DR2) of the SDSS had just been made available. DR2 included about 3300 square degrees[4] (approximately 40% of the 8500 square degrees that SDSS will eventually cover). One of the ways in which the SDSS makes data available is as jpeg files with formats up to 2048 X 2048 pixels. At the nominal spatial scale of the camera (0.396 arcseconds/pixel), this maximum size corresponds to an area of about 0.05 square degrees. Thus, there are about 20 of these files per square degree. For our large Celestial Incorporation image, we downloaded 2000 square degrees – about 40,000 separate jpeg files – of SDSS DR2 data.
The jpegs are made using filters termed g (for green), r (for red), and i (for infrared) – and these three separate monochromatic images are registered and combined into a single color image. The colors are approximate or subjective, in that g,r, and i are converted into blue, green, and red, and also because the eye's color sensitivity is diminished or altered at faint light levels (don't most stars look white?).
The processing of the Celestial Incorporation data was done on a PC with a 2.4 GHz Pentium-4 CPU and 1 Gigabyte of physical memory. The operating system was Red Hat 9 Linux. The programs were written in the C language, but also used system calls to lynx, a text-based web browser, and ImageMagick, a suite of applications for manipulating images. The data download took about 40 hours (over a cable modem) and the processing required about 100 hours (of computer time) stretched over approximately a month. An additional 100 hours was spent during this time looking at intermediate images, manipulating the input data, and tweaking the programs. A number of smaller datasets were processed first. A fundamental limit was the memory limit of 2 Gigabytes imposed by the 32-bit architecture of the computer. Since each pixel in the final image requires 3 bytes, a square image greater than about 25,000 pixels on the edge would require more than 2 Gigabytes of memory. There are a number of ways around this limitation; we chose to divide the final image into quadrants and process them separately until the final stages (which were done using Adobe Photoshop, which apparently has its own memory management scheme, and splits files into pieces that it can swap on and off a large temporary disk file).
The basic program works as follows: The input files, each 2048X2048 pixels or about 0.05 square degrees, were ordered by distance from the nominal center of the output image, the position in the sky xxx hours right ascension, yyy degrees declination. The program processed the innermost ones first and the outermost ones last. For each input file, the program found all the objects brighter than a given limit that corresponded to a magnitude of zzz. As each object was found, its edges were determined and a "postage stamp" of that object was extracted. A second pass attempted to clean up artifacts. The objects from a given file were ordered by their distance from the central position of the output image. For each object, its position angle relative to the central position was determined. It was then nestled into the output image at an angle close to its actual one, but in a way that tried to squeeze it in as far as possible. A small amount of overlap on top of existing images was allowed. Objects that crossed the boundaries of input files were discarded. The output cluster was built up until its radius reached a limit – about 10,000 pixels. This represented the maximum size image that could be processed.
The image was then split into four quadrants, and each of these quadrants became the inner quadrant of a new file. These new files were then processed with a similar program that built up the cluster from the inner corner rather than the center of the output image. Files were fed in until the cluster reached a size of about 21,000 pixels in radius from the inner corner. Because the program did not allow objects to be placed such that they extended over the edge of the file, there was a small gap between the objects and edge. When the quadrants were assembled into a single image, these gaps were filled in by hand.
Some interesting aspects:
Number of objects – Although the number of objects per square degree varies over the sky, there were approximately 300 objects extracted per input file. So, for 40,000 input files processed, the final image contains about 12 million separate objects. Note that the region covered by SDSS excludes the galactic plane (the disk of our galaxy, the Milky Way), where the number of stars per square degree is much higher.
Faintest objects – The faintest objects extracted by the program are approximately magnitude 20, which is about 14 magnitudes (or a factor of 400,000) fainter than the faintest stars that one can see with the unaided eye in a dark sky. A few thousand stars are magnitude 6 or brighter over the whole sky. The objects in the final output image are a mix of stars and galaxies. The stars are all in our galaxy. At this faintest brightness, the number of stars per square degree (which falls off with decreasing brightness) is about equal to the number of galaxies per square degree (which rises with decreasing brightness).
Size of star images – If you could see the stars without the blurring effects of the earth's atmosphere, they would be much smaller in size than they appear in the images from ground-based telescopes. For example, a star of magnitude 11 is a pretty bright star as seen in the SDSS images. It has quite obvious diffraction spikes (the cross of lines that can be seen going out from the brighter stars – caused by diffraction of light around the structure that holds the secondary mirror of the telescope in place), and the program finds that such a star "goes out" about 10 pixels from its center. This corresponds to a diameter of about 8 arcseconds. If this star were a star like the sun (an average star), it would be at a distance of about 160 parsecs, and its apparent size would be 60 micro-arcseconds or 1.5 ten-thousandths of a pixel.
Galaxies distances and sizes – The galaxies are much bigger (typically 10,000 parsecs in diameter) and much further away. Their images are also blurred by the atmosphere but the result of this is primarily to make them less distinct rather than to make them appear larger in size. A typical galaxy is made up of a billion or so stars ranging from a few that are thousands of times brighter than the sun, to many that are one-tenth as bright as the sun.
Extending project – Ultimately, SDSS will cover about 9000 square degrees. If we process those data in the same way, it will produce a "cluster" that is about 25 feet in diameter. This is still only about one-fifth of the visible sky. It still excludes the plane of our galaxy and most of the region south of that plane, much of which is only visible from the southern hemisphere.
[1] The Sloan Digital Sky Survey (SDSS) is a joint project of The University of Chicago, Fermilab, the Institute for Advanced Study, the Japan Participation Group, The Johns Hopkins University, The Korean Scientist Group (KSG), the Los Alamos National Laboratory, the Max-Planck-Institute for Astronomy (MPIA), the Max-Planck-Institute for Astrophysics (MPA), New Mexico State University, University of Pittsburgh, Princeton University, the United States Naval Observatory, and the University of Washington.
Funding for the project has been provided by the Alfred P. Sloan Foundation, the Participating Institutions, the National Aeronautics and Space Administration, the National Science Foundation, the U.S. Department of Energy, the Japanese Monbukagakusho, and the Max Planck Society.
[2] Astronomers use the "magnitude" system to indicate the apparent brightness of objects in the sky. Objects with larger magnitudes are fainter, with a step of one magnitude corresponding to a brightness ratio of about 2.5 (the one-fifth root of 100, actually). Although the exact number depends on the color in which it is measured, the brightest star, Sirius, has a brightness of about –1.5 magnitude and the faintest stars that you can see at a dark site with just your eyes are about 6th magnitude. The faintest stars studied with the largest telescopes are in the magnitude range 28-30.
[3] The SDSS Data Releases are the product of efforts by many individuals supported by many institutions. The Johns Hopkins University has had a lead role in the design and implementation of the SDSS database and the associated query tools. The Space Telescope Science Institute has developed some of the web interfaces, coordinated the assembly of user documentation for the Early Data Release. Fermilab has provided key support for the data servers, system testing, and project management.
The Microsoft Bay Area Research Center helped develop the SkyServer and its interface, and Microsoft Research has contributed computing hardware and software for the SkyServer.
The following is an incomplete list of the individuals who have contributed to the SkyServer.
Development: Tom Barclay, Bill Boroski, Karen Brown, Tamas Budavari, Sam Carliles, Roy Gal, Jim Gray, Vivek Haridas, Sebastian Jester, Steve Kent, Peter Kunszt, Rich Kron, Steve Landy, Blair Lanier, Nolan Li, Tanu Malik, Maria Nieto-Santisteban, Tim Olson, Wil O'Mullane, Adrian Pope, Jordan Raddick, Asta Roseway, Robert Sparks, Chris Stoughton, Mark SubbaRao, Don Slutz, Alex Szalay, Tamas Szalay, Ani Thakar, Jan Vandenberg, Curtis Wong, Wei Zheng.
Translation: Sadanori Okamura, Naoki Yasuda, Matthias Bartelmann
Testing: Rosa Gonzalez, Kausar Yasmin, Karl Glazebrook, Robert Lupton
[4] The celestial sphere contains 41,253 square degrees. For reference, the sun or full moon has a diameter of about 0.5 square degrees, or an area of about 0.2 square degrees.
2001 - 2020 Lee Boroson
• Credits: Wordpress | WPFolio | Eyebeam


text:
Q: I keep getting errors when trying to send embeds the error I am getting is this
    UnhandledPromiseRejectionWarning: DiscordAPIError: Invalid Form Body
    embed.fields[0].inline: Must be either true or false.
I have tried to make the statements true on all of them but it keeps giveing me the same error here is my code
const member = message.mentions.members.first() || message.member,
user = member.user;

const embed = new Discord.RichEmbed()
        .setAuthor(message.author.username)
        .setDescription("Users Info", true)
        .setColor("#9B59B6", true )
        .addField("Full Username:", `${message.author.username}${message.author.discriminator}`, true)
        .addField("ID:", message.author.id, true)
        .addField("Created at:", message.author.createdAt, true)
        .addField("Status:", `${user.presence.status}`, true)
        .addField("Game:", `${user.presence.game}`, true)
        .addField("Roles", member.roles.map(r => `${r}`).join('|'), true)
        .addField("Messages sent", userdata[message.author.username].messagesSent, "messages", true);

        message.channel.send(embed);

and this is the other code I am trying to run and it gives me the same error
const embed = new Discord.RichEmbed()
.setAuthor(message.author.username, true)
.setDescription("Messages sent", true)
.addField("Messages sent", userdata[message.author.username].messagesSent, "messages", true);

message.channel.send(embed);

same problem and I make the statements true and it does not work

A: The problem is with the last .addField you call. You pass 4 parameters whilst the method only accepts 3 (of which the third is a Boolean whilst you pass a string). Try changing the last .addField to this:
.addField("Messages sent", userdata[message.author.username].messagesSent + " messages", true);

redpajama_set_name: RedPajamaStackExchange


text:
Profile: The Parker Vacumatic
(This page revised March 5, 2022)
[ Reference Info Index | Glossopedia ]
This 1941 advertisement from The Saturday Evening Post features a romantic couple as it promotes the Vacumatic as "the Jewel of Pendom" with which Romance Starts and Romance Ripens.
What's in a name? In August 1932, Parker began test marketing the next generation in fountain pens, the Golden Arrow. This radical new pen featured a compact plunger-operated pump filler (described in Anatomy of a Fountain Pen II: The Parker Vacumatic) that nestled at the back end of the barrel, eliminating the space-hungry pressure bar and sac. Parker had bought the rights to this design (U.S. Patent No 1,904,358, applied for on September 14, 1928 and issued on April 18, 1933) from Professor Arthur O. Dahlberg, an instructor in machine design at the University of Wisconsin, and had then spent some time perfecting it. Although the pump mechanism was novel, Dahlberg's design was not entirely original; it was an extension of Huston Taylor's 1905 bulb-filler patent (U.S. Patent No 802,668), and it also used portions of Charles Dunn's 1920 pump-filler patent (U.S. Patent No 1,359,880).
The pen's dramatically new Art Deco design was highlighted by a stylish new arrow-shaped clip created by Joseph Platt; the body was made of alternating rings of celluloid. Caps and blind caps alternated colored rings with black; initally, the pen was offered with barrel either colored and black or colored and clear (so that the user could see how much ink remained). (The completely opaque version disappeared from the catalog after 1934.) The company's advertising (see example to the left) made much of the fact that the "revolutionary" new pen offered a far greater ink capacity than was available in competing models.
The name Golden Arrow might have encountered legal difficulties, as there was already on the market a British pen with that name, or it might have been that Parker wanted to emphasize the advantages of the new filling system; in any case, the name was soon changed to Vacuum Filler. The pen was received very well, and Parker announced it to the world in a full-page Saturday Evening Post advertisement on March 18, 1933. Shown here is a Vacuum-Filler in Burgundy Pearl; this pen has an opaque barrel.
But the new name wasn't exactly the most exciting; and in July 1933, according to the February 1934 Parkergrams, Parker changed it to the more mellifluous (and marketable) Vacumatic. Advertising with the Vacumatic name began appearing in late September, and with that name change and some minor aesthetic tweaks, the stage was set for the birth of a legend.
The pen above illustrate barrel transparency. The burgundy Vacumatic Standard, made in 1934, has the remarkable barrel transparency that resulted from the use of colored rings that were made with transparent celluloid. The black Major, made in 1945, has solid opaque colored rings, which point up the dramatic "optic" effect produced by the contrast between colored and transparent areas.
Some images on this page can be clicked or tapped to display magnified versions for more detail. When you mouse over a clickable image, the image will give a visual indication by growing a little, and the mouse pointer will change to a magnifying glass. On a touchscreen device, touch and hold your finger on the image briefly to see if it reacts. If it does, you can tap it.
Many collectors like to know when their pens were made. Beginning in the Vacumatic era, Parker pens bore date codes on their barrels. For instructions on reading this code, refer to Parker's Date Coding System.
Different, Yet Still the Same
Although there were several design changes, some minor and some quite significant, the Vacumatic line remained in Parker U.S.A.'s stable until about 1948 and perhaps as late as 1953 elsewhere. On a pen with its date code missing or otherwise illegible, differences in features can help you to narrow the possible years of its manufacture.
The Vacumatic filler mechanism consists of a spring-loaded plunger whose end is attached to the end of a sac-like rubber diaphragm. Depressing the plunger distends the diaphragm to expel air from the pen, and releasing the plunger sucks ink directly into the pen's barrel. This design gives the pen a very large ink capacity. A technical explanation and cutaway illustrations of the filler are in Anatomy of a Fountain Pen II: The Parker Vacumatic.
The Lockdown Filler: The earliest filler design uses a plunger made of a metal tube with a gold-plated brass end piece. (Most pens have aluminum tubes, but some of the earlier ones have chrome-plated steel.) Two lengthwise slots are cut into the tube; each slot has a notch at the outward end. A small metal strip inside the filler rides in the slots to hold the plunger in place, and it also keeps the plunger from twisting. This filler model is referred to as a "Lockdown" filler. When the plunger is depressed and turned slightly, the strip locks into the notches to hold the plunger down. A short blind cap screws onto the end of the barrel to conceal and protect the plunger.
The Speedline Filler: In 1937, Parker redesigned the filling mechanism so that the plunger does not lock in the depressed position. This change made the filler quicker and easier to use. This change accompanied a change in overall styling; Parker called the new version the Vacumatic Speedline, and the revised filler has become known to collectors as the Speedline filler. Because it does not stay retracted, the Speedline filler requires a longer blind cap; in order to keep the pen's overall length approximately the same, Parker reduced the pen's ink capacity by shortening the barrel to compensate for the increased length of the blind cap. Not all Vacumatic models were immediately switched to the Speedline filler. Parker continued making Lockdown-filler pens for an unknown period after the Speedline's introduction; Lockdown pens are known to exist with date codes indicating 1939 manufacture. Parker also applied the Vacumatic filler mechanism to other models in its product line; the Speedline filler shown below is on a Green and Gold striped Duofold made in 1940.
The Wartime/Postwar Filler: In 1942, the United States was at war, and aluminum was declared a critical resource. Parker redesigned the Vacumatic filler to use a plastic plunger. This plunger, made of celluloid, is smaller in diameter than its metal predecessors, with a button end like the cap of a mushroom. Parker used this new filler design unchanged until the Vacumatic model was discontinued.
Wartime restrictions on resources, however, caused Parker to change the material of which it made the filler. At first, the threaded collar that secures the filler into the pen became plastic. Later, the tapered collar that presses the diaphragm into the seat also became plastic, with an aluminum tube liner for strength. At war's end, Parker reverted to metal for both collars.
There exist several date-linked Clip Designs that can be useful in dating a Vacumatic.
The Art Deco Arrow clip: Golden Arrow, Vacuum-Filler, and early Vacumatic models bore the feathered arrow clip shown here, designed by Joseph Platt. This stylish arrow design, also mimicked on the nib, soon became synonymous with the Parker name.
The Split Arrow clip: In about 1937, Parker introduced a new clip design, with the name PARKER written vertically between the two halves of what looks like an arrow that has been split (giving this clip the name by which collectors identify it).
The Star clip: In late 1938, possibly in a belated response to Sheaffer's White Dot that denoted a lifetime warranty, Parker added a star to the Split arrow clip to identify pens bearing its own lifetime warranty. This design lasted only a few months.
The Blue Diamond clip: In 1939, Parker settled on the Blue Diamond to denote its lifetime guarantee. The Blue Diamond clip looks like the Star clip except that the star has been replaced by a blue-enameled diamond.
The Blue Diamond clip was was applied to pens priced at $8.75 and higher, and it continued in use until 1948, when the Vacumatic was retired from Parker's product line.
The Plain Diamond clip: In about 1947, in response to a ruling by the U.S. Federal Trade Commission, Parker began shipping pens bearing clips that still bore the diamond design but without the blue enameling.
The jeweled blind cap was also discontinued in 1942; this very visible change resulted from the wartime need to conserve critical war resources. (The metal tassie into which the jewel was set was made of brass.) Thereafter, only streamlined blind caps were produced for the Vacumatic and Duofold product lines. As it happened, the new look was more streamlined — and the buying public, conditioned to expect cutbacks due to the exigencies of all-out war (and ready to sweep Art Deco under the rug anyway), seems not to have objected to the loss of that small bit of trim.
The two striated blind caps and the uncommon 1942 Shadow Wave above illustrate the single-jewel design.
One last dating element, although it is not tremendously useful, is the color of the gripping section. Initially, the Slender, Standard and Oversize models had striated sections matching the barrel color; indeed, some very early Vacuum-Filler examples have the section and the barrel fabricated as a single piece. The Junior's section was always black. With the Speedline redesign, striated sections disappeared, as did striated blind caps and cap jewels, and thereafter these parts were black for all Vacumatic models.
Cross-Pollination at Parker
During its lifetime, the Vacumatic provided design features for the Striped Duofold and the "51"; these models used the same mechanical clip design (and on the "51", the identical aesthetics as well) and the proven Vacumatic filler. In 1948, with the introduction of its new Aero-metric filler, Parker ceased using the lifetime warranty symbol it had introduced in 1939, the Blue Diamond, and began discontinuing American production of Vacumatic-filling pens as well.
As were most pens of its era, the Vacumatic was produced in a variety of sizes, from the Oversize and Senior Maxima to the mid-size Major and Standard and the slightly shorter Junior, to the very small Deb and Sub-Deb. Slender models and an astonishing variety of miscellaneous sizes, such as desk pens, ring-tops, and fat vest-pocket models, were also available.
The two desk pens above, from 1939 (upper) and 1941 (lower), both have Speedline fillers; but they show a remarkable variation in their exterior designs, especially the presence or lack of threads for a cap. The upper pen bears on its band the star that Parker used briefly before introducing the Blue Diamond.
How Big Is a Vac?
The total range of sizes produced over the Vacumatic's lifetime is so broad enough to put assembling a comprehensive list far beyond the scope of this profile. For comparative reference, here are several of the most common models, together with their principal dimensions. These are most of the Vacs you're likely to find at antique shops, flea markets, and other sources "in the wild." Years shown are approximate, as transitions from model to model did not happen at the beginning of any particular calendar year.
The Sizes of the Vacumatic (Typical Examples; Other Examples Will Vary)
Model (Filler types, approx. years) Posted Length Capped Length Barrel Diameter
Junior, standard girth (Lockdown, 1933–1938) 5" 4" " (0.47")
Debutante (Speedline or plastic, 1937–1948) 5" 4" " (0.42")
Standard (Lockdown, 1933–1937) 6" 5" " (0.47")
Major (Speedline, 1937–1941) 6" 5" " (0.48")
Major (plastic, 1942–1948) 5" 5" " (0.48")
Oversize (Lockdown, 1933–1937) 6" 5" " (0.53")
Senior Maxima (Speedline, 1937–1941) 6" 5" " (0.52")
Until America entered World War II, in addition to a striking clip design and a jewel-like striated body, higher-line models of the Vacumatic featured a nib mask-plated with palladium. The Junior, dressed in celluloid designs of marbled colors, Shadow Wave, Crystal, and the famous "Golden Web" (called simply Brown by Parker), bore a plain gold nib. Whether because of the war or as a result of nib replacements, most Vacumatics today have plain nibs. Most Vacumatics today have plain nibs. Their attractive appearance and the fact that they are less common make plated nibs more desirable; and because the plating wears as the nib is rubbed to clean it, plated nibs in good condition are highly prized. The plated nib shown here is on a 1938 Silver Pearl Standard.
The Vacumatic Imperial
In 1937, Sheaffer introduced its Model 47 (dubbed the Crest in 1938). This pen had a streamlined metal cap and cap threads that were located at the end of the gripping section, which was entirely streamlined into the barrel. Seeing the obvious marketing potential of such a design, Parker followed in 1939 with the introduction of the Vacumatic Imperial. The Imperial range included nine different models Shown here are a plain Imperial (a standard-sized model) and an Imperial Princess (the Debutante-sized version of the standard-sized Imperial Ensign).
The caps of the Imperial Ensign and Imperial Princess are in the famed two-tone style known as Empire State.
The Imperial line is widely believed to have lasted only two years; but if this were the case, the Imperial shown here, with its wartime jewel-less blind cap, is difficult to explain.
The "Vacufold"
As noted earlier, during the 1940s Parker used the basic architecture of the Vacumatic to create the Striped Duofold. In a case of reverse fertilization, pens appeared that looked exactly like striped Duofolds except that they had Arrow nibs, Split Arrow clips, and stacked-coin cap bands. They bear a VACUMATIC barrel imprint. Collectors today refer to this variant, shown here, as the "Vacufold," and for those who realize what it is, it is a highly desirable model.
Colors, Colors, and More Colors
Over the lifetime of the Vacumatic, Parker offered the pen in a broad array of colors; but not all of the colors were offered at the same time. When the Vacumatic went on the market in March 1933, the Standard line was offered in black and two striated colors named Burgundy Pearl and Silver Pearl, with Azure Pearl, Emerald Green Pearl, and Golden Pearl appearing later, while Burgundy Pearl was phased out in the U.S.A. when the Speedline appeared. The Junior line, introduced in June, was offered in several variations of black, marbled Grey, marbled Burgundy, and Crystal, with marbled Green, Brown ("Golden Web"), and the Shadow Wave colors appearing later. The palettes eventually merged, with the marbled colors disappearing. At the end, in the U.S.A., Vacumatics were available in black, Emerald Green Pearl, Azure Blue Pearl, Golden Pearl, and Silver Pearl. Burgundy Pearl stayed in production in Canada, and possibly other countries, at least into 1953.
Silver Pearl, as illustrated by this 1938 Standard, is the only non-black color that remained unchanged throughout the entire lifetime of the Vacumatic. Parker plated the trim of Silver Pearl pens with nickel or chrome; other Vacumatics had gold-filled trim.
This article shows the striated "Pearl" colors, then the Junior colors ("Golden Web," marbled, and Shadow Wave), and finally the black versions. Colors marked with asterisks were used only on the Junior.
Striated Colors
Color Name (Years)
Burgundy Pearl (1933–1941)
Golden Pearl (1936–1948)
Emerald Pearl (1935–1948)
Azure Blue Pearl (1940–1948)
Silver Pearl (1933–1948)
Junior Colors
Burgundy* (1933–1938)
Green* (1934–1938)
Grey* (1933–1938)
Brown ("Golden Web")* (1936–1938)
Shadow Wave Black* (1938–1942)
Shadow Wave Burgundy* (1938–1942)
Shadow Wave Brown* (1938–1942)
Shadow Wave Green* (1938–1942)
Shadow Wave Grey* (1938–1942)
Opaque Black (1933–1938)
Crystal (completely transparent barrel)* (1933–1934)
Black Visometer (early longitudinal striped)* (1935)
Laminated Black (1935–1948)
Black Visometer (later reticulated version)* (1936–1938?)
The FTC's original 1945 ruling forbade "unconditional" warranties altogether if there was a fee. L. E. Waterman and Parker challenged the ruling, but Waterman withdrew its petition in 1946. Parker fought on, and the resulting 1948 court judgment softened the ruling, allowing such warranties if the fee was described in type the same size as the warranty statement itself and in close proximity to it. (The prohibition remained on the use of the word "unconditional.")
The wartime pen illustrated in this article proves that the Shadow Wave colors, thought to have lasted only 1938–1939, did in fact continue into World War II. The latest date code I have seen is 3Q1942, but it is possible that the pattern was still used after that date.
I am very grateful to Michael Richter, who compiled the color information and much of the dating information, and has graciously given permission for me to use his work here. Some of the patterned color illustrations in the table are from photographs of actual pens, and others (marked with asterisks) were painted by Michael. Solid colors are computer generated and carefully matched to actual pens. (3D highlighting was added with a computer.) Some of the information in this article was provided by David Isaacson.
The information in this article is as accurate as possible, but you should not take it as absolutely authoritative or complete. If you have additions or corrections to this page, please consider sharing them with us to improve the accuracy of our information.
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redpajama_set_name: RedPajamaCommonCrawl


Here's a summary of a few of the projects that are / will be happening at Protospace. Some of the links below will bring you to our wiki pages maintained by our members.
The Scoperta Project is it's own entity, but it often lives at Protospace. An open source initiative to create educational robotics, this project spans everything from drivable armchairs to DIY Segways. Hunt down Jim, Mike or Dan for more information.
Protospace just got a little spacier. Members now have access to Cybera's extremely broad bandwidth to grow their ideas. The up to 1 Gbps CyberaNet connection brings you a high bandwidth conduit where you can spark fresh ideas. As hackers, hobbyists, and enthusiasts we want to see what you will do with this much network capacity to the internet.
Protospace hosted Calgary's first Maker Faire on September 8th 2012 in East Village. Maker Faire 2013 will be done through the Calgary Maker Foundation and is scoped for the second week of September 2013 (with Beakerhead).
We have in our possession 2 USRPs from Ettus Research – what you need to set up your own open source GSM base station. One of our members completed an OpenBTS project as a part of his schooling at SAIT Polytechnic, and Protospace was the project sponsor.
Similar to OpenBTS, a group of SAIT students have devised an inexpensive emergency network used for disaster & event coordination. This project is currently undergoing revisions.
A project for East Village's Christmas Tree by two of our hardest working members, Faby & Kirk.
Protospace was a part of Calgary's First Annual Holipalooza – a holiday shindig that raised money for charity. Some of our members worked hard to create a geeky Christmas tree out of hard drive platters & LEDs!
Every hackerspace needs a high tech way to enter and exit – physical keys just don't cut it these days!
We've used the Evil Mad Science Drinkbot 2.0 design to source our own bartending robot!


Having a police scanner can be very helpful during a severe weather event. With most scanners you can get updates on weather via NOAA Weather Radio. Most police scanners can also alert you when there is severe weather coming, such as hurricanes, tornados, severe thunderstorms and so on. Monitoring your local, county and state public safety agencies with your scanner will keep you informed what going on during the event and with the weather radio features you can also check for weather alerts as well.


text:
Hospice Palliative Care Ontario (HPCO) is an organization whose members provide end-of-life palliative care to terminal patients in the province of Ontario, Canada. It is the result of an April 2011 merger of the Hospice Association of Ontario (HOA) and the Ontario Palliative Care Association (OPCA). It is one of twelve primary care practitioner units participating in the development of advance care planning in Canada led by the Canadian Hospice Palliative Care Association and partly funded by the Canadian Institutes of Health Research.

Background
By the 1980s, Ontario lagged other provinces with respect to the development of palliative care. It was a foundational decade for palliative care in the province, by the end of which two separate palliative care organizations were operational. The Hospice Association of Ontario was more focussed on residential hospice organizations, whereas the scope of operations of the Ontario Palliative Care Association was more broadly represented by organizations tending to dying patients in hospital and other settings.

Hospice Association of Ontario was founded in 1989 with eight members; as of April, 2005, it had over 150 member hospice facilities. It was primarily based on volunteer efforts. In 2000, hospice agencies in more than 400 communities throughout Ontario organized over 12,000 volunteers under the auspice of HAO, most through private funding.

By 2004, Cancer Care Ontario "identified palliative care as a priority area". In 2005 the Government of Ontario announced an "end-of-life care strategy" to be implemented by the Ministry of Health and Long-Term Care to improve the availability of home-based and community palliative care services. The three-year project invested  million to establish a hospice palliative care network in each of the 14 Local Health Integration Networks throughout the province, increase home care nursing and support services, and to expand residential hospices and their volunteer networks.

In 2008, the Hospice Association of Ontario membership grew significantly, partly a result of the end-of-life care strategy and increased community acceptance of palliative care.

The members of the organization operate hospice services that "relieve suffering and improve the quality of living and dying".

In 2009, the two organizations established the Quality Hospice Palliative Care Coalition with Cancer Care Ontario, Hospice Palliative Care Networks, and the Ontario College of Family Physicians. It is a provincial consortium whose goal is to advance and integrate palliative care throughout the province.

End-of-Life Information Service
The End-of-Life Information Service is a telephone service which offers information about hospice palliative care services and resources, including:

 hospice palliative care programs, units and education
 community-based services
 pain and symptom management
 bereavement support services

It is funded by the Government of Ontario Ministry of Health and Long-Term Care.

References

Further reading

External links
 Hospice Palliative Care Ontario

2011 establishments in Ontario
Organizations based in Toronto
Hospices
Medical and health organizations based in Ontario

redpajama_set_name: RedPajamaWikipedia


as you may or may not know on September 14th, I will be hosting my second annual Magazine copy cat challenge..
With that being said, I am no PARTY animal, so I will be doing this party in Lieu of the NEWBIE party next Monday.
Sorry to the newbies for that, however, DO get in on this fun challenge.
I am working on mine today!
you know what they say about excuses?
Get over it, and get with it, it's going to be FUN!
Yeah! This was so much fun to see what everyone else had done for the challenge last time. I am putting the link party on my calendar so I don't forget. Will it open on Sunday evening?
Oh I'm ready or at least I will be once I make my trip to Lowes! My copy cat challenge is something you have that I absolutely love and it was seen in Country Woman magazine!
Hi Miss Kitty, the party will open up Monday evening or early Tuesday morning. thanks.
I'll be there, hope I can pull it off, I've been gathering my props the last few days so it will be as close to the picture as can be!
I'm looking forward to seeing what everyone comes up with.
Oh, I so want to try this -- will have to be on the lookout for something . . . if I get my act together in time!
Debbie, those will look terrific with the rooster dinnerware you showed us a couple of weeks or so ago. I'm trying not to buy the dinnerware I posted this week. Thanks for sharing! YEAH, you do believe that! Ha!
I had so much fun seeing everyones copy cats at your first party.
Can't wait for this one...I'm all ready.


Comments: CARFAX 1-Owner. REDUCED FROM $13,987! XLT trim. CD Player, Fourth Passenger Door, Alloy Wheels, Edmunds.com explains "A viable option for those who need a hard-core pickup civilized enough for everyday use.". CLICK ME!
CD Player, Chrome Wheels, Fourth Passenger Door. Third Passenger Door, 4-Wheel ABS.
"A viable option for those who need a hard-core pickup civilized enough for everyday use." -Edmunds.com.


I'll cross the sky for you... | Live to read. Read to live.
Warning: this blog post contains spoilers.
This book people, I mean it. This book.
Simply put, Eleanor & Park moved me.
I don't know how else to explain it really. It took my expectations - already quite high - and it blew them out of the water. It's going to have to be something pretty special I think, to steal it's spot as book of my year.
Remember the first time you fell in love? Remember the first time he or she touched you, not in a sexual way, not even in an overly romantic way, maybe just the first time they held your hand? How you thought you might fall apart, how it seemeed like nothing could ever be the same again?
This book is about that. It's about love and it's about loss and it's about finding your place and surviving even when the odds are against you.
He wound the scarf around his fingers until her hand was hanging in the space between them.
God, Rainbow Rowell, you know how to use your words.
It's just a beautiful, moving achingly intimate story and I came away feeling (and I know this sounds ultra dramatic, but hello, I am quite dramatic so stop acting all surprised please) changed.
It's a simple story. Set it the 80's, (the 80's. woop woop) it is at it's core, a high school love story.
Eleanor - bullied for her weight and her appearance and her background and Park - token Asian kid, except he's only half-Korean, meet by accident on the school bus. What unfolds is one of the most incredible love stories I've ever had the pleasure of reading. As in actually ever. These are not your typical romantic leads and this is not your typical love story. There are no fireworks, no falling hard and fast. It's gentle and slow-building and at it's crescendo it takes your breath away. It's intense and it's intimate and it's so so real; it reminds you exactly what it's like to be young and to fall in love and the language, the narrative voice, the descriptors, are just beautiful, so beautiful.
The way the story develops, from nothing, made me so happy, it hooked me in and it refused to let go. I barely breathed til I'd finished it, and when I did finish I was in tears. It's a story that perfectly shows how incredible first love can be juxtaposed against the awkwardness, the uncertainty that goes hand in hand with that. Likewise the depth of feeling between Eleanor & Park, the cautious way in which they move forward with each other is made all the more poignant when shown alongside the ugliness of some of the other storylines: the cruelty of teenagers; the ugliness of Eleanor's home life; the way Eleanor and Park struggle to find their place: Park desperate for his Dad's approval and Eleanor desperate to be invisible.
It's all just so raw. The beauty of what is good is raw, the ugliness of what isn't is raw, the way these two teenagers navigate their lives and each other is raw.
It's raw, but it's perfect. Yeah, I'm saying that word. The 'perfect' word. I loved this book that much.
"You know?" he repeated. She smiled, so he kissed her. "You're not the Han Solo in this relationship, you know."
"I'm totally the Han Solo," she whispered. It was good to hear her. It was good to remember it was Eleanor under all this new flesh.
"Well, I'm not the Princess Leia," he said.
"Don't get so hung up on gender roles," Eleanor said." .
That is exactly how I feel about this. Please read it. Please.


text:
Q: Certain characters are not showing up properly when reading HTML source from a webpage in Java I'm going to keep this question short and sweet. I have a function that takes a URL to read as a string and returns a string of the HTML source of a webpage. Here it is:
public static String getHTML(String urlToRead) throws Exception // Returns the source code of a given URL.
    {
        StringBuilder result = new StringBuilder();
        URL url = new URL(urlToRead);
        HttpURLConnection conn = (HttpURLConnection) url.openConnection();

        conn.setRequestMethod("GET");
        conn.setRequestProperty("User-Agent", "Mozilla/5.0 (Windows NT 6.1) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/41.0.2228.0 Safari/537.36");

        BufferedReader rd = new BufferedReader(new InputStreamReader(conn.getInputStream(), Charset.forName("UTF-8")));
        String line;

        while ((line = rd.readLine()) != null)
        {
            result.append(line + System.getProperty("line.separator"));
        }

        rd.close();

        result.toString();
    }

It works like a charm, with the exception of one tiny quirk. Certain characters are not being read correctly by the InputStreamReader. The "ł" character isn't correctly read, and is instead replaced by a "?". That's the only character I've found thus far that follows this behaviour but there's no telling what other characters aren't being read correctly.
It seems like an issue with the character set. I'm using UTF-8 as you can see from the code. All other character sets I've tried using in its place have either outright not worked or have had trouble with far more than just one character.
What kind of thing could be causing this issue? Any help would be greatly appreciated!

A: Have you tried :
conn.setRequestProperty("content-type", "text/plain; charset=utf-8");

A: You should use the same charset as the resource you read. First make sure what is the encoding used by that HTML. Usually its content type is sent in response header. You can easily get this information using any web browser with network tracking (since you have GET request).
For example using Chrome - open empty tab, open dev tools (F12), and load desired web page. Than you can look at network tab in dev tools and examine response headers.


text:
Robledo del Mazo is een gemeente in de Spaanse provincie Toledo in de regio Castilië-La Mancha met een oppervlakte van 137 km². Robledo del Mazo telt  inwoners ().

Gemeente in Toledo


Q&A – What is this that grew on my cucumber vine?
This is a malformed cucumber. This can happen for a number of reasons including a nutrient imbalance, hot weather, lack of water or too much fertilizer. This sort of thing can also happen as a result of cucumber mosaic virus. Another possibility is insufficient pollination.


text:
Take Ivy is a 1965 fashion photography book which documents the attire of Ivy League students from the 1960s. The New York Times described it as  "a treasure of fashion insiders". Take Ivy has been the Ivy League bible for Japanese baby boomers and has also influenced a "neo-Ivy" style in recent years.  The book has sold over fifty thousand copies worldwide. Original copies are rare in the West, garnering auction prices as high as $2,000.

Background
Take Ivy was authored by four Japanese sartorial style enthusiasts and is a collection of candid photographs shot on the campuses of America's elite Ivy League universities. The series focuses on college-aged men and their clothes between 1959 and 1965. Whether getting a meal on campus, lounging in the quad, riding bikes, studying in the library, in class, or at the boathouse, the subjects of this photographic compendium are impeccably and distinctively dressed in fine American-made garments.

Reception
Famous American designers such as Ralph Lauren and J. Crew both display copies of "Take Ivy" in their store shelves. The style is considered a classic as magazine editors and retailers proudly display looks taken straight from the photos from the book.

Authors
Take Ivy was a photography book done by a Japanese photographer and men's style enthusiasts. The title was inspired by the jazz song "Take Five" by Dave Brubeck.

Teruyoshi Hayashida was born and raised in the fashionable Aoyama District of Tokyo. He began shooting cover images for Men's Club magazine right after the title's launch. His style is considered to be highly sophisticated and he is a connoisseur of gourmet food.

Shosuke Ishizu, the director of Ishizu Office, was born in Okayama Prefecture. He started working in the editorial division at Men's Club after graduating from Kuwasawa Design School. He established Ishizu Office in 1983, and continues to produce several clothing brands including Niblick.

Toshiyuki Kurosu joined  in 1961, where he developed merchandise and promoted sales. He left the company in 1970 and started his own business called Cross and Simon. After the brand stopped doing business, Toshiyuki began appearing as a regular guest on the hit variety show called Asayan. Toshiyuki is also an active writer and intellectual.

Hajime (Paul) Hasegawa is from Hyogo Prefecture. After finishing his studies in the U.S. in 1963, Hasegawa returned to Japan to join VAN Jacket Inc. There he was responsible for advertising and public relations. Hasegawa was the main coordinator and interpreter for the production of Take Ivy. Since then he held various managerial positions in Japan and abroad. He is currently serving as the executive director for Cosmo Public Relations Corporation.

Publishing
Take Ivy was originally published in 1965 in Japan by Fujingahosha magazine publishers, known today as Hachette Fujuingaho, Co., Ltd. The latest edition was published by powerHouse Books in Brooklyn, NY on August 31, 2010, and retails for USD $24.95 and CAD $28.95. In 2011 a Dutch translation was written by Michael Hendriks and published by Parvenu Publishers, retailing for €19,95.

References

Further reading
 http://www.acontinuouslean.com/2008/05/19/take-ivy/
 http://putthison.com/post/40100819929/colin-marshall-on-menswear-books-take-ivy-by
 http://thetrad.blogspot.ca/2008/12/take-ivy-chapter-i.html

Ivy League
1965 non-fiction books
Japanese fashion
American fashion
1960s fads and trends
Books of photographs


Today's verse just keeps coming back to me! The Lord keeps speaking something into my life through the revelation that life's hardships have a purpose . . . a Holy and Divine purpose! It is so often easy to fall into feeling sorry for ourselves because of the set-backs we experience in life. We face disillusionments, disappointments, heartache, physical and emotional pain, sorrow . . . the list could go on forever. But when we realize that there is a reason . . . a Holy and Divine purpose for these things . . . we can submit to the work of the Master Refiner with determination to allow the "good work" which He has begun in us to be completed, regardless of the personal cost!
When we walk through the valley of life's sorrows, it appears that the Lord is doing a REFINING work in us. It is at these times in our life that He's decided it's time (once again) to burn out some of the impurities and to take another step toward making us into that pure vessel He has purposed us to be! But, this process is the most painful . . . the fire burns – it hurts — it's nearly unbearable, and it gets VERY tiring after just a short while. We lose patience with the Master Refiner as He's doing His work in our lives. We want it over. . . and we want it over NOW! The sad thing is (at least for us) that if He stopped the process when we begged Him to, we would actually be worse off than before He started.
Can you see it . . . a piece of gold, roughly shaped, yet somewhat usable. The Master Refiner decides it's time to make this piece of gold into something He had been planning for a long time. He then puts this gold in the fire and it starts melting down to a liquid. The fire gets hotter and hotter . . . the gold becomes softer and softer as the heat gets higher and higher. The gold begins to scream out . . . "STOP! It's too much! I can't stand anymore!" If the Master Refiner listened to the gold, he would have to just let it set in its melted state. It would be totally useless, not only to Him, but to anyone else. So, the gold has to endure the Refiner's Fire. If only the gold itself knew the magnificent outcome . . . the vision the Master Refiner had for it . . . it would be easier to submit to the fire. But, because of the impurities in the gold, it is unable to see the finished product forever etched in the unsearchable mind of the Master Refiner.
We all wonder when it's all going to end and have the never-ending question in our minds . . . "Why do I have to go through all this?"! But we just have to know . . . be convinced in our hearts . . . that God has us right in the palm of His hand. He knows our frailties, He knows our pain. He knows our disillusionments, He knows our weakness. He knows . . . He knows . . . He knows! So, He has gone to work on us to further perfect us to be a vessel of honor unto Him. After all, that's what it's all about, isn't it? We ALL want to be a vessel of honor unto Him . . . mete for His use . . . suitable, pleasing, and glorifying to the Master Refiner.
Be blessed, my dear friends . . . God isn't through with us yet. Submit to His work in your life. Go ahead and grit your teeth and bear the pain for soon it will have produced its work in you to make you pleasing and acceptable . . . a marvelous glory unto Him!
Father, Master Refiner, have your way with me! There, I've said it, Lord! It was hard to say, but I really mean it . . . do in my life what needs to be done to make me, mold me, and shape me into the vessel of honor You have planned for me to be! Lord, I submit to Your refining fire, to Your strong hand that molds me and shapes me for Your glory. Father, help me to remember that the fire I walk through now has a Holy and Divine purpose in my life. Have Your way in me, Lord, so when anyone looks at me they will see only a reflection of You! Amen!


text:
Sommers to return for "G.I. Joe 2"
By: Justin Moody | Movie News | August 5, 2010
Stephen Sommers' G.I. Joe: The Rise of Cobra was a huge box office success, but it didn't have a huge sway over film critics (it didn't even come close). The critical disgust doesn't seem to really matter, as "Cobra" has had a planned sequel in the works for awhile and now Sommers is set to return to the director's seat.
According to The Wrap, his involvement with the project was up in the air, as there were rumors concerning disagreements between him and the studio. It has yet to be confirmed, but Channing Tatum is widely expected to yet again play Captain Duke Hauser. Although the plot is unknown at the moment, Zombieland scribes Rhett Reese and Paul Wernick are set to write the screenplay.
Personally, this development isn't exactly my cup of tea, mainly because of how awful the first film was. It wouldn't be a stretch to say that it was the worst film of 2009 and one of the worst I've ever seen in general. When Dennis Quaid, Joseph Gordon-Levitt, and Marlon Wayans can't deliver at least decent performances, then something is horrifically wrong with the picture. Let's not even talk about the poor action, outdated visual effects, and lack of a discernible plot.
But I digress. This sequel is bound to make big money at the box office, even if I'm personally not looking forward to it. For quality's sake, it's safe to say that Sommers' return isn't promising. However, the duo of Reese and Wernick has the potential to save the day. Their script for Zombieland was a fun if not somewhat brilliant one that perfectly spoofed zombie flicks. Is it too much to hope that they can bring some credibility to this film franchise?
The first "G.I. Joe" opened on top of the box office with over $50 million and went on to gross more than $150 million stateside.
Justin Moody
About / Bio
I am the Co-Founder and CTO of Entertainment Fuse. Thank you for viewing my profile. If you have any questions, comments or if you found any bugs with the website, contact me anytime. I love chatting with our community!


Tickford Racing will field former single-seater racer Thomas Randle as its sole Dunlop Super2 Series driver in 2018.
The Ford squad ran a pair of Falcons in Super2 for the last two campaigns, but will this season focus on 21-year-old Randle, who returns to Australia having spent 2016 and '17 racing in Europe.
Its 2016 title winner Garry Jacobson has left the squad, but is expected to remain in Super2 and has been linked with MW Motorsport, while his '17 team-mate Josh Kean's future is unclear.
Randle's has been backed by Tickford Racing co-owner Rusty French in recent times, including for a one-off V8 Touring Car start last year, and will test his #5 FG X Falcon for the first time next month.
"First of all it's great to be back in Australia," said Randle.
"I've had an amazing time in Europe the last two years, and I'd like to firstly thank all my supporters there, and Rusty French for his continued support as I return to Australia.
Since winning the 2014 Australian Formula Ford Championship and finishing as runner-up in Formula 4 the following season, Randle has raced in a variety of classes in Europe.
The Melbourne-born driver took fourth in BRDC Formula 3 in 2016, and has also contested the F3 Masters at Zandvoort and limited programs in Formula V8 3.5, the UK's LMP3 Cup and Formula Renault 2.0.
Closer to home, Randle won last year's Toyota Racing Series in New Zealand.
"The fact that I've been lucky to drive so many cars, I think that experience will really help me learn this car," Randle, who has also raced his father Dean's Sports Sedans, added.
"All the different tyre compounds I've been on, the different dynamics of all the cars – prototypes, tin-tops, single seaters – you can take different things from different cars.
"I've heard the Dunlop Super2 tyre is a very tricky tyre to master, and when we get into testing we'll find out.
While welcoming Randle as "a young man we've had our eye on for a while", team principal Tim Edwards paid tribute to the outgoing Jacobson, who was part of his team's 2017 PIRTEK Enduro Cup line-up.
"We'd like to thank Garry for his time and contributions to our program the past two seasons," Edwards said.
"He always gave us tremendous effort and focus, and it showed on the track, most notably in his Super2 championship in 2016.


The world has been mourning the death of XXXTentacion who was murdered in Florida on Monday afternoon at the age of 20. Earlier today, a suspect in the case was arrested with two more warrants issued so it looks like justice may be served, at least somewhat.
X's mother has been posting about her son on Instagram for a few days now and earlier in the afternoon she revealed something heartbreaking. She posted an ultrasound with the caption "He left us a final gift", implying that X has a child on the way. Another life heavily impacted and potentially ruined. No word on who the mother is.


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It is a motor policy that is designed for someone that uses their car for business, as well as everyday life.
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For Bread Week 24, I decided to try a recipe for gluten-free pita bread from Fork and Beans. It would be the perfect thing to go with hummus I planned to make for cool lunches for this week, when the weather promised to return full-force to summer. This turned out to be one of the easiest gluten-free bread recipes that I've made.
The dough came together quickly and was easy to work with. It wasn't too soft or sticky, and although I had to handle the dough gently as I transferred it to the baking sheet, it didn't fall apart after I patted it out. The baked pita bread was soft and held together rather well. The pitas were best toasted.
I think I would make a few adjustments next time. The pitas were fine for eating with a liberal amount of hummus, but on their own, the flavor was only okay. I think this was because the only grain in the bread was rice. These need to be multigrain; I will try adding in a little finely ground alternative flour (maybe millet? I don't know my grains very well yet) to give it a nicer flavor. Also, I slightly under-baked mine. Only one of mine puffed up; I would wait to see if all of them puffed up next time.
Overall, I think this was a great recipe and I'm really glad I tried it. I look forward to trying it again with some other grains.
Combine yeast, water, and agave syrup. Stir to combine. Let rest for 10 minutes, until yeast becomes frothy. Add vegetable oil and psyllium husks and stir. The mixture will thicken.
Combine remaining dry ingredients. Add the wet ingredients and stir to combine. Dough will be slightly sticky.
Cover and let rest in a warm place for about 45 minutes, until dough about doubles in size.
Divide dough into 8 pieces. Dust a surface liberally with rice flour. Roll dough in flour, then flatten into a thin disk. Place each pita on parchment paper on a baking sheet. Bake at 450F for 5 minutes. Flip, then bake another 2-3 minutes longer, until slightly browned. Ideally, pitas will puff up in the middle.


text:
Texas District & County Attorneys Association
BradyDWIVictim Services
The Texas Prosecutor
A new punishment hearing for a mass murderer
Dallas prosecutors recently retried a defendant whose death sentence was overturned on appeal. Here's how they tracked down witnesses and prepared for a case decided 18 years prior.
Patrick Kirlin
Assistant Criminal District Attorney in Dallas County
In the late night hours of Saturday, August 19, 1989, Mark Robertson walked approximately three miles with a loaded Smith and Wesson revolver to "visit" Sean Hill, a friend who lived with his grandmother, Edna Brau, in an affluent part of North Dallas. When Robertson arrived at the house, Sean was fishing, kneeling at the edge of a creek that flowed through the backyard. Robertson pulled out the revolver and fired a single gunshot into the back of Sean's head, and he slumped over into the creek.
Robertson then went into Ms. Brau's home where she was asleep in front of the television. Her legs were crossed at the ankles as they rested on a coffee table in front of the couch. At close range, Robertson fired another gunshot—this time right between the eyes. He covered Edna's head with a blanket, a classic move by a murderer who intends to rummage through the victim's house after the kill. Ultimately, Robertson stole a small amount of cash, a purse and wallet, a wristwatch, and the keys and registration papers to Edna's Cadillac, which he drove from the crime scene.
Robertson tossed the purse into a dumpster and spent the next couple of hours at a topless bar. He then went to his apartment, where he napped for a few hours. While the bodies of Edna and Sean remained undiscovered, Robertson spent his Sunday morning hanging out at the apartment pool with a friend and smoking marijuana. After the bodies were discovered that evening, he stayed a couple of days in Dallas to watch the news story unfold. Robertson then stole $700 from his roommate and drove the Cadillac to Las Vegas.
On August 29, 10 days after the double murder, a conscientious Las Vegas patrol officer ran a routine license plate check on the Cadillac as it passed by. The car came back as stolen out of Dallas and connected to a homicide there. After some strategic planning by the Las Vegas Police Department, Robertson and a male passenger were apprehended as they drove out of a casino parking lot.
According to several seasoned Las Vegas police officers, Robertson was unbelievably calm, collected, and unbothered. He wanted to know if he was on "America's Most Wanted." He casually talked to the SWAT officers about how quick and good they were with the takedown because he had had no time to reach for his gun on the back floorboard. Indeed, a search of the Cadillac revealed a wooden jewelry box with a .38 revolver inside it. Ballistics testing on the revolver later determined that it was the weapon used to murder both Edna and Sean.
Robertson readily and matter-of-factly admitted appalling details of the double murder to any Las Vegas police officer who would listen, including the part where he waited until the bubbles stopped rising from Sean's body in the creek before proceeding to his elderly victim. Dallas Police Detective Jesus Briseno flew to Las Vegas and obtained a written statement from Robertson, who again readily admitted the details of this offense. In shocking, "true crime" style, Robertson also admitted to a detective that he had robbed and killed a 7-Eleven clerk in Dallas just 10 days before committing the double murder and robbery at the Brau residence. Based on this admission, Dallas police had the .38 revolver compared with the autopsy bullet from the 19-year-old clerk, Jeffrey Saunders. The revolver that killed Jeffrey and the revolver that killed Sean and Edna were one and the same.
Before he could be brought back to Dallas to stand trial for these murders, Robertson tried unsuccessfully to escape from a Nevada jail. While awaiting trial in the Dallas County jail, Robertson set fire to a newspaper in his cell and shoved it under his door out into the walkway, creating a major disturbance and safety concern.
In February 1991, Robertson was tried for the capital murder of Edna Brau, convicted, and sentenced to death. He also pleaded guilty to murdering Sean and Jeffrey, for which he received two life sentences. But after 17 years of post-conviction litigation and six execution dates, the Court of Criminal Appeals ruled on March 12, 2008, that Robertson deserved a new punishment hearing in the capital case due to jury charge error. In short, 17 years of appeals had kept the case—and Robertson—alive long enough for him to take advantage of a change in the law. Specifically, the trial court's jury instruction regarding mitigating evidence—which had been upheld on direct and collateral review and denied certiorari review by the United States Supreme Court—was no longer constitutionally viable after 2004. That year, the Supreme Court issued its opinion in another Dallas County death penalty case, Smith v. Texas.1 The Court of Criminal Appeals held that the Smith opinion created a new rule of law and allowed Robertson to re-assert the jury charge issue in another habeas writ, which he did, this time with success. We had to prepare for a new punishment trial.
Getting ready for trial
The victims' family anticipated this setback, as they had maintained a close relationship with our appellate team and followed the changes in law as they developed. Nevertheless, they were rightly disappointed and angry. Robertson, an inmate who wrote fluent German and had above-average intelligence, was retroactively given the benefit of a new legal rule which, at its inception, was intended to benefit the mentally challenged. No amount of legal rhetoric could justify this turn of events to the victim's family, particularly to the woman who had lost both her mother and her only child to Robertson's brutal handiwork.
The punishment charge in our case on retrial would contain the "deliberateness" special issue from 1991 law along with the "future dangerousness" special issue, but in keeping with the Penry rule, the charge would also contain the current statutory language of the mitigation special issue.
Never having retried a death row inmate for punishment, I had the luxury of a great team of very dedicated attorneys and investigators who pulled together on the case. We were presented with eight storage-size boxes jammed with paperwork from this prosecution, starting with the police and crime lab reports from 1991 to everything that had accumulated during the post-conviction process. Where to start?
We went through everything in those boxes to get a good feel for our case, our victims, the defendant, and what, if anything, he had done on death row for 18 years. After reading the transcript from the original trial, we determined which of those original witnesses we needed and could track down for the punishment hearing. Because we were seeking the death penalty again, we planned to put on everything the original jury had heard.
DA investigators Hoyt Hoffman and Tonia Silva set out to locate more than 40 witnesses from so many years ago. Armed sometimes with only a name, they gave their computer databases and IT skills a workout. Through their determination and persistence, all of those witnesses were located. Several are now deceased; one key witness was not in good health and could not testify. Needless to say, there was quite a bit of "former testimony" we had to read to our jury pursuant to Rule 804(b)(1).
Additionally, our investigators subpoenaed all TDCJ records, but reviewing them produced little in the way of additional punishment evidence. There were only five or six disciplinary reports from Robertson's years on death row, each of which dealt with the possession of various contraband, which we knew the defense would characterize as "minor" violations. (Our classification expert, though, showed that even things such as an altered coffee pot or copper wire are ingeniously used to create safety and security risks in prison.)
Countering defense arguments
We also knew from the previous testimony and trial records that the defense would present mitigating evidence of Robertson's terrible drug addiction at the time of the murders, as well as his father's physical and emotional abuse of his mother and siblings. This knowledge did not give us cause for concern, however, as it is all standard fare in death penalty cases. Given the lack of violent behavior for the last 18 years, we focused on the defense's theory that the TDCJ records alone showed that Robertson is not a future danger because TDCJ could and would control him if he were given a life sentence.
Our presentation and argument to counter this theory was to emphasize to the jury that death row inmates are confined to their 8×10-foot single cells for 23 hours a day and only one hour for individual recreation, leaving little opportunity for violence to others. Then, we contrasted this picture of life on death row (and we did introduce photos of the death row area and individual cells) with the much less restrictive prison life in general population, where Robertson would be housed if given a life sentence.
There was only one problem with our description of life on death row. The 23-hours-a-day-lockdown policy came into existence in 1999 when death row was moved (after an inmate escape) from the Ellis Unit to its current location at the Polunsky Unit. Robertson entered death row at the Ellis Unit in 1991, when death row inmates were still work-eligible and not on lockdown, so the defense argued that Robertson was not a future danger because he never committed a single violent act even during those eight years on the Ellis Unit. Our response to this argument was simple and fact-based: Robertson is a coward who targets only the unsuspecting and defenseless—something he would not find with inmates on death row. We may have used more colorful language, but the point is obvious.
By now, it may be apparent that the "facts alone" theme was our starting and ending point. That is, our case was going to be won or lost based on the horrendous facts of this offense and the murder of Jeffrey Saunders, the 7-Eleven clerk. Our jury selection was based in large part on whether prospective jurors could answer the special issues so as to result in a death verdict based solely on the facts of the offense. Josh Healy and Ellyce Lindberg, my trial colleagues in this case, set out to find 12 jurors who could do just that. And they did: The jury returned a death sentence in a little over three hours. Talking to the jury afterwards, it was apparent that the facts of the case were the overriding factor in their decision, along with the callousness with which Robertson described the murders to the police.
We had used this callousness to our benefit during the examination of a defense expert who testified that Robertson suffered from antisocial personality disorder. The expert could only concede on cross-examination that Robertson was a sociopath/psychopath at the time of the murders because he exhibited characteristics from each category on the Hare psychopathy checklist, including callousness.2 We then argued that once a psychopath, always a psychopath—there is no cure, no magic pill, and no treatment. We argued that if Robertson received a life sentence and went into the much less-restrictive environment of the general prison population, coupled with his psychopathic personality and ability to manipulate and charm most people, he would definitely be a danger to the people who work with the general prison population. The key was drawing a clear distinction between life on death row and life in the general population.
It bears noting that parole has not been mentioned in this article. If given a life sentence, under the law in effect at the time of the offense, Robertson would be eligible for parole after serving 15 years which, of course, he had already served. Based upon the advice of Lisa Smith and Kim Schaefer, our incredible appellate attorneys on this trial team, we never mentioned parole during the trial or in closing argument. This advice was aimed at avoiding a claim on appeal that the 15-year eligibility requirement unfairly persuaded the jury to avoid a life sentence. As a trial attorney, it was difficult to see the defendant sitting in the courtroom, knowing that he was already eligible for parole if the jury gave him a life sentence. But during voir dire, both sides agreed that the judge alone would read the general law regarding parole, including that the jury cannot consider it for any reason, and this same instruction was included in the charge. Those were the only times that parole was ever mentioned.
Some factors, such as having multiple victims, made this case an easy one to retry for death, but other factors, such as an 18-year period of proven non-violence, made it one of the more difficult. In the end, our success can be attributed to a thorough and relentless investigative search for witnesses, tireless co-counsel who used the facts creatively, and conservative appellate advice to keep us well within the law. The jury heard the facts and applied the law to reach a just punishment, one we hope this time is carried out. i
1 534 U.S. 37 (2004) (per curiam).
2 See Robert D. Hare, Psychopathy Checklist-Revised (1991).
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on-line reputation for your website, products or other services.
Social signals are all over. No matter which site or blog you log into, chances are that you will see a number of Facebook logos and links in it. Many websites are also filled with Twitter logos, links, Google ads and other many social media sharing or book marking portals. When you like or even suggest a website, search engines will quickly pick it up for you. In fact, just a very simple like or even positive post is enough for search algorithms to identify a worth of a website. Similarly, if a person compliments your site by means of social media links, then your website will rank high in search engines as it deemed to be popular chances. This is simply the primary reason why many social patterns and even signals are very important for any brand-new or existing on-line venue.
Look social signals are the new brand-new. In fact, they are slated to take over back-links within a year. In fact, Google +1 is a significant player in securing user suggestions across the globe. With their +1 format, Google will extract a high volume of user referrals and social media shares. This can be from Facebook, Twitter, and specifically Bing.com. As a result, many sites and companies are striving to establish a strong online presence on Google. While conventional marketing techniques are necessary, they just do not provide expedited outcomes like on-line marketing sites and social network platforms.
Social Signals is a full time job for any small business and I am sure you are not thinking out of the box on this. Think about this then think about how this work in the opposites way. Once you understand that you then know what needs to be done. Then you need to go to step two and that is making Google find each one of the signals… Talk to others read what you can about this, then call us to understand what it truly means and how to setup the best campaign to get all you can out of the social signals.
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To make certain the quality of evaluations, all evaluations are screened for spam and content that may possibly be offensive to other men and women. Vitamin B12 generally gets the most interest, and some dieters even get injections of it in order to support increase power levels and support with losing weight. Bottom Line: CLA is an successful weight loss supplement, but it may possibly have dangerous effects over the lengthy term. Multiple studies have concluded that Garcinia Cambioga did not noticeably support men and women lose weight any a lot more than a placebo pill.
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Have you ever wanted to give to a charity as a gift or a memorial for someone, but didn't know what charities to give to?
Have you ever wished giving to a charity as a gift was easier?
Well, there is a new site that makes all of this a snap. It's called What Goes Around and its run by friends of ours.
Create a give list for yourself in case others want to give to a charity in lieu of a gift to you.
Give to a charity in lieu of a gift for others.
And if you really like the idea, give some money to what goes around. They are a startup just like all the other ones I talk about and could surely use some help with their vision.


text:
È stato professore emerito all'Università Concordia di Montréal.

Bibliografia
 Le recul du sacrifice : quatre siècles de polémiques françaises, Presses de l'Université de Laval, 2009, 296 p.
 Vivre Ensemble : Croyances et Sciences en Terre Laique, Presses Universitaires de Laval, 2009.
 Bastide on Religion. Key Thinkers in the Study of Religion, Equinox Publishing Limited, 2008.
 Destinée et salut. Essai de théologie poétique à partir de deux romans de Joseph Conrad, Van Dieren, Petite Bibliothèque théologique, 2008, 63 p.
 Romans victoriens et apprentissage du discernement moral, Presses de l'Université de Laval, 2006,
 Comparatisme et christianisme, Paris l'Harmattan, coll. Religion et sciences humaines, 2003.
 L'émergence des sciences de la religion. La monarchie de Juillet : un moment fondateur, Paris, L'Harmattan, 1999, 598 p.
 Les hiérarchies sont ébranlées. Politiques et théologies au XIXe siècle, Montréal, Fides, 1998.
 Contributi in: François Bœspflug et Françoise Dunand, Le Comparatisme en histoire des religions, 1997, 464 p.
 Reading an Erased Code. Romantic Religion and Literary Aesthetics in France, University of Toronto Romance Series, 1994, 223 p.
 con Gérard Vallée (dir.), Religion in History. The Word, the Idea, the Reality / La religions dans l'histoire. Le mot, l'idee, la réalité, Waterloo, Wilfred Laurier University Press, 1992.
 con Louis Rousseau, Les sciences religieuses au Québec depuis 1972, Wilfrid Laurier University Press, 1988, 158 p.
 Christianisme, dossier corps, Paris, Cerf, 1987.
 The Education of Desire. Plato and the Philosophy of Religion, University of Toronto Press, 1985, 400 p.
 La religion en Occident, évolution des idées et du vécu, Paris, Cerf, Cogitatio Fidei 101, 1979.
 Kant on history and religion, con la traduzione di On the failure of all attempted philosophical theodicies, McGill-Queen's University Press,  1973. 355 p.
 The idea of divine education: a study in the ethical and the religious as organizing themes for the interpretation of the life of the self in Kant, Schleiermacher and Kierkegaard., Harvard Divinity School, 1967, 1164 p. (Tesi di dottorato sostenuta nel 1966).

Note

Collegamenti esterni


Right in the heart of one of the finest towns in the Cotswolds The Kings Hotel is the perfect place for a weekend away.
Stay overnight from £90 per room (two sharing), including full English breakfast.
Set in an 18th-century Cotswold-stone townhouse The Kings Hotel in Chipping Campden, part of the Eden Hotel Collection, is an ideal base for exploring the Cotswolds. With 18 well-appointed bedrooms and an excellent restaurant serving seasonal food it's the perfect spot for foodies looking for a relaxing and slow paced weekend away.
We stayed in one of the peaceful cottage rooms, tucked away in the pretty garden of the hotel. The spacious room had a lovely big bed, piled high with comfy pillows and a large bathroom with his and her's sinks, a large bath with a shower over it and plenty of ESPA bath products for a pampering soak.
A welcome note from the hotel manager was a nice touch, as were the little jar of homemade lemon shortbread biscuits and the crunchy apples. There were tea and coffee making facilities in the room and a large flat screen TV.
We were blessed with warm weather so we didn't need to snuggle up in the fluffy towelling dressing gowns and slippers provided but it was nice to have them anyway.
As tempted as we were to spend the afternoon lounging around in our lovely room, there was plenty to entice us out into Chipping Campden. This beautiful little town is full of pretty shops, perfect for pottering and poking around and so many tea rooms and restaurants that we found it hard to choose where to go for a spot of lunch.
In the end our hunger got the better of us and we were persuaded by the sunny courtyard garden of Huxley's where we tucked into plates of pasta and salad served by a slightly surly, but ultimately friendly waiter.
Flower fans might be interested to know that Chipping Campden is home to the Cotswold's branch of the Covent Garden Academy of Flowers, which offers full and half day floristry and flower arranging courses from £85.
Just down the road is the glorious Hidcote gardens, a National Trust Property and one of the UKs finest gardens. And of course Stratford upon Avon is just a 20 minute drive if you love a bit of Shakespeare.
Back at The Kings Hotel after a cold drink in the evening sunshine in the garden we had an excellent dinner in the candle lit dining room. We started with warm home baked bread with shallot butter, followed by Wye Valley asparagus for me with hazelnuts, parmesan and sauce gribiche, and grilled king prawns with sauce antiboise and sough dough croutons for my husband.
My main course of roasted cod with polenta, chorizo and capers was beautiful and the spiced lamb chump with babaganoush and salsa verde was tender and delicious. The cheese board was perfectly proportioned with lovely homemade chutneys and three different cheeses. Very happily I still had room to steal a few bites of my husband's dark chocolate and cherry dessert, an amazing assortment of chocolate mousse, cherry sorbet and pistachio. The staff were friendly and attentive but without being intrusive which was perfect. We went to bed pleasantly full and very happy.
After a great night's sleep and a nice soak in the bath we were ready for breakfast. The buffet table with groaning with fruit, locally made yogurts, pastries, cereals and fresh bread. The full English breakfast was freshly cooked and not at all fatty, with delicious sausages and bacon from the local butchers, perfectly cooked eggs, griddled tomatoes and plenty of hot toast. The hotel was so peaceful we were surprised to see just how many people there were eating breakfast.
We had a lovely stay at The Kings Hotel and would heartily recommend it. It was the perfect place to recharge our batteries and fill our bellies and I would love to return one day to explore more of this lovely area.


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Terminator Game | Finding a good game might be easier than you think
The Terminator series of movies, famous for starring Arnold Schwarzenegger, have proved to be enduringly popular over the last 35 years or so. Since the release of the original movie, entitled simply The Terminator, in 1984, a host of sequels have appeared, all featuring variations of the iconic robot from the future that Arnie played in the original.
Looking for a Terminator game? There's a massive range out there
Terminator 2: Judgement Day came out in 1991, and featured groundbreaking special effects for the time.
Terminator 3: Rise of the Machines followed in 2003, and the series continued in 2009 with the release of Terminator Salvation. The series ended, at least for now, in 2015, when a movie called Terminator: Genisys came out.
Of course, if you're looking for a Terminator game for your console, PC or mobile device then there are plenty of options out there.
There have been dozens of games released in huge variety of formats since the release of the first Terminator game in 1991. The online gaming world has changed beyond recognition since those days, though, when a DOS action-adventure game based on the original movie was released.
Technology was moving very quickly in those days too, and the pace of change would only increase in the coming years. As technology developed, new gaming consoles were released, with games becoming faster, more immersive and, crucially, much, much more popular. The first Terminator 2 game was released for arcade consoles in 1991, and new games for home consoles would follow hard on its heels.
As every new Terminator movie has appeared, more games have followed, and there are now dozens of games that are based on the films. These range from typical console arcade action games, to pinball games, to slots games that you can play at an online casino. There is a very popular Terminator 2 slot game that we will take a look at later.
In this article you can discover more about the range of Terminator games that is available. There is a vast range of titles available, and we will take a closer look at a selection of them here. You can find out about games relating to each film title, and also about where you can find and play Terminator slot machine games in an online casino.
Finding Terminator 2 game is easy enough
Terminator 2: Judgement Day is possibly the most iconic of the Terminator series of movies. It certainly has some of the most memorable lines and scenes out of the entire series in it. It could also be argued that the film played an absolutely crucial role in creating the legend of Arnold Schwarzenegger and making him one of Hollywood's true legends.
Characters like the T-1000 terminator and Sarah Connor have also become iconic, and are recognised across the world. Several games appeared in the 1990s in which the characters and settings from the second Terminator movie were used. Games were produced for now defunct consoles like the Sega Genesis/Mega Drive and Super NES, and they proved almost as popular as the movies themselves.
As an interesting footnote to the series of Terminator 2 games that has been produced over the last three decades, there was also once a chess game based on the movie. Called Terminator 2: Judgement Day – Chess Wars, this unusual offering was released by Capstone Software for DOS platforms in 1994. The game used characters from the movies as pieces, with the white pieces being the 'human' side and the black pieces being the 'machines' side.
But it was when modern consoles started appearing in the 21st century that the number of Terminator games really started to grow. Not only were more movies produced that spawned spin-off games, but games that were only based loosely on the movies began to be released too. In the next section, we will take a look at a few of these games.
The type of Terminator game ps4 fans love
The development of gaming consoles in the 21st century saw a whole host of new games appear that were based on the Terminator movies. The gaming industry became as powerful as the movie industry, and has arguably now supplanted it in terms of cultural influence.
This changed the dynamic in the relationship between the games and the movies, with games becoming increasingly powerful and influential in their own right. Terminator: Salvation was one of the games that came out for console systems in the wake of a movie release. This came out in 2009, and was a Terminator game for PC as well as for consoles like the PS3.
When the 2015 film Terminator Genisys came out, it spawned two online games. The first of these was Terminator Genisys: Guardian. This was a free-to-play game for mobile devices. There was also a Massive Multiplayer Online game produced by a company called Plarium in conjunction with Skydance Media. The game was called Terminator Genisys: Future
War and proved reasonably popular with gamers across the world.
Terminator: Resistance is another game that is set for global release in the autumn of 2019. Also set to come out at the same time as a new Terminator movie, Terminator: Dark Fate, the new game, which will be available for a range of gaming systems, is not related to the film.
The Terminator 2 slot game offers up superb possibilities
If you're a fan of playing slots online then you will delighted to discover that there is a Terminator slot machine game out there. Based on the second movie in the series, Terminator 2, the slot was developed by the well-known games production company Microgaming. The game has five reels, three rows and 243 possible ways to win, which makes it a very tempting proposition indeed for fans of online slots gaming.
Fans of the movie Terminator 2 will immediately recognise the symbols used on the reels, as several characters from the movie are used. You can see Sarah Connor, as well as a John Connor, the T-1000 terminator, the original T-800 terminator and, of course, old Arnie himself. The game's wild symbol is a fiery T2 logo, and this will substitute for all other symbols to create winning combinations for you. A glowing blue portal symbol is used as the game's scatter symbol.
If three, four or five of the blue scatter symbol land anywhere on the reels then you will trigger the game's free spins feature. An extra row is added to the reel set during these free spins too, boosting the number of paylines from 243 to 1024. You will receive an initial 10 free spins, and the T-1000 character can transform into other characters during the free spins too, giving you a greater chance of picking up big wins.
There is also a randomly awarded bonus that is triggered during the base game. This is called T-800 vision, and it gives the screen a red hue. A target will then move around the reels, awarding cash prizes when it reaches the higher value symbols. If a scatter symbol is on the reels when this occurs, you will also receive 10 free spins. You can find the Terminator 2 game in many online UK casinos, including at 32Red.
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Looking for a good Terminator game for PC? You should be able to find one now
As you can see, Terminator games are plentiful and have had a long history. It should be no surprise really that such a commercially and critically successful series of movies should have generated such a varied range of video games. Whether you like first person shoot 'em ups, classic retro games or slots games, or prefer to play on a console a PC or mobile games, there is a Terminator game out there that will suit you.
Terminator 2: Judgement Day remains possibly the best known of the movies, and there have been plenty of games released that are based on that film. The online slots community have known about the slots game that is based on the film since 2014, and there have been quirky titles, like the Chess Wars game too, that have increased the range of games on offer. Yet another new game will be released in the autumn of 2019 too, which looks like being the kind of Terminator game PS4 fans will love.
Whether you are looking for a Terminator game for PC or the kind of terminator game PS4 players prefer, you have plenty of options. Whether you're a fan of the movies or not, you can still find plenty of entertainment from playing games based on the Terminator movies. This article has only skimmed the surface of what is available too.
There are a huge number of other titles out there that cover a vast range of game types. Make sure that you look out for the slots game in your favourite online casino, and keep an eye out for some of the other games too!
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