A list of all Undergraduate courses in Physics and Astronomy.
This course is the first in a two-part sequence and is designed for students majoring in physics, chemistry, and mathematics, and for students preparing for an engineering program. The sequence introduces students to topics in Newtonian mechanics, vibrations and oscillations, waves and sound, thermodynamics, electricity, magnetism, simple circuits, and optics (geometrical and wave). Four lectures weekly. This course satisfies the Scientific Understanding requirement of the Core Curriculum. Concurrent enrollment in Physics 2 (lab) is required. Prerequisite: Math 27 (may be taken concurrently).
Students gain hands-on experience with the topics discussed in Physics I. Additionally, students are introduced to methods of experimentation in physics including good measurement techniques, simple data analysis, and scientific writing. Concurrent enrollment in Physics I is required. Laboratory fee required.
Continuation of Physics I. Four lectures weekly. Concurrent enrollment in Physics 4 (lab) is required. Prerequisites: Physics I and Math 28 (may be taken concurrently).
Students explore the concepts of Physics 3 in a laboratory setting. Concurrent enrollment in Physics 3 is required. Laboratory fee required.
This course is the first in a two-part sequence. The sequence introduces the student to the conceptual framework of physics, and the phenomenology of mechanics, fluids, waves, thermal physics, electricity, magnetism, optics and modern physics. In comparison with the Introduction to Physics sequence this course chooses breadth over depth, and is expected to be more suited to needs of life science students. Three lecture hours and one lab per week. Laboratory fee required. Prerequisite: Math 27.
Continuation of Physics 10. Three lecture hours and one lab per week. Laboratory fee required. Prerequisite: Physics 10. Concurrent enrollment in Physics 21 is required.
Laboratory to accompany Physics 10. Must be taken concurrently with that course. Laboratory fee required.
Laboratory to accompany Physics 11. Must be taken concurrently with that course. Laboratory fee required.
This course is intended to introduce the methods and ideas of science. Students gain an appreciation for the scientific "way of knowing," by learning how phenomena in nature are observed and catalogued, and how general principles are deduced from observations. Concurrent enrollment in Physics 41 is required. This course satisfies the Scientific Understanding requirement of the Core Currriculum.
Laboratory to accompany Physics 40. Must be taken concurrently with that course. Meets every other week. Laboratory fee required.
The discoveries and methods of physics developed in the 20th century will be studied. Relativity, statistical physics, and quantum mechanics are the main topics. Applications including molecular, condensed matter, nuclear and particle physics are stressed. Prerequisite: Physics 3.
This introductory course presents a comprehensive and balanced view of what is known about the heavens. Aimed at the non-specialist, the course gives a description of astronomical phenomena using the laws of physics. The course treats many standard topics including planets, stars and galaxies to more esoteric questions concerning the origin of the universe and the search for extraterrestrial intelligence. Concurrent enrollment in Physics 91 is required. This course satisfies the Scientific Understanding requirement of the Core Curriculum. Prerequisites: One year each of high school Algebra I, II, and geometry.
Laboratory to accompany Physics 90. Exercises include experiments in a laboratory setting, observations using the Campus Observatory and telescopes, and field trips to local observatories and/or planetariums. Laboratory fee required.
Physics 3 and Math 39 are prerequisites for all upper division physics courses.
This course will be an introduction to the use of computational techniques to understand physical systems that are unapproachable via analytical methods. The class will also be an introduction to effective programing in Matlab. Topics wil include applications of numerical integration, numerical solutions to transcendental equations, ordinary differential equations, and partial differential equations, and the use of Fourier analysis.
This course covers the principles of particle dynamics. Topics include rigid body dynamics, Lagrange's equations, Hamilton's principle, wave propagation, and normal modes of vibration in oscillating systems.
Electrical and magnetic concepts are studied using static and dynamical field concepts. Maxwell's equations are emphasized. Topics include electrostatics, electrodynamics, magnetism, and electromagnetic waves.
This course covers the laws of thermodynamics and statistical physics. Topics include temperature, work, heat transfer, entropy, phase transitions, Maxwell's relations, the kinetic theory of gases, partition functions, and particle statistics.
Introduction to the theoretical foundations of quantum theory. Using the Schrodinger and Heisenberg formulations of the harmonic oscillator, the hydrogen atom, the theory of quantized angular momentum, and scattering are studied. The concepts of Hilbert space, operators, commutation relations, and the Heisenberg uncertainty principle are included. Prerequisites: Mathematics 134 and Physics 60. Prerequisites: Mathematics 134 and Physics 60.
Focus on variable topics such as particle physics, solid state physics or numerical methods of physics. May be repeated for credit as content varies.
A study of the internal constitution of stars and stellar systems from the point of view of atomic and nuclear physics. The basic equations of Saha and Boltzman are used to solve the appearance of observed stellar spectra and the differential equations of continuity and state to interpret the physical properties of stellar structures.
Using an historical approach, this course studies how humankind has come to understand the origin and structure of the universe. The course begins with studies of ancient cosmologies, such as those from Egypt, Ancient Greece, Pre-Columbian America, and the Orient. This sets the stage for the revolution in understanding brought about by Copernicus, Kepler, Galileo and Newton. This fascinating journey is carried through to the present by studying modern astrophysics including topics such as relativity, black holes, stellar evolution, and the Big Bang.
Students discuss and perform the experiments which demonstrate and investigate the principles of twentieth century physics. Experimental topics include the photoelectric effect, the Franck-Hertz experiment, x-ray diffraction, solid state materials, nuclear spectroscopy, and holography. This course meets for 2 laboratory sessions and 1 lecture session each week. Prerequisite: Physics 60.
Students study the properties of various circuit components and use them in scientific applications. Topics include linear DC and AC circuits, diodes, transistors, operational amplifiers, and photoelectronic devices. Meets for 2 laboratory sessions and 1 lecture session each week. Laboratory fee required. This course satisfies the Writing in the Disciplines requirement of the Core Curriculum.
A laboratory course based on the attempt to model, simulate and interpret observational data derived from astronomical observations. Included are interpretations of stellar photographs and spectra, measurements of various stellar parameters and quantities that give rise to our understanding of stars as physical systems. Lab fee is required.
Independent study of a topic beyond the common course content. Open only to majors in the spring term of their junior year or fall term of their senior year. The essay is evaluated by a committee consisting of the faculty supervisor and 2 other faculty chosen in consultation with the student. Permission of the department chair is required.
Independent study or research of topics not covered in listed courses. Permission of the department chair is required.
Independent study or research for majors with at least a B average in physics. Permission of the department chair is required.


text:
The Humane Art: Virginia Woolf on What Killed Letter Writing and Why We Ought to Keep It Alive
The Difficult Art of Counter-Criticism: Rebecca Solnit on Celebrating Complexity, Savoring the Unquantifiable, and Defying the Urge to Simplify and Contain
Waving to Virginia: Patti Smith Reads Woolf
Virginia Woolf on the Language of Film and the Evils of Cinematic Adaptations of Literature
"The eye licks it all up instantaneously, and the brain, agreeably titillated, settles down to watch things happening without bestirring itself to think."
"Cinema, to be creative, must do more than record," Anaïs Nin wrote in 1946 in the forth volume of her diaries. But the question of what this elusive, quintessential creative duty of cinema might be long predates Nin's observation.
In the spring of 1926, when film was still young and silent, Virginia Woolf found herself at once captivated and concerned by the seventh art and penned an essay exploring its perils and its promise. "The Cinema" was originally published in the New York journal Arts, and a slightly edited version titled "The Movies and Reality" appeared in The New Republic shortly thereafter. It can now be found in The Essays of Virginia Woolf, Vol. 4, 1925-1928 (public library).
Woolf begins with a reserved meditation on the nature of moving images, which at first glance appear to speak to our most primitive underpinnings and invite a strange kind of cerebral resignation, but upon deeper reflection serve as a lubricant between brain and body:
People say that the savage no longer exists in us, that we are at the fag-end of civilization, that everything has been said already, and that it is too late to be ambitious. But these philosophers have presumably forgotten the movies. They have never seen the savages of the twentieth century watching the pictures. They have never sat themselves in front of the screen and thought how for all the clothes on their backs and the carpets at their feet, no great distance separates them from those bright-eyed naked men who knocked two bars of iron together and heard in that clangour a foretaste of the music of Mozart.
The bars in this case, of course, are so highly wrought and so covered over with accretions of alien matter that it is extremely difficult to hear anything distinctly. All is hubble-bubble, swarm and chaos. We are peering over the edge of a cauldron in which fragments of all shapes and savours seem to simmer; now and again some vast form heaves itself up and seems about to haul itself out of chaos. Yet at first sight the art of the cinema seems simple, even stupid. There is the king shaking hands with a football team; there is Sir Thomas Lipton's yacht; there is Jack Horner winning the Grand National. The eye licks it all up instantaneously, and the brain, agreeably titillated, settles down to watch things happening without bestirring itself to think. For the ordinary eye, the English unaesthetic eye, is a simple mechanism which takes care that the body does not fall down coal-holes, provides the brain with toys and sweetmeats to keep it quiet, and can be trusted to go on behaving like a competent nursemaid until the brain comes to the conclusion that it is time to wake up. What is its purpose, then, to be roused suddenly in the midst of its agreeable somnolence and asked for help? The eye is in difficulties. The eye wants help. The eye says to the brain, 'Something is happening which I do not in the least understand. You are needed.' Together they look at the king, the boat, the horse, and the brain sees at once that they have taken on a quality which does not belong to the simple photograph of real life.
Woolf considers the escapist nature of the cinematic experience, and the comforting safety that lies in that escapism:
[The moving pictures] become not more beautiful in the sense in which pictures are beautiful, but shall we call it (our vocabulary is miserably insufficient) more real, or real with a different reality from that which we perceive in daily life? We behold them as they are when we are not there. We see life as it is when we have no part in it. As we gaze we seem to be removed from the pettiness of actual existence. The horse will not knock us down. The king will not grasp our hands. The wave will not wet our feet. From this point of vantage, as we watch the antics of our kind, we have time to feel pity and amusement, to generalize, to endow one man with the attributes of the race. Watching the boat sail and the wave break, we have time to open our minds wide to beauty and register on top of it the queer sensation — this beauty will continue, and this beauty will flourish whether we behold it or not.
Woolf, who nearly three decades earlier had written of imitation as essential for the arts, proceeds with a rather scathing admonition against cinematic adaptations of literature (cue in Life of Pi…) and argues, aptly for the era, that cinema has to find its own stylistic and narrative voice to fully deserve the label of a new art:
But the picture-makers seem dissatisfied with such obvious sources of interest as the passage of time and the suggestiveness of reality. They despise the flight of gulls, ships on the Thames, the Prince of Wales, the Mile End Road, Piccadilly Circus. They want to be improving, altering, making an art of their own — naturally, for so much seems to be within their scope. So many arts seemed to stand by ready to offer their help. For example, there was literature. All the famous novels of the world, with their well-known characters and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to the moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. The eye says 'Here is Anna Karenina.' A voluptuous lady in black velvet wearing pearls comes before us. But the brain says, 'That is no more Anna Karenina than it is Queen Victoria.' For the brain knows Anna almost entirely by the inside of her mind — her charm, her passion, her despair. All the emphasis is laid by the cinema upon her teeth, her pearls, and her velvet. Then 'Anna falls in love with Vronsky' — that is to say, the lady in black velvet falls into the arms of a gentleman in uniform and they kiss with enormous succulence, great deliberation, and infinite gesticulation, on a sofa in an extremely well-appointed library, while a gardener incidentally mows the lawn. So we lurch and lumber through the most famous novels of the world. So we spell them out in words of one syllable, written, too, in the scrawl of an illiterate schoolboy. A kiss is love. A broken cup is jealousy. A grin is happiness. Death is a hearse. None of these things has the least connexion with the novel that Tolstoy wrote, and it is only when we give up trying to connect the pictures with the book that we guess from some accidental scene — like the gardener mowing the lawn — what the cinema might do if left to its own devices.
But what, then, are its devices? If it ceased to be a parasite, how would it walk erect?
Still from The Cabinet of Dr. Caligari
Woolf cites the 1920 German Expressionist masterpiece The Cabinet of Dr. Caligari as a paragon of what imaginative cinematic storytelling might look like, then considers symbolism and semiotics as vital tools in the emerging language of film:
If a shadow at a certain moment can suggest so much more than the actual gestures and words of men and women in a state of fear, it seems plain that the cinema has within its grasp innumerable symbols for emotions that have so far failed to find expression. Terror has besides its ordinary forms the shape of a tadpole; it burgeons, bulges, quivers, disappears. Anger is not merely rant and rhetoric, red faces and clenched fists. It is perhaps a black line wriggling upon a white sheet. … Is there, we ask, some secret language which we feel and see, but never speak, and, if so, could this be made visible to the eye? Is there any characteristic which thought possesses that can be rendered visible without the help of words? It has speed and slowness; dartlike directness and vaporous circumlocution. But it has, also, especially in moments of emotion, the picture-making power, the need to lift its burden to another bearer; to let an image run side by side along with it. The likeness of the thought is for some reason more beautiful, more comprehensible, more available, than the thought itself.
And yet, Woolf cautions, cinema, already visual by nature, can't afford to literalize the metaphors of the poets:
As everybody knows, in Shakespeare the most complex ideas form chains of images through which we mount, changing and turning, until we reach the light of day. But obviously the images of a poet are not to be cast in bronze or traced by pencil. They are compact of a thousand suggestions of which the visual is only the most obvious or the uppermost. Even the simplest image 'My luve's like a red, red rose, that's newly-sprung in June' presents us with impressions of moisture and warmth and the glow of crimson and the softness of petals inextricably mixed and strung upon the lift of a rhythm which is itself the voice of the passion and hesitation of the lover. All this, which is accessible to words and to words alone, the cinema must avoid.
To thrive and blossom into a true art form, Woolf argues, cinema ought to invent is own language:
Yet if so much of our thinking and feeling is connected with seeing, some residue of visual emotion which is of no use either to painter or to poet may still await the cinema. That such symbols will be quite unlike the real objects which we see before us seems highly probable. Something abstract, something which moves with controlled and conscious art, something which calls for the very slightest help from words or music to make itself intelligible, yet justly uses them subserviently — of such movements and abstractions the films may in time to come be composed. Then indeed when some new symbol for expressing thought is found, the film-maker has enormous riches at his command. The exactitude of reality and its surprising power of suggestion are to be had for the asking.
How all this is to be attempted, much less achieved, no one at the moment can tell us. We get intimations only in the chaos of the streets, perhaps, when some momentary assembly of colour, sound, movement, suggests that here is a scene waiting a new art to be transfixed. And sometimes at the cinema in the midst of its immense dexterity and enormous technical proficiency, the curtain parts and we behold, far off, some unknown and unexpected beauty. But it is for a moment only. For a strange thing has happened — while all the other arts were born naked, this, the youngest, has been born fully-clothed. It can say everything before it has anything to say. It is as if the savage tribe, instead of finding two bars of iron to play with, had found scattering the seashore fiddles, flutes, saxophones, trumpets, grand pianos by Erard and Bechstein, and had begun with incredible energy, but without knowing a note of music, to hammer and thump upon them all at the same time.
To trace the remarkable evolution of the seventh art between Woolf's time and today, and the developments that propelled it, see 100 Ideas That Changed Film, then revisit Woolf on what makes love last, writing and consciousness, why the most fertile mind is the androgynous mind, the epiphany that revealed to her what it means to be an artist, and this wonderful illustrated biography of the beloved writer.
https://www.brainpickings.org/2013/02/25/virginia-woolf-on-the-cinema-1926/
artbooksculturefilmhistoryVirginia Woolf

redpajama_set_name: RedPajamaCommonCrawl


text:
Das Cape Mount (selten auf Deutsch auch Kap Mount) ist ein markanter Punkt an der westafrikanischen Küste am Atlantik, sie liegt im äußersten Nordwesten Liberias. Es besteht aus einer etwa 20 Kilometer langen, aber kaum 3 Kilometer breiten, felsigen Halbinsel, die im Südosten mit dem Festland verbunden ist.

Lage
Am Cape Mount liegt im Distrikt Grand Cape Mount die Stadt Robertsport. Sie wurde von den ersten Einwanderern aus dem Rückführungsprojekt amerikanischer Sklaven nach Afrika begründet.
Auf der bewaldeten Halbinsel befinden sich in Strandnähe drei kleine Seen: Lake Mono, Lake Jaa und Lake Makasa, diese sind jedoch winzig im Vergleich zum Lake Piso, der sich nördlich, zwischen der Halbinsel und dem Festland befindet und bei Robertsport mit dem Meer in Verbindung steht. Das False Cape Mount befindet sich nur etwa 4 Kilometer entfernt.

Geschichte
Der erste Europäer, der das Cape Mount zu Gesicht bekam, war 1458 der portugiesische Entdecker Diogo Gomes. Er bereiste im Auftrag Heinrichs des Seefahrers die afrikanische Westküste.

Literatur

Weblinks
 Militärtopographische Karten Sammlung der Universität Texas - TK250 Blatt NB29-4 MONROVIA.

Mount
Mount
Robertsport

redpajama_set_name: RedPajamaWikipedia


text:
in Greece21things to do
on Rhodes
Take selfie with ostrichon Rhodes, Greece
#6of 21 things to doon Rhodes
Make the most unusual photo, pose next to a curious ostrich, that for yummy will be happy to take a selfie with you!
In order to take cool selfie with ostrich, come to the ostrich farm. It is located next to the Butterfly Valley, near the village of Petaloudes, 20 kilometres from the capital. You can reach it by car or by bus.
On the farm there are about 120 ostriches, at the entrance you can buy food and please the birds, feed them directly from your hand. A member of a farm will show you how to do it, and can even share free food.
#5 Ostrich Farm & Park
Hilarious fun for the whole family, there are farm and zoo here, where in addition to ostriches are monkeys, donkeys, kangaroos, goats and camels.
Open hours: from 9:00 am to 7:30 pm
Official website: http://www.rhodesostrichfarm.gr
entrance to the farm costs €5,50 for adults and €3 for children under 12 years. Feed for ostriches costs €1.
to take selfie with ostrich, do not turn back to it - they do not like it very much. Better be at a distance of 40-50 centimetres from the ostrich, so that it could see your face.
← Climb to the Monolithos castle#5 of 21
See the Acropolis of Rhodes →#7 of 21
likes21share via
More things to do on Rhodes
#17 Clean your soul of the sins in Seven Springs tunnel Melissa Clark
It is believed that if you walk through a narrow tunnel, then you will be cleansed from sins.
FREE5 Seven sources
#18 Taste wine in Greece winery oddviser
In the village of Embona you can visit a local winery, where you will find out how the locals make the best wine in Rhodes.
FREE3 Embona village
#4 See the Acropolis of Lindos oddviser
Here you will be able to break away from the reality for a while and become an ancient Greek and stroll among the colonnades.
1223 Acropolis of Lindos
#8 See peacocks Кристина Нестеренко
If you want to see peacocks that show off their beautiful plumage, then climb the mountain Filerimos!
FREE14 Filerimos mountain
#13 See the panorama of the ancient Kamiros town Abarrane
From the height of the ruins of temple, you can see how nature connects with the ancient history.
49 Kameiros
#2 Ride on a donkey J Carr
If you want to experience the incredible feeling, when you climb to the Acropolis, you can use donkey and reach the top of the hill :)
524 Acropolis of Lindos
#9 See Valley of the Butterflies J Carr
You can see hundreds and thousands of butterflies Arctiidae that arrive in the valley at the end of May and live on tree trunks up to the end of October.
515 The Valley of the Butterflies
#21 Watch the bees in the museum oddviser
In the village of Pastida you'll find a unique museum dedicated to the bees, where you can observe the bees and learn all about beekeeping.
21 Bee Museum
#20 Visit the Church of St. Panteleimon oddviser
The church is one of the most revered Orthodox churches on the island dating back to 14th century.
FREE2 Church of St. Panteleimon
#1 Walk through the the Street of the Knights Kateryna Plakhotna
On this medieval street you will be able to plunge in the times of knights and beautiful ladies.
FREE34 Street of the Knights of Saint John
#19 Visit the monastery on top of mountain oddviser
Light a candle in the monastery in front of the holy face of the Virgin Mary and turn to her asking for the cherished dream.
FREE3 Monastery Tsambika
Share your ideas of what to do on Rhodes with other travellers — together we'll make our travellings more interesting!
Photo credit © https://www.flickr.com/photos/akxx70/


A common question we get asked is if I can SELL MY DALLAS HOUSE FAST? The answer is ABSOLUTELY!!! If you are trying to sell you Dallas house and you need to sell it quickly you have come to the right place. We buy houses in Dallas and all the surrounding cities. Your are just one phone call away from getting a no obligation hassle free quick cash offer within 24 hrs. Please call us now at 469-209-5350.
How to sell my Dallas house fast??
The answer to how to sell my Dallas house fast is this…. CALL US NOW!!! Most homeowner's are truly unaware of all the different options they have when they need to sell their house quickly. We are a group of professional investors who have the ability to make you a quick CASH offer for your Dallas home. We also have programs where we can step in and take ove ryour payments moving foward or work with you the with if you wish to get a higher price for your property and get your equity paid to you monthly through owner financing.
Can I sell my Dallas house fast??
We are experts at analyzing properties quickly and we are up to date on what every market in North Texas is doing at all times, especially the Dallas market. We can definitely answer the can I sell my Dallas house fast question for you. We can come up with a fair and honest quick cash offer for you within 24 hrs. You can contact us 7 days a week. You can sell my Dallas house fast because we pay cash. NO equity??? No problem… This is where can step in and start making your payments going forward. We will catch you up and make you current and even do the rehab if it is needed. We also have a partnership program with homeowner's and we can come in and loan you the rehab money if your house needs updating to get it to market value. We will step in and pay for the rehab, execute the renovation, and split the equity that was created at closing with you as a partner on the deal. This is a very popular program with our homeowner's where we can most often get them more then they could using any other exit strategy. Don't hesitate to call us at 469-209-5350.
We just want you to know that you don't need to be asking yourself, can you sell my Dallas house fast. We can buy your house and close in less then 7 days. We can have a contract to you the day you call us. Right away. Immediately!!! We work really hard to make syre we ahve the ability to act quickly. We know some of you are in a postion where you need to avoid forelclosure Dallas. We know that the bank is calling and the stress is mounting. We want to take that weight off you shoulders and help you get on with your lifeand help you sell my Dallas house fast. We are here to help. We want to help you if you get caught in a situation that is too much to handle. That is why you call us because we are experts in solving property problems. Once again our number is 469-209-5350.
Or to sell my Dallas house fast you can just handle it right here and now by going to our online FAST RESPONSE FORM. It is super easy…. Just fill in the information and your done. We will call you shortly to discuss your situation then make you an offer. If we can come together on a price that is fair for you and fair for us will will sign a contract right then and there and we can both mutually benefit. Please feel free to take a moment to fill out the online FAST RESPONSE FORM and we will call you shortly. It is easy to sell my Dallas house fast.


Should any banks be allowed to decide on their own that they are blocking transfers to bitcoin exchanges? Tell us what you think in the comments section below.
The post Consumer Protection Association Slams Bank for Blocking Transfers to Bitcoin Exchanges appeared first on Bitcoin News.


The duo of Greg Russell & Ciaran Algar is one of the most significant success stories of the UK Folk scene in recent years. From their debut album in 2012 - recorded when they were still at school - to winning the BBC young Folk Award within months, winning the BBC Horizon Award, a second acclaimed CD followed by stunning DVD and now their third CD. The juxtaposition of Greg's powerful vocals and Ciaran's superb fiddle playing coupled with their relaxed stage presentation is the key to their success. They are also talented on assorted other instruments which they have used more on this new album. Ciaran's arranging skills have come to the fore and more of his own compositions are included revealing a new depth to their music. They have more guest musicians on this new album and this gives them a bigger sound. Their stature grows with each album, but despite the additions it remains very much a duo sound.


text:
Fall Guys' extra reward systems have gotten a little bit silly
Fall Guys is starting to feel a lot like Vegas
By Cass Marshall Aug 18, 2021, 3:00pm EDT
Share All sharing options for: Fall Guys' extra reward systems have gotten a little bit silly
Image: Mediatonic/Devolver Digital
I recently sat down with some friends and fired up Fall Guys: Ultimate Knockout, the silly party game starring hapless beans and dangerous obstacle courses. It was my first time with the game in months, and I had an excellent time, but after my first round I was struck with a barrage of currencies, numbers, and achievements that felt like a horde of Vegas slot machines. It made me question how I feel about the entire game.
Playing a game of Fall Guys is great. As you go through the stages, all the good moments are still there. But I can go months between sessions of Fall Guys because it's a good game. Fall Guys fits perfectly into its niche: an accessible, silly party game with tons of replayability — a really refreshing twist on the battle royale formula! But when I'm in a round, I'm just having fun. I'm not thinking about achievements and season passes. When I'm playing chess, I don't stop to check if I've racked up Rook Points.
None of this is unprecedented; nearly every game has a season pass and multiple currencies. I currently have season passes waiting for me to complete in Fallout 76, Red Dead Online, Warframe, and half a dozen other games. It's common to have season passes for weapons, cosmetics, upgrades, or clothing outfits — but Fall Guys never needed it. It's a party game. It's like if you played Mario Party and after every round, Mario asked for the three digits on the back of your mom's credit card.
This isn't a new problem for Fall Guys. The game's crowns currency drew criticism early on for being so elusive as they could only be gained by winning a round. The developers made changes to address that and give people a sense of progress. Many players enjoy earning rewards and seeing bars fill up. But the seasonal progression feels so separate from the main game, yet so overwhelming at the same time. There are people who probably mostly play Fall Guys specifically for that meta progression.
It feels as though every game wants to have the stickiness of a MMORPG, where players dutifully show up to do their daily objectives. That's a structure that works when I have things to do in a game world — if I log into Warframe, I probably have a laundry list of in-game levels to hit and enemies to kill, and the season pass just augments that. With Fall Guys, I just wanna be a bean, baby.
Next Up In Nintendo Switch


text:
Case study Expresso Tiradentes in São Paulo
More case studies with organic coated steels
Porsche Centrum Groningen: Corporate architecture with ArcelorMittal coated steels
Nova Arcada: A shopping centre with a colourful 'steel puzzle' envelope
Similar case studies Transport
Bilbao Cruise Terminal: A highly functional modular steel building
The transparent structure of the Vienna City Landing Stage with Cofraplus® 77
Expresso Tiradentes: ArcelorMittal steel colours São Paulo
Steel is a constant and coloured presence in the Expresso Tiradentes, an elevated track for the Bus Rapid Transit in São Paulo, the most populated city in Brazil and the entire southern hemisphere . In bright colours, steel covers the terminals, envelops the elevated tracks, creates footbridges, and isolates areas. Part of the steel used in this construction was supplied by the ArcelorMittal companies Perfilor and Belgo Cercas e Cia.
Expresso Tiradentes
©Leonardo Finotti
Expresso Tiradentes: detail of the steel beams
©Hiroto Yoshioka
Expresso Tiradentes: Sacomã Terminal
Expresso Tiradentes: aerial view of the Sacomã Terminal
Expresso Tiradentes: night view of the Mercado terminal
Expresso Tiradentes: interior of the Mercado Terminal
Expresso Tiradentes: Mercado Terminal
Expresso Tiradentes: aerial view of the Mercado Terminal
Expresso Tiradentes: view of the elevated track
Expresso Tiradentes: aerial view of the elevated bus line
Expresso Tiradentes: interior of the Sacomã Terminal
Expresso Tiradentes is an exclusive, elavated bus lane from the centre of São Paulo to Cidade Tiradentes (Tiradentes City) in the east of the city. It covers a length of 31.8 km and consists of two lines. The aim of the project designed by the architect Ruy Ohtake was to improve public transport in the highly populated and congested metropolitan city.
The work began in mid 1997 and suffered a number of delays relating to budgets and politics over the years.
The first phase, Line 1, was opened in 2007. It is 8.5 km long and connects the Mercado terminal, in the centre, with the Sacomã terminal, in the south. The completion of the Mercado-Sacomã section enables a connection to three metro lines.
According to official information, the buses run every three minutes and complete the entire route in no more than 20 minutes.
The design: The track and the stations
The elevated track crosses the urban space at an average height of 10 m. Therefore, its dominant presence in São Paulo needed to blend in well with the rest of the city in order to be in alignment with the urban space.
Thus, the design of this pathway was prepared with care, not only technical in the technical aspect, but mainly in the aesthetic one. Enveloped in colourful steel sheets, the curvy track winds like a long, light stroke of a brush trough the urban landscape.
For the city, its sinuous horizontality presents a poetic route in the middle of the heterogeneity of the structures. For the passengers who see the horizon of the city, it provides a view of São Paulo over the rooftops of the buildings.
A transparent metal roof covers the Mercado terminal giving the space occupied by the passengers the feeling of a station without interrupting the view of the city. This construction with its expressive characteristics is a pleasant contrast to the market.
The Sacomã Terminal is different in its complexity. On the upper floor, in addition to the arrival and departure of vehicles on the elevated track, there is an intense flow of pedestrians. 52 bus lines coming from ABC arrive at the ground level of the terminal. The intermediate mezzanine has its own services.
ArcelorMittal steel
Perfilor supplied 320 tonnes of profiled steel sheets for the work in blue and white for two terminals (Mercado and Sacomã) and yellow for the footbridges and the elevated track.
The yellow fences used at the terminals and following the bus route were supplied by Belgo Cercas e Cia. The fence is made of metal panels 2.5 m wide with varied coatings and heights.
Revitalisation of the district
The efficiency of public transport, combined with the aesthetic expression of the entire elevated track, presented an opportunity for urban revitalisation offering a new design for these districts and offering the prospect of re-use of the most significant warehouse structures and other buildings. The existing road system in this region allowed a very interesting spatial reorganisation and fits in very well with the urban transport being introduced.
Ruy Ohtake
with Carlos Roberto Azevedo and Félix de Araújo
Project: 1998 to 2003
Conclusion: February 2007
Municipality of São Paulo
Andrade Gutierrez S.A. and Queiroz Galvão S.A.
Leonardo Finotti and Hiroto Yoshioka
Product used
Site plan Mercado Terminal
Plans and sections of Mercado Terminal
Plan mezzanine Sacomã Terminal
Plan Sacomã Terminal - upper floor
Sections Sacoma Terminal
Elevations Sacomã Terminal


HPS Advise, the consulting subsidiary of the law firm of Hall Prangle & Schoonveld, LLC, was established as a platform to leverage HPS' vast experience in dealing with the legal, clinical and business issues facing today's healthcare providers, practice groups, hospitals and health systems. HPS Advise is dedicated to partnering with our clients in pursuit of innovative solutions to reduce risk, improve patient care and achieve optimal outcomes in handling claims. HPS is particularly impactful in the birth trauma arena and in the opioid arena.
Based on the scope of the engagement, HPS Advise can assemble a national team from a roster of battle-tested trial lawyers, physicians, nurses and quality and risk management experts, who have spent decades investigating, analyzing and defending malpractice allegations by advocating for healthcare providers. Our unique platform promotes collaboration with clients in a flexible and creative fashion that leads to the proactive implementation of systems and solutions that enhance our clients' productivity and profitability. Importantly, it does so with the privileges and protections associated with an attorney-client relationship.
We work closely with healthcare providers, practice groups and health systems to provide clients with the depth and resources in key areas of operations/clinical, risk management and claims.
Once the project scope and goals have been defined, we can work with your organization to develop dramatic new approaches, based on our decades of experience in the healthcare field, utilizing a three-pronged methodology; the HPS Advise ABCs ™.
The goal of HPS Advise is to create value-added services around an economic arrangement that deepens our client relationships, builds trust and improves outcomes. We will work with clients on alternate fee arrangements foregoing traditional hourly rates in favor of project-based fees.


Copyright © 1996-2018 John W. Eaton.
D.2.1 Have You Found a Bug?
This manual documents how to run, install and port GNU Octave, as well as its new features and incompatibilities, and how to report bugs. It corresponds to GNU Octave version 4.4.1.
• Introduction: A brief introduction to Octave.
• Statements: Looping and program flow control.
• Trouble: If you have trouble installing Octave.
• Installation: How to configure, compile and install Octave.
• Copying: The GNU General Public License.
• Concept Index: An item for each concept.
• Function Index: An item for each documented function.
• Operator Index: An item for each documented operator.
• Graphics Properties Index: An item for each graphics object property.
• Actual Bugs: Bugs we will fix later.
• Bug Tracker: Where to submit your bug report.
• Bug Reporting: How to report a bug effectively.
• Sending Patches: How to send a patch for Octave.


text:
//
// Copyright (c) Microsoft Corporation. All rights reserved.
// Licensed under the MIT License. See LICENSE in the project root for license information.
//
using UnityEngine;
using HUX;
using System;

public class InputSourceGamepad : InputSourceVirtual, ITargetingInputSource
{
	public event Action<InputSourceBase, bool> OnSelectChanged = delegate { };
	public event Action<InputSourceBase, bool> OnMenuChanged = delegate { };

	public event Action<InputSourceGamepad, bool> OnStartButtonChanged = delegate { };
	public event Action<InputSourceGamepad, bool> OnAButtonChanged = delegate { };
	public event Action<InputSourceGamepad, bool> OnBButtonChanged = delegate { };
	public event Action<InputSourceGamepad, bool> OnXButtonChanged = delegate { };
	public event Action<InputSourceGamepad, bool> OnYButtonChanged = delegate { };

	public event Action<InputSourceGamepad, InputSourceGamepadBase> OnGamepadSourceChanged = delegate { };

	public InputSourceGamepadBase gamepadSource;

	[DebugTunable]
	public bool JoystickDragging = true;
	[DebugTunable]
	public bool AbsoluteJoystickDrag = false;
	[DebugTunable]
	public Vector2 dragTargetRangeDegrees = new Vector2(15f, -15f);
	[DebugTunable]
	public Vector2 dragSpeed = new Vector2(15f, -15f);

	bool useJoyAdjustedDir;
	Quaternion dragStartHeadRotation = Quaternion.identity;
	Quaternion adjustedTargetRot = Quaternion.identity;

	private bool m_Select;
	private bool m_Menu;

	/*public ButtonControlState startButtonState = new ButtonControlState();
	public ButtonControlState aButtonState = new ButtonControlState();
	public ButtonControlState bButtonState = new ButtonControlState();
	public ButtonControlState xButtonState = new ButtonControlState();
	public ButtonControlState yButtonState = new ButtonControlState();*/

	void Awake()
	{
		gamepadSource = gameObject.AddComponent<InputSourceGamepadBase>();
	}

	public bool startButtonPressed
	{
		get
		{
			return gamepadSource.startButtonState.pressed;
		}
	}
	public bool aButtonPressed
	{
		get
		{
			return gamepadSource.aButtonState.pressed;
		}
	}
	public bool bButtonPressed
	{
		get
		{
			return gamepadSource.bButtonState.pressed;
		}
	}
	public bool xButtonPressed
	{
		get
		{
			return gamepadSource.xButtonState.pressed;
		}
	}
	public bool yButtonPressed
	{
		get
		{
			return gamepadSource.yButtonState.pressed;
		}
	}
	public Vector2 leftJoyVector
	{
		get
		{
			return gamepadSource.leftJoyVector;
		}
	}
	public Vector2 rightJoyVector
	{
		get
		{
			return gamepadSource.rightJoyVector;
		}
	}
	public Vector2 trigVector
	{
		get
		{
			return gamepadSource.trigVector;
		}
	}
	public Vector2 padVector
	{
		get
		{
			return gamepadSource.padVector;
		}
	}

	void SelectGamepadSource(InputSourceGamepadBase source)
	{
		if (gamepadSource != null)
		{
			gamepadSource.startButtonState.OnChanged -= OnStartEvent;
			gamepadSource.aButtonState.OnChanged -= OnSelectEvent;
			gamepadSource.bButtonState.OnChanged -= OnBButtonEvent;
			gamepadSource.xButtonState.OnChanged -= OnXButtonEvent;
			gamepadSource.yButtonState.OnChanged -= OnYButtonEvent;
		}

		gamepadSource = source;

		if (gamepadSource != null)
		{
			gamepadSource.startButtonState.OnChanged += OnStartEvent;
			gamepadSource.aButtonState.OnChanged += OnSelectEvent;
			gamepadSource.bButtonState.OnChanged += OnBButtonEvent;
			gamepadSource.xButtonState.OnChanged += OnXButtonEvent;
			gamepadSource.yButtonState.OnChanged += OnYButtonEvent;
		}

		OnGamepadSourceChanged(this, gamepadSource);
	}

	private void OnStartEvent()
	{
		OnStartButtonChanged(this, gamepadSource.startButtonState.pressed);
	}

	void OnSelectEvent()
	{
		bool pressed = gamepadSource.aButtonState.pressed;
		this.OnAButtonChanged(this, pressed);
		if (pressed)
		{
			if (JoystickDragging)
			{
				dragStartHeadRotation = Veil.Instance.HeadTransform.rotation;
				adjustedTargetRot = AbsoluteJoystickDrag ? Quaternion.identity : dragStartHeadRotation;

				useJoyAdjustedDir = true;
			}
		}
		else
		{
			useJoyAdjustedDir = false;
		}
	}

	private void OnBButtonEvent()
	{
		this.OnBButtonChanged(this, gamepadSource.bButtonState.pressed);
	}

	private void OnXButtonEvent()
	{
		this.OnXButtonChanged(this, gamepadSource.xButtonState.pressed);
	}

	private void OnYButtonEvent()
	{
		this.OnYButtonChanged(this, gamepadSource.yButtonState.pressed);
	}

	public override void _Update()
	{
		// Select whichever input is present first
		if (!gamepadSource.IsPresent())
		{
			InputSources inputSources = InputSources.Instance;
			if (inputSources.netGamepad.IsPresent())
			{
				SelectGamepadSource(inputSources.netGamepad);
			}
			else if (inputSources.hidGamepad.IsPresent())
			{
				SelectGamepadSource(inputSources.hidGamepad);
			}
			else if (inputSources.unityGamepad.IsPresent())
			{
				SelectGamepadSource(inputSources.unityGamepad);
			}
		}
		else
		{
			if (useJoyAdjustedDir)
			{
				Vector2 joy = gamepadSource.leftJoyVector;
				if (AbsoluteJoystickDrag)
				{
					adjustedTargetRot = buildWorldTargetRot(joy);
				}
				else
				{
					adjustedTargetRot *= buildLocalTargetVector(joy, dragSpeed * Time.deltaTime);
				}
			}

			/*aButtonState.ApplyState(gamepadSource.aButtonState.pressed);
			bButtonState.ApplyState(gamepadSource.bButtonState.pressed);
			xButtonState.ApplyState(gamepadSource.xButtonState.pressed);
			yButtonState.ApplyState(gamepadSource.yButtonState.pressed);
			startButtonState.ApplyState(gamepadSource.startButtonState.pressed);*/
		}

		bool prev = m_Select;
		m_Select = (this as ITargetingInputSource).IsSelectPressed();
		if (prev != m_Select)
		{
			OnSelectChanged(this, m_Select);
		}

		prev = m_Menu;
		m_Menu = (this as ITargetingInputSource).IsMenuPressed();
		if (prev != m_Menu)
		{
			OnMenuChanged(this, m_Menu);
		}

		base._Update();
	}

	Quaternion buildLocalTargetVector(Vector2 input, Vector2 scale)
	{
		return Quaternion.Euler(input.y * scale.y, input.x * scale.x, 0);
	}

	Quaternion buildWorldTargetRot(Vector2 nav)
	{
		return dragStartHeadRotation * buildLocalTargetVector(nav, dragTargetRangeDegrees);
	}

	// Targeting source interface
	bool ITargetingInputSource.ShouldActivate()
	{
		return aButtonPressed;// && InputSources.Instance.gamepadCardinal.CanDeactivate();
	}
	Vector3 ITargetingInputSource.GetTargetOrigin()
	{
		return Veil.Instance.HeadTransform.position;
	}
	Quaternion ITargetingInputSource.GetTargetRotation()
	{
		if (useJoyAdjustedDir)
		{
			return adjustedTargetRot;
		}

		return Veil.Instance.HeadTransform.rotation;
	}

	bool ITargetingInputSource.IsSelectPressed()
	{
		return aButtonPressed;
	}

	bool ITargetingInputSource.IsMenuPressed()
	{
		return startButtonPressed;
	}

	void ITargetingInputSource.OnActivate(bool activated)
	{
	}

	bool ITargetingInputSource.IsReady()
	{
		return true;
	}

	bool ITargetingInputSource.IsTargetingActive()
	{
		return true;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Keeping a Balanced View of Time
THINGS CONCEALED AND THINGS REVEALED
TIME FACTORS THAT GOD HAS NOT REVEALED
The Divine Origin of Marriage
God Sets Forth His Purpose for Man and Woman
God's "Eternal Purpose" Now Triumphing for Man's Good
Why We Have Not Been Told "That Day and Hour"
Why Are You Looking Forward to 1975?
"Show us just how to count our days in such a way that we may bring a heart of wisdom in."—Ps. 90:12.
1, 2. What do we all experience as to the passage of time?
LIFE is a precious possession. Without it nothing else matters. (Matt. 6:25-27; 16:26) But even in our modern world the life-span of humans remains short and all too soon comes to an end. Just as the writer of the ninetieth psalm long ago put it: "Seventy years is the span of our life, eighty if our strength holds; the hurrying years are labour and sorrow, so quickly they pass and are forgotten."—Ps. 90:10, New English Bible.
2 In many lands, when a person has reached thirty years of age he is in what may be called the "prime of life." Yet, the shortness of the human life-span means that he is then already beginning to go 'downhill' physically, beginning to experience a slowing down of body abilities and functions. Yes, how quickly the years pass.
3. Why do people get impatient about accomplishing their desires?
3 No wonder, therefore, that we humans are generally very conscious of time. No wonder, too, that humans alone of all earth's living creatures are intelligently concerned about the future, actively planning for it, keenly interested in what it will bring. (Eccl. 3:11) Because of having just so much time ahead before their life runs out, people incline to become impatient to see the attainment of their desires.
4, 5. (a) How is Jehovah God different as to his view of time? (b) Why is God's selection of a time to do a thing more desirable than that of humans?
4 Imperfect man's situation is therefore very different from that of his Creator, who is eternal, timeless in His existence. The same writer of the ninetieth psalm wrote of Him: "Before the mountains were brought forth, or earth and world were born in travail, from age to age everlasting thou art God. . . . for in thy sight a thousand years are as yesterday."—Ps. 90:2-4, NE.
5 But does this make Jehovah God indifferent toward time? No; nor does it prevent him from having a keen, active interest in the future and its developments. However, because of his being able to view things, not from the standpoint of imperfect, short-lived humans, but from that of eternity, Jehovah God is never pressured by anxiety to see something realized before time runs out on him. (Ps. 90:2; 2 Pet. 3:8) He is able to survey the whole stream of time and determine just when to act and to cause his unfailing purposes to work out precisely at the right time, the best time for all concerned, neither too soon nor too late.
6. Even though God has eternal time, does this prevent him from committing himself to do a certain thing at a specified time?
6 With his knowledge of the future and his all-powerfulness, God is able to commit himself to a particular time schedule for the future, and at times he has made this known to humans. For example, he told Abram (Abraham): "You may know for sure that your seed will become an alien resident in a land not theirs, and they will have to serve them, and these will certainly afflict them for four hundred years." (Gen. 15:13; Acts 7:6, 7) True to the prophecy, at the end of the four hundred years Jehovah God freed Abraham's descendants, the Israelites, from slavery, and their exodus from Egypt began.
7. (a) How was God's time schedule exact in connection with the Babylonish exile of the Jews? (b) With the Messiah's appearance?
7 Later, God foretold a seventy-year period of desolation for Judah, and when that period expired the Jews were released, right on schedule. (Jer. 25:8-11; Dan. 9:2) Similarly, the appearance of the Messiah was foretold to come 483 years (sixty-nine "weeks" of years) from the time of the issuing of the order to rebuild Jerusalem's walls, and precisely on time, at the completion of that period in the year 29 C.E., Jesus Christ was baptized and anointed as the promised Messiah.—Dan. 9:24-27.
8. Is it possible for us to know when a certain feature of God's purpose will take place if he has not announced a precise time?
8 So, when Jehovah God makes known a certain time for the outworking of some feature of his divine purpose, his faithful servants can rely implicitly on the exactness of the published schedule. But when he has not made such announcement, then it remains beyond their ability and power to determine the time of the realization of that purpose. That is the case with the timing of the outbreak of the "great tribulation" that God's Son foretold, a time of divine judgment that opens the way for the start of the thousand-year Kingdom rule, which will bring untold blessings for this earth and its inhabitants.—Matt. 24:21, 22; Rev. 7:14-17.
9. What does God's word through Moses at Deuteronomy 29:29 show as to our understanding of His purposes?
9 Should we think it strange that God would retain certain knowledge for himself in this way? As far back as the time when the Israelites were approaching the Promised Land, the prophet Moses recorded these inspired words at Deuteronomy 29:29: "The things concealed belong to Jehovah our God, but the things revealed belong to us and to our sons to time indefinite, that we may carry out all the words of this law." Yes, all that we really need to know to serve Jehovah God faithfully, and that we need in order to sustain us in our hope and conviction, this, God reveals to us. But where it accomplishes his purpose better, he can also conceal matters, with no hurt or lack to his servants.
10. (a) What do Jesus' words just before his ascension to heaven reveal as to our knowing certain times or dates? (b) When some of the early disciples made a mistake about timing of events, what did the apostle Paul write to them?
10 The Greater Moses, Christ Jesus, also said to his disciples, shortly before ascending to heaven: "It does not belong to you to get knowledge of the times or seasons which the Father has placed in his own jurisdiction." This was in answer to their inquiry about the restoring of the kingdom, something they doubtless ardently desired to see. He then went on to say: "But you will receive [what? Not knowledge of those 'times and seasons which the Father had placed in his own jurisdiction,' but] power when the holy spirit arrives upon you." (Acts 1:6-8; 3:20-23) God would and did empower them to accomplish their assigned work and service in harmony with his revealed will for them. There were things, however, they did not know and, later, some disciples were inclined to jump to conclusions about certain promised events, in effect trying to hurry them up. (Compare 2 Thessalonians 2:1-5.) But all that they really needed to know to be of strong faith, conviction and courage, and to act wisely, God supplied to them.
11. Did the disciples know the exact date for the destruction of Jerusalem, or what?
11 It was that way with regard to the destruction of Jerusalem in the first century of our Common Era. Christ Jesus revealed to his disciples the conditions that would precede and lead up to the destruction of that unfaithful city, the center of Jewish worship of that time. Seeing those conditions making up that "sign," his disciples would "know that the desolating of her [Jerusalem]" had drawn near. (Luke 21:10-20) He told them that "this generation will by no means pass away until all these things happen." (Mark 13:30) So it was a matter of immediate concern for them, something for their generation. But they were not told just when it would come.
12. (a) Without having a date, how were the Christians in Jerusalem able to escape before the city was destroyed? (b) What test was there on those who withdrew as soon as Jerusalem was freed from siege?
12 The time arrived when they saw the feature of the sign relating to the encirclement of Jerusalem by encamped armies of Rome. Circumstances (the temporary and unexpected withdrawal of Roman forces) thereafter allowed them to flee the doomed city and seek refuge in the mountainous regions. They still did not know just when the actual destruction would take place. In reality, about four years elapsed between the time of their flight and Jerusalem's desolation. It would have been easy for them during that time to relax their vigil or assume that they had misread the sign and, as a result, fail to give strict heed to Jesus' warning: "Let those in the midst of her withdraw, and let those in the country places not enter into her."—Luke 21:20, 21.
13. (a) What time prophecy of Jesus was actually fulfilled in the destruction of Jerusalem? (b) Was that time warning, though not giving a precise date, profitable for Christians?
13 One thing is sure: Their generation did see the fulfillment of what God's Son had warned about. Those who had paid attention, who stayed vigilant, succeeded in escaping the disastrous calamity that ravaged Jerusalem. But history shows that hundreds of thousands of other persons did not. These were, in effect, asleep as to the significance of the conditions prevailing and the urgency of the day in which they lived. When Rome finally sent its forces back and sprang shut its military trap on Jerusalem in 70 C.E., it caught the city packed with thousands of visitors attending the Passover festival of that year. Of these and of the local residents, hundreds of thousands died within a period of just about five months. They had failed to show faith in the divine warning given through God's Son; they had not 'discerned the time of their being inspected.'—Luke 19:41-44.
14, 15. What evidence do we have that Jesus' warning then to his disciples has a worldwide fulfillment in our time?
14 Today we live nineteen centuries removed from that momentous period. Yet our time is far more critical. Writing toward the close of the first century, and hence decades after Jerusalem's destruction, the apostle John described the same things Jesus had given as a "sign" to his disciples in his prophecy embracing Jerusalem's desolation. But Revelation, received by John from Jesus, was of things future, yet to take place. (Rev. 1:1) And what John recorded shows that the "sign" given by Jesus would take on a global aspect, with war, famine, high cost of food, and disease epidemics affecting large segments of people in many parts of the whole earth. (Rev. 6:3-8) He thereafter refers to "the great tribulation" through which a "great crowd" of God's servants would pass alive and in safety, persons out of all nations, tribes and tongues. (Rev. 7:9-15) That tribulation, too, was part of the things yet to come.
15 This "revelation by Jesus Christ" therefore demonstrates that Jesus' prophecy, as recorded at Matthew 24, Mark 13 and Luke 21, about the "great tribulation" was not limited to the first century. It shows that the tribulation Jerusalem experienced was but a miniature fulfillment of that prophecy and that its major fulfillment on a global scale will make Jerusalem's tribulation seem small indeed by comparison. Just as surely as the generation living and hearing Jesus' warning in the first century was the generation that experienced a fulfillment of his words, just as surely will this generation—the generation seeing the major fulfillment of his "sign" identifying the last days of this system of things—be the generation to experience the global tribulation due to come.—Matt. 24:34.
16. Since we do not have a day or even a year for the outbreak of the "great tribulation," is there reason to be indifferent?
16 What, then, has God revealed to us about this? He certainly has not left us without guidance. By prophecies such as those just considered he enables us to know where we are in the stream of time. The fulfillment of his prophetic word convinces us that God is not sleepy nor slow, and as the apostle Peter said regarding those acting wickedly, "the judgment from of old is not moving slowly, and the destruction of them is not slumbering." (2 Pet. 2:3) We have ample information and evidence to cause us to be confident that we live in the "time of the end" as regards the present unrighteous system of things. Yet, beyond this, there are things that God has not revealed to us. One of those things is the time for the outbreak of the "great tribulation" prefigured by the tribulation that came upon Jerusalem, a tribulation that will be global in its fulfillment.
17. We know that we are at the close of six thousand years of human history, but what relationship does this have to God's rest day?
17 There are reasons why we cannot know this. For one thing, even though Bible chronology clearly indicates that we have reached the mark of six thousand years since the time of the creation of the first human, Adam, it does not tell us just how long after that event the sixth creative day came to its close and the seventh creative period or "day," God's great rest day, began. Genesis chapter two, verse three, says that Jehovah blessed and made sacred that "day," and it therefore seems reasonable that it will see within its bounds the removal of the wicked old order and the establishment of God's righteous new order by means of the thousand-year reign of God's Son. Thus there is reason for believing that that thousand-year period will form the closing part of that great rest day and will restore the earth and its inhabitants to a perfect state. That would enable God to say of that seventh day and its results—as he did of other creative days—that "it was good."—Gen. 1:4, 10, 12, 18, 21, 25, 31.
18, 19. (a) What took place, after Adam's creation, before God's rest day began? (b) How was Adam, at his creation, quite different from a newborn baby?
18 But that great rest day did not begin immediately after Adam's creation. Other events took place after Adam's creation but before the close of the sixth creative day. One of these is of great importance to all of us. That is the creation of the first woman, Eve. Without that none of us would be alive today, for, as the apostle Paul states at 1 Corinthians 11:12, "just as the woman is out of the man, so also the man is through the woman," all of us needing a human mother to be born.
19 How much time elapsed between the creation of the man and that of the woman? The Bible does not reveal this. It could have been a relatively short time. Adam was created—not as a child or an adolescent—but as a full-grown, fully mature man, both physically and mentally. He did not have to crawl first to learn to walk, nor babble sounds until able to speak. He was created with these abilities and could communicate with his heavenly Creator and could be set to work to cultivate and care for his garden home. He could comprehend divine instructions and also the prohibition concerning the proscribed tree of the knowledge of good and bad. (Gen. 2:15-17) In those respects, then, he would have been in position to receive a wife at any time.
20. Yet, in what respects could Adam at his creation be compared to a newborn infant?
20 True, and yet Adam was in certain respects like a newborn infant upon being created. Why? Because, fully adult though he was, the day of his being created was still the first day he had lived. Everything he saw—every tree, flower, plant, every stream, lake, river, every creature of all the bird, animal and fish creation—he was seeing for the very first time. This was true of everything he did. When he walked he took his very first step; and so too with the experience of running, climbing, touching, smelling, tasting, eating—all were brand-new experiences for him. What enormous curiosity he must have felt as he examined the fascinating handiwork of Jehovah God and became acquainted with his garden home! How long would he be allowed time to satisfy that curiosity before taking on added responsibility as a family head?
21, 22. What factors make it possible that Adam was quite some time in Eden before Eve was created?
21 That Edenic home does not seem to have been some tiny plot of ground. It contained all the varieties of trees within its boundaries, according to Genesis the second chapter. And there was a "river issuing out of Eden to water the garden," one large enough to separate and form the headwaters of four major rivers, some of which still flow today. (Gen. 2:8-10) It would take time for Adam to go exploring all of this in order to become familiar with the area he was assigned to care for and cultivate.
22 "But," one might ask, "would it not be pleasant if he were to share all these new experiences right away with a human companion, a wife, and thus learn together with her?" That might be, and yet might it not be more appropriate if he first gained considerable knowledge and experience beforehand? Then, when joined by his mate, he would be in position to answer her questions and explain things to her, thereby enhancing her respect for him as her informed head. (Eph. 5:22, 23) God's direct warning to Adam regarding the consequences of disobediently eating from the prohibited tree placed Adam in the position of God's prophet to the companion He would later create for the man.—Gen. 2:16, 17.
23, 24. What, respecting time, does Adam's naming all the animals indicate?
23 The only information the Bible actually supplies us is that, before creating Eve, God began bringing to the man all the creatures He had formed and "the man was calling the names of all the domestic animals and of the flying creatures of the heavens and of every wild beast of the field, but for man there was found no helper as a complement of him." (Gen. 2:18-20) It takes but a few words to describe this; but how long did it take in actuality?
24 The brevity of the Genesis account surely does not require our thinking that God simply gathered all the animals and birds into a big group and then had them file past Adam while he quickly called off names for them, one by one. True, he may have had to deal only with basic family kinds rather than all the varieties of creatures that have developed out of those family kinds. But even so, we cannot rule out the possibility that God's "bringing" these creatures to Adam may have involved their moving in sufficiently close to allow Adam to study them for a time, observing their distinctive habits and makeup, and then select a name that would be especially fitting for each. This could mean the passing of a considerable amount of time. And we may note that, when Adam did finally see his newly created wife, his first words were: "This is at last bone of my bones and flesh of my flesh." (Gen. 2:23) This too could indicate that he had waited for some time to receive his delightful human counterpart.
25. What conclusion can we reach as to the time that elapsed between the beginning of man's history and the creation of Eve, along with God's 'resting'?
25 What, then, does this mean? Simply this: That these factors, and the possibilities for which they allow, prevent us from saying with any positiveness how much time elapsed between Adam's creation and that of the first woman. We do not know whether it was a brief time such as a month or a few months, a year or even more. But whatever time elapsed would have to be added to the time that has passed since Adam's creation in order for us to know how far along we are within God's seventh "day," his grand day of rest. So our having advanced six thousand years from the start of human existence is one thing. Advancing six thousand years into God's seventh creative "day" is quite another. And we do not know just how far along in the stream of time we are in this regard.
26, 27. In view of what we have discussed, is chronology of no interest to us?
26 This does not mean, however, that chronology is of no concern to us. It is natural that we should be interested in it, since God has seen fit to make it an integral part of his inspired Word. Of the ancient prophets, the apostle Peter says that "they kept on investigating what particular season or what sort of season the spirit in them was indicating . . . when it was bearing witness beforehand about the sufferings for Christ and about the glories to follow these."—1 Pet. 1:10, 11.
27 We today are rightly concerned to know what "season" we are now in, and God provides us with that needed information. God's prophets of old had absolute faith in the certainty of the fulfillment of all that God had said. Though not knowing certain details or time factors, we can and should have that same solid faith in the unchangeableness of God's purpose. God's Son has provided us with powerful reason to stay alert to the outworking of that purpose, as the following article shows.
[Pictures on page 433]
JEHOVAH'S PROMISES COME TO PASS EXACTLY AT HIS APPOINTED TIME
Messiah appeared at the exact time foretold
Jehovah caused Israelite release from Babylon to restore land of Judah after 70 years
After 400 years of affliction, the Israelites were released from Egypt right on time


Photo Rumors has published some revised specs on the upcoming Sony A33, A55, A560 and A580 DSLRs, which were previously rumored. Check out the rumored spec list for each of these cameras below.
The dual memory slots in the spec list are surely SD/Memory Stick slots, and I wouldn't be surprised to see a single slot that works with the two formats instead. That said, putting an SD slot and a Memory Stick slot would certainly sell a lot more Memory Sticks than Sony is selling to DSLR users now – especially when you consider the file sizes generated by a 16MP sensor.


If it comes down to presenting your essay completed, you are going to need to recognize that you might contact the composing solution organization you are using day or evening. You also have to read through the essay aloud to you to definitely find out of the things which they think. In addition, the essay prompt requires you need to recommend different techniques that are innovative suppress the matter. Thus, whenever people try to look for an essay that is expert solution, we is obviously happy to offer assistance.


text:
Radio 2AP Samoa in 1949
WIRELESS waves have taken Samoa by storm. Radio 2AP, non-existent a year ago and established by the late Major E. Lloyd, formerly of 2YZ Napier, ranks as one of the achievements of the New Zealand administration in Samoa. On any of the five nights a week on which 2AP is on the air, from village to village throughout Samoa, at least two-thirds of the inhabitants are listening. There is no newspaper in Western Samoa except for a daily foolscap administration newsheet, a hundred or two copies of which are duplicated and circulated around the town of Apia.
Major Lloyd was a man of wide island experience. I first ran into him in Fiji during the war, where he was commanding the School of Instruction at Vatukoula. He was well known in Christchurch before the war as the original Professor Speedee of the 3ZB Quiz sessions. From Fiji he moved on to Tarawa, Canton and Ocean Island, as an officer of the Western-Pacific High Commission, and his recent death was a sad blow alike to his friends, the Broadcasting Service and, the administration in Samoa.
The late Major Lloyd of 2AP Samoa
During the day he administered the radio station and at nights announced the programmes that he had concocted by day. In his spare time he saw his wife. However, shortly before my arrival he devised a cunning arrangement whereby he would see more of her. Certain set programmes which come from New Zealand were running short as the Matua had been off for three months' overhaul. The Children's Hour was the particular shortage. So Mrs. Lloyd was detailed for an audition - and told she had better be good. She satisfied a critical husband and was soon running a Women's Session to boot, featuring as a sort of hybrid Aunt Daisy-cum-Christopher Robin.
Stahlin, the Samoan announcer, is a fluent bilinguist, and he daily translates the news, foreign and local, into Samoan. I had personal experience of the effective nature of messages put over in his Samoan hour. My own arrival at the hospital was mentioned in the local news, as opticians are rare objects in Samoa. Within a couple of days, and before my equipment was unpacked, Samoans were in from out-lying islands to see me. Subsequently, I put several messages over the radio to patients in distant parts and they were invariably received. I had previously been sceptical of the value of radio messages. For many years I have been a student of police messages. I have never yet seen the green Ford tourer with the dented rear mudguard and the right number-plate. However, my scepticism has been jolted. Samoans certainly listen to their radio.
THE broadcasting station itself is situated at Mulinu'u, a mile along the beach from Apia, and, appropriately enough, near the Fono House, or Samoan parliament. "Fono," which is not related to the "phono" of phonograph, means "council," though I suspect philologists could develop a thesis, on the connection. The station has a large main studio, a couple of smaller ones, record store, offices and, of course, the inevitable room. chock-full of gadgets. Mulinu'u relays the programmes to the transmitter at Afiamalo, seven miles back in the hills. Programmes are actually broadcast to the transmitter on shortwave and are not sent by cable. Cables require heavy maintenance in the tropics - and they make excellent clothes lines. From Afiamalo the programmes are retransmitted on broadcast. I will leave it to the experts to ponder how any self-respecting wireless wave, short or long, finds its way through seven miles of jungle, 200 inches of rainfall, climbs 3,000 feet to Afiamalo, and then gets back again.
The 2AP studio building
The staff at the transmitter consists of Afa, the Samoan rousabout, and Cam Turner, the technician. Turner, in typical island style, had gone to Samoa nine months previously to relieve for three months. He was studying for his A.M.I.E.E., and I frequently envied him the application that could keep him grinding away all day on the lawn under a flamboyant tree. Solid swotting in the tropics is not easy. Eventually the fatal day of the examination came. Arrangements had been made for the postmaster to act as examiner. At nine o'clock Turner duly arrived at the post office and Mr Taylor solemnly broke the seals of a very confidential package from Island Territories. They had enclosed all the instructions for the conduct of the examination, everything in fact except the examination questions themselves. This was a bitter blow, as being an English examination it would mean waiting another year. However, they contacted Wellington, and within a couple of hours an operator at the radio station was copying down a complicated paper on electrical engineering, with numerous technical diagrams. It took ten hours' work at the keybaord to complete. Eventually Turner started his examination at 10.0 p.m., finishing at about 3.0 a.m. After the marathon effort of the operator and Turner's ordeal of waiting, I sincerely hope he got through.
THE Broadcasting Service features the meetings oi the Legislative Assembly. Parts of the sessions are broadcast - as in New Zealand - and the standard of debate is no higher, or lower, than is usual here. Further, the speakers are recorded on the studio's tape machine. This is afterwards played back at appropriate speed to the Government typists concerned with the production of the Samoan Hansard, an irregularly published periodical which makes instructive and frequently humorous reading.
The radio has become immediately available to all Samoans. True, not many Samoans actually own a set, but there is one Government set in each village, usually in the fale of the fa'a pule, or headman of the village. The Samoan house has open walls - there is no privacy in the European sense - and the village just gathers around at listening time and listens. It would be very interesting to evaluate the total effect for good or evil of this new feature of Samoan life. Certainly a heavy responsibility rests on the shoulders of the admministration and the Broadcasting Service.
This material remains © APN Holdings NZ Limited 2013 and is only to be used for non-commercial personal or research use. Any other use requires permission of the copyright holder.
Feature supplied by Phillipa Downie in memory of her late father Major E Lloyd [formerly 2YZ Napier] who established 2AP Apia.
"We have no money, so we have to think."
- Lord Ernest Rutherford [radio inventor]
"I really love what you're doing"
Barry Rocard, 2GB Sydney 1960-66, Sydney, Australia


text:
Q: How to input less than 1$ using mouse in alias: "currency" with decimals , Inputmask I`m using RobinHerbots input-mask: https://github.com/RobinHerbots/Inputmask
You can refer to the currency demo according to this page: http://robinherbots.github.io/Inputmask/ and click the demo tab, then currency.
Now to input less then $1 user needs to press or '.'
Is there a way to make it with second click on the input field on decimal, without using keyboard?
Now it works like that, if user input number firstly then he can click on decimal and input it.
Thanks for ideas, in advance.

redpajama_set_name: RedPajamaStackExchange


Scoob & Freez Records proudly presents its debut release The House Keepers, Volume 1.
If Soulful, Deep and Afro House is your preference then this various artist compilation album is filled with new tracks from industry veterans like Stacy Kidd, Dana Weaver, Salah Ananse, Koffee Paige, Tasha LaRae, Cassio Ware Starring Cynthia Tucker, Darian Crouse and Vjuan Allure. Also featuring some of South Africa's most talented producers including Echo Deep, Ladi Adiosoul & Houseville, and newcomer DJ Chocky. Some surprise Scoob & Freez produced gems are sprinkled throughout and they've even included as a bonus, their new track 'Oscillate'.
Jackmaster Gary Wallace- 'Str8 Fiyah , Something for all genres!
Mel-O-Dj- A fantastic promo package with an array of deep and soulful tracks that compliment each other and will blaze up any dance floor. Great work again gentlemen!
Last edited by robbi : 08-23-2018 at 05:21 PM.


text:
Q: How to get the cpu current speed that just like the value diplaying in Taskmgr? the picture below like the picture below
enter image description here
how can I get the value 1 (speed) but not vuale 2 (Maximum speed) by WMI or any other programming ways.
I have refered to many WMI API but can't get any answer.

A: I guess you are looking for the CurrentClockSpeed member of the Win32_Processor class that you can query by WMI api.


After travelling non-stop for over two-and-a-half years, we've welcomed the chance to set up a semi-permanent home in London in 2017. Aside from unlimited cups of tea and a fridge which we don't have to share with a rag-tag bunch of backpackers, it has afforded us the opportunity to create a dedicated work-space for Along Dusty Roads.
To understand how important and refreshing that is for us, perhaps you need to understand that our only ever 'office space' throughout the lifespan of the blog has been, variously, coffee shops and hostel common areas throughout Latin America and Europe alongside a few house-sits here and there. Sometimes this environment is fantastic for creativity and sociability, but often – with unreliable wi-fi, crowd-sharing the only plug sockets and someone deciding to start a game of beer pong on the next door table – it hasn't always been ideal.
And so, in our little corner of east London, we relished being able to put together our own pinterest-worthy work space.
Buying a computer was the hardest part of the process. We wanted a Mac (everyone wants a Mac), but after doing a lot of research over a number of weeks, we decided that establishing our priorities first and foremost (rather than spending all our money on something slick and irresistibly designed to sit alongside our succulents) was key. Fundamentally, as well as something on budget, we needed decent storage space for our photography requirements in the medium and long-term; our two Macbook Pros laptops are so crammed full of photos and (as yet unedited) video and we couldn't simply keep on buying hard drive after hard drive to tide us over. Aside from space restrictions, it meant that the whole work flow to create a beautiful post was stop-start and took, by a conservative estimate, at least twice as long as it should simply because our equipment wasn't up to scratch.
We eventually took the plunge and invested in a desktop (how 90s!) tower which had not one, not two but THREE TERABYTES of hard drive for us to fill up with thousands upon thousands of our RAW photo files.
The change was dramatic and our workflow benefitted greatly from such an upgrade in hardware. We're still not the biggest fans of a Windows interface and usability in comparison with a Mac, but given the amount we saved and the improved specs we gained as a result, we were more than happy with our decision.
However, we had made one fatal error.
By focussing so much on the specs of the computer hardware, we had totally neglected the importance of our monitor. Weeks were spent looking for the right computer, but the decision for the monitor was made in a matter of hours – plumping for something which suited our budget, rather than our requirements as travel photographers and budding (we'll get there eventually) videographers.
The screen we bought, a 23-incher at just over £100, was not fit for purpose. If it was only required for checking e-mails, writing articles and browsing the internet, its flaws wouldn't have been quite so apparent. However, when editing our photos to create and curate a post about our visit to Chernobyl, it was next to useless. The colour spectrum, the brightness, the apparent matte-coating on the screen itself – in optimal lighting conditions it was a challenge, during gloomy winter afternoons, we simply couldn't do or see anything clearly. All the time gains we had made by upgrading to a computer with space and speed were lost by our decision to go with a sub-par monitor.
Due to this inefficiency in our workflow, changing over to the 32-inch PD3200Q BenQ Designer Monitor, was not just a 'nice change' but absolutely essential for our blog and business strategy. After installing it and opening up Lightroom for the first time, it was like switching a light on! We could see our photos for the first time ever - every wrinkle on an old Moroccan man's smile, every blemish on a landscape, each and every texture in a marketplace scene – it all popped.
However, editing on a professional standard monitor gave us more than just improved visibility, definition and scale – it wholly transformed our editing process and perspective.
Without giving away too many secrets, we have a pretty set-in-stone workflow when editing our images in Lightroom. This saves us time and ensures that we manage to have a consistent aesthetic on images on our website and social media feeds, like Instagram.
The first revelation with the new large-sized and high definition 2k monitor was how quickly we were able to determine whether an image was usable or not. Previously, the only place we had seen our images would be on the camera screen (pre-edit) and then on our laptop's 13-inch screen. Now, taking up a vast space in front of us, we could immediately see the actual quality of an image. In some cases, this was a bad thing as it meant that some of our 'banker' images turned out to be duds – the focus was in the wrong place or it was actually blurry rather than as crisp as it appeared on other screens. Despite this making us paranoid about how many less-than-perfect images we had published over the years, it actually resulted in the surprising effect of transforming some photos which we had previously disregarded into absolute gems – we just needed the scale and detail to appreciate them.
As it's focused on designers and creatives, there are a variety of settings inbuilt in the monitor depending upon what you primarily use it for (i.e. CAD/CAM Mode, Animation Mode, Darkroom Mode') and you can switch easily between these using a hotkey puck, or have two on at the same time with the Dual-Screen function. We tried-and-tested some of these (not all are relevant for our photography flow) but actually preferred creating our own custom screen setting. Overall however, the sRGB was good and, despite the size, the colouring was consistent across the width of the screen, which is really important for editing a 'true' image.
Aside from showing just how unforgiving f-stop 1.4 or 2.8 can sometimes be if it's just slightly off your target, the crispness and clarity of the images on the screen also led to the discovery that a few standard steps in our workflow (like sharpening) were actually degrading a number of images, rather than improving them.
So, in terms of our photography, switching to an improved professional standard monitor resulted in a dramatic improvement in the quality, control and, indeed, quality control, of our final blog content. Since we know our readers use such a huge variety of screens, knowing an image passes the quality test on our this monitor means we know it will is guaranteed to look great on any other medium – and that counts for a lot when we place a lot of emphasis on the look and style of our blog.
We also really like how much control we have over the monitor's angle, height and position – as the light changes in our workspace throughout the day, this flexibility is extremely important to ensure we don't lose work to glare or obtrusive light on the screen or in our line of vision.
However, for a few other aspects in our overall blogging workflow, the monitor was actually a little too large for comfort. For example, when we are doing research on a destination, booking a trip or pulling together all our research for an article, then that inevitably results in at least 20-30 tabs staying open on our browser. Instead of the monitor's size making this easier, it actually made switching between tabs, or finding the one you had open yesterday, quite difficult. Similarly, such a large monitor can negatively affect the look and feel of non-responsive or non-optimised websites which aren't adjusted to its resolutions (which, unfortunately, we discovered was our own in certain areas!) If selecting again, we would probably go for the slightly smaller 27-inch version.


text:
Apollo 11 astronauts returning to launch pad 50 years later
This March 30, 1969 photo made available by NASA shows the crew of the Apollo 11, from left, Neil Armstrong, commander; Michael Collins, module pilot; Edwin E. "Buzz" Aldrin, lunar module pilot. Apollo 11 was the first manned mission to the surface of the moon. (NASA via AP)
CAPE CANAVERAL, Fl. — A half-century ago, in the middle of a mean year of war, famine, violence in the streets and the widening of the generation gap, men from planet Earth stepped onto another world for the first time, uniting people around the globe in a way not seen before or since.
Hundreds of millions tuned in to radios or watched the grainy black-and-white images on TV as Apollo 11′s Neil Armstrong and Buzz Aldrin set foot on the moon on July 20, 1969 , in one of humanity's most glorious technological achievements. Police around the world reported crime came to a near halt that midsummer Sunday night.
In this July 16, 1969 file photo, people watch the Apollo 11 Saturn V rocket launch on multiple TV's at a Sears department store in White Plains, N.Y. (AP Photo/Ron Frehm, File)
Astronaut Michael Collins, who orbited the moon alone in the mother ship while Armstrong proclaimed for the ages, "That's one small step for man, one giant leap for mankind," was struck by the banding together of Earth's inhabitants.
"How often can you get people around our globe to agree on anything? Hardly ever," Collins, now 88, told The Associated Press in a recent interview. "And yet briefly at the time of the first landing on the moon, people were united. They felt they were participants."
In this July 16, 1969 photo made available by NASA, the 363-feet Saturn V rocket carrying the Apollo 11 crew, launches from Pad A, Launch Complex 39, at the Kennedy Space Center in Florida. (NASA via AP)
He added, "It was a wonderful achievement in the sense that people everywhere around the planet applauded it: north, south, east, west, rich, poor, Communist, whatever."
That sense of unity did not last long. But 50 years later, Apollo 11 — the culmination of eight years of breakneck labor involving a workforce of 400,000 and a price tag in the billions, all aimed at winning the space race and beating the Soviet Union to the moon — continues to thrill.
"Think of how many times you hear people say, 'Well, if we could land a man on the moon, we could certainly do blah, blah, blah,'" said NASA chief historian Bill Barry, who like many other children of the 1960s was drawn to math and science by Apollo. "It really, I think, has become a throwaway phrase because it gets used so often. It gets used so often because I think it had an impact."
For the golden anniversary , NASA, towns, museums and other institutions are holding ceremonies, parades and parties , including the simultaneous launch of 5,000 model rockets outside the installation in Huntsville, Alabama, where the behemoth Saturn V moon rockets were born. Apollo 11K and Saturn 5K runs are "go" at NASA's Kennedy Space Center.
In nearby Titusville, the American Space Museum and local businesses will mark the exact moment of the moon landing by lifting cups of Tang, the powdered orange drink that rocketed into orbit with the pioneers of the Space Age.
Armstrong, who expertly steered the lunar module Eagle to a smooth landing with just seconds of fuel left, died in 2012 at 82. Aldrin, 89, who followed him onto the gray, dusty surface, was embroiled recently in a now-dropped legal dispute in which two of his children tried to have him declared mentally incompetent. He has kept an uncharacteristically low profile in the run-up to the anniversary.
In this July 16, 1969 file photo, from right, Neil Armstrong, Michael Collins and Buzz Aldrin walk to the van that will take the crew to the launchpad at Kennedy Space Center on Merritt Island, Florida. (AP Photo/File)
Many of the Apollo program's other key players are gone as well. Of the 24 astronauts who flew to the moon from 1968 through 1972, only 12 are still alive. Of the 12 who walked on the moon, four survive.
A vast majority of Earth's 7.7 billion inhabitants were born after Apollo ended, including NASA's current administrator, 44-year-old Jim Bridenstine, who is overseeing the effort to send humans back to the moon by 2024.
Back in 1961, NASA had barely 15 minutes of human suborbital flight under its belt — Alan Shepard's history-making flight — when President John F. Kennedy issued the Cold War-era challenge of landing a man on the moon by decade's end and returning him safely.
This July 16, 1969 photo made available by NASA shows the Earth as the Apollo 11 mission heads to the moon. (NASA via AP)
At the time, the Soviets were beating America at every turn in the space race, with the first satellite, Sputnik, the first spaceman, Yuri Gagarin, and the first lunar probes.
JFK's challenge struck John Tribe, one of Cape Canaveral's original rocket scientists, as impossible.
"I was used to facing up to impossible things. We were in the rocket business, so we were doing some weird and wonderful things back in those days. But, yes, it was an unbelievable announcement at that time," he said. "It took a lot of guts."
NASA's Project Mercury gave way to the two-man Gemini flights, then the three-man Apollo program, dealt a devastating setback when three astronauts were killed in a fire during a 1967 test on the launch pad. The pace was relentless amid fears the Soviets would get to the moon first.
Cape Canaveral's Bill Waldron remembers working "seven days a week, 12 hours a day, six months at a clip" on the lunar modules.
"You know how we got to the moon as fast as we did is because we burned people out," said Homer Hickam, a retired NASA engineer whose autobiography, "Rocket Boys," became the 1999 movie "October Sky."
"Come to Huntsville, go to the cemetery, look at all those young men who are dead down there. They worked themselves to death," Hickam said. "Or better yet, go to the courthouse and look at all the divorce records. They abandoned their families."
The pressure was so intense leading up to the flight that Collins developed tics in both eyes.
Collins privately gave the mission 50-50 odds of total success.
Launch day — Wednesday, July 16, 1969 — dawned with an estimated 1 million people lining the sweltering beaches and roads of what had been renamed Cape Kennedy in memory of the slain president.
In this July 20, 1969 photo made available by NASA, flight controllers work in the Mission Operations Control Room in the Mission Control Center during the Apollo 11 lunar extravehicular activity. The television monitor shows astronauts Neil Armstrong and Buzz Aldrin on the surface of the moon. (NASA via AP)
Among the VIPs: Vice President Spiro Agnew, former President Lyndon Johnson and wife Lady Bird, aviation legend Charles Lindbergh, science fiction writer Isaac Asimov and TV's Johnny Carson. Civil rights demonstrators who had descended on the launch site to question America's spending priorities temporarily stood down to gaze skyward.
The firing room was filled with 500 launch controllers and managers in white shirts and skinny ties, including Wernher von Braun, the German-born mastermind behind the Saturn V.
The Saturn V stood 363 feet (110 meters) tall, the largest, most powerful rocket ever flown. Unbeknownst to most of the world, just two weeks earlier, the Soviets' even mightier moon rocket exploded moments after liftoff, destroying the Kremlin's moon dreams.
In this July 21, 1969 file photo, U.S. Air Force Sgt. Michael Chivaris, Clinton, Mass.; Army Spec. 4 Andrew Hutchins, Middlebury, Vt.; Air Force Sgt. John Whalin, Indianapolis, Ind.; and Army Spec. 4 Lloyd Newton, Roseburg, Ore., read a newspaper headlining the Apollo 11 moon landing, in downtown Saigon, Vietnam. (AP Photo/Hugh Van Es)
At 9:32 a.m. EDT, the Saturn V roared off Pad 39A, its astronauts hurtling toward their destination and destiny 240,000 miles (386,000 kilometers) away. The command module, Columbia, and the attached lunar module, Eagle, reached the moon three days later. The next day, July 20, Armstrong and Aldrin descended to the surface in the lunar module.
Collins wasn't overly concerned about Armstrong and Aldrin getting down to the moon. Rather, he worried about them getting off the moon and back to the mother ship. He kept his fears to himself.
"If it was unthinkable, it was unsayable also," Collins told the AP. "We never discussed or hinted at their getting stranded on the moon. I mean, we were not fools, and we knew darn well that a lot of things had to go exactly right for them to ascend as they were supposed to do."
President Richard Nixon even had a speech prepared in case of disaster: "Fate has ordained that the men who went to the moon to explore in peace will stay on the moon to rest in peace."
As it turned out, descent proved more alarming than ascent.
With minutes remaining to touchdown, the Eagle was rattled by one computer alarm then another. Caution lights flashed. But flight controllers had rehearsed that very scenario right before the flight, and so guidance officer Steve Bales knew it was safe to proceed rather than abort.
Then a boulder-strewn crater the size of a football field appeared at the target landing site, and Armstrong had to keep flying, looking for somewhere safe to put down. Aldrin called out the distance to the surface — 75 feet, 40 feet, 30 feet — as Mission Control informed the astronauts of the fuel remaining.
Sixty seconds left. Thirty seconds.
Finally came word from Armstrong: "Houston, Tranquility Base here. The Eagle has landed."
The time was 4:17 p.m.
"You got a bunch of guys about to turn blue. We're breathing again," Mission Control's Charlie Duke radioed back. (He would walk on the moon three years later.)
Armstrong descended the nine-rung ladder first, his left boot, size 9½, touching the lunar surface at 10:56 p.m. Aldrin followed him out 18 minutes later.
This July 20, 1969 photo made available by NASA shows Buzz Aldrins boot and bootprint during a test of the lunar soil during the Apollo 11 extravehicular activity. (Buzz Aldrin/NASA via AP)
Working in one-sixth Earth's gravity, they gathered rocks , set up experiments, planted an American flag stiffened with wires to make it look as if it were waving in the windless vacuum and took a congratulatory call from Nixon, who observed, "For one priceless moment in the whole history of man, all the people on this Earth are truly one."
Dave Waldrup of Reston, Virginia, watched on TV that day, his 15th birthday, and recalled thinking: "Wow! What are we going to do next? It's literally not just the sky, but outer space is the limit. And I can't wait to be part of it." He went on to become an Air Force pilot and is now a volunteer at the National Air and Space Museum.
The moonwalk lasted 2½ hours. The Eagle later reunited with Columbia, and the three astronauts headed home, splashing down July 24 in the Pacific.
After spending 2½ weeks in quarantine in case they brought back deadly moon germs, Armstrong, Aldrin and Collins were given a ticker-tape parade in New York, followed by a frenzied monthlong world tour in which they met kings, queens and Pope Paul VI.
Five more missions took men to the surface of the moon — Apollo 13 had to be aborted because of an explosion — before Project Apollo came to a premature end, the last three flights on the schedule scrapped. NASA put the entire Apollo tab at $25 billion, equivalent to more than $150 billion in today's dollars.
The first lunar landing, at least, lifted America's spirits — indeed, the planet's — when it needed it.
"The Vietnam War, civil strife, racial strife, all kinds of stuff going on that was bad, which I wasn't paying much attention to because I was working so hard in the space world. The Cold War and all of that," said JoAnn Morgan, Apollo 11′s lone female launch controller. "It was such a demonstration of the power and the passion of our country."
She added: "I mean, literally, we did exactly what JFK said we would do."
In this July 20, 1969 photo made available by NASA, astronaut Buzz Aldrin, lunar module pilot, walks on the surface of the moon during the Apollo 11 extravehicular activity. (Neil Armstrong/NASA via AP)
In this July 20, 1969 file photo, Andy Aldrin, 10, sits on a pile of cordwood in the backyard of his home in Houston while other members of his family listen to the reports of the progress of the Apollo II lunar module carrying his father, Col. Buzz Aldrin and fellow astronaut Neil Armstrong to a landing on the moon. (AP Photo)
In this July 20, 1969 photo made available by NASA, astronaut Buzz Aldrin Jr. poses for a photograph beside the U.S. flag on the moon during the Apollo 11 mission. Aldrin and fellow astronaut Neil Armstrong were the first men to walk on the lunar surface with temperatures ranging from 243 degrees above to 279 degrees below zero. Astronaut Michael Collins flew the command module. (Neil Armstrong/NASA via AP)
In this July 20, 1969 photo made available by NASA, astronaut Buzz Aldrin Jr. stands next to the Passive Seismic Experiment device on the surface of the the moon during the Apollo 11 mission. (Neil Armstrong/NASA via AP)
In this July 21, 1969 file photo, a family in Tokyo watches TV showing U.S. President Richard Nixon superimposed on a live broadcast of the Apollo 11 astronauts saluting from the moon. (AP Photo)
In this July 21, 1969 photo made available by NASA, astronaut Neil Armstrong, Apollo 11 commander, sits inside the Lunar Module after he and Buzz Aldrin completed their extravehicular activity on the surface of the moon. (Buzz Aldrin/NASA via AP)
In this July 24, 1969 photo from the U.S. Navy, Navy UDT swimmer Clancy Hatleberg prepares to jump from a helicopter into the water next to the Apollo 11 capsule after it splashed down in the Pacific Ocean, to assist the astronauts into the raft at right. (Milt Putnam/U.S. Navy via AP)
In this July 24, 1969 file photo, President Richard Nixon gives an "OK" sign as he greets Apollo 11 astronauts Neil Armstrong, Michael Collins, and Buzz Aldrin in a quarantine van aboard the USS Hornet after splashdown and recovery in the Pacific Ocean. (AP Photo)