text:
NEWS & IMPACT
ACCESS MAPS
FOR NONPROFITS & SCHOOLS
OaklandUndivided Resources
#OAKLANDUNDIVIDED
The Digital Divide: Digital Access and Education during COVID-19
The State Superintendent of Schools has advised that schools not reconvene in California this academic year. While school districts, teachers and parents are doing amazing work making it possible for children to continue learning from home, many families don't have access to the digital tools they need for their kids to stay connected to their classrooms.
On Wednesday, April 8th, TechEquity Collaborative held a panel discussion about how we can help bridge the digital divide. Tech Exchange Executive Director Seth Hubbert was joined by Oakland Mayor Libby Schaaf and representatives from Oakland and SF school districts about how they're adapting to the new learning environments. The panel was moderated by Catherine Bracy, Executive Director and Co-Founder of TechEquity.
Since the Shelter-in-Place order was announced here in the Bay Area, Tech Exchange staff and volunteers have mobilized to establish texting and phone banks. They are responding to calls to inform families of internet options, and preparing hotspots and laptops to be distributed to students.
To continue this critical work, we are announcing our
TECH FOR ALL Campaign to raise $650,000.
$50 PROVIDES resources & ongoing tech support
$100 OFFERS outreach & Internet connectivity support
$150 COVERS the cost of a computer plus shipping
$300 FUNDS all of the above per household
Your donation today helps to ensure that all students and families can stay connected
and access online learning opportunities during this time of isolation and beyond.
Click HERE to donate today. Thank you!


FOLLOWING THE AFTERMATH OF Storm Desmond, the Lakeland Motor Museum is drumming home the message that it's 'business as usual' and it's more than ready to welcome visitors to see its 30,000 exhibits.
Despite the recent TV images of flooding across the North of England, the popular Lake District museum was completely unaffected by flood waters and remained open through the wet weather. Now, bosses at the attraction say they are determined to spread the word that they are fully open and accessible to residents and tourists alike.
In total, the Lakeland Motor Museum offers a unique collection of 30,000 exhibits for visitors to enjoy, including 150 classic cars and motorbikes, all carefully assembled over 50 years. Star exhibits include the Isle of Man TT Tribute Exhibition and the Campbell Bluebird Exhibition.
The attraction is open seven days a week, every day of the year (except Christmas Day). There is also a riverside café and a connecting bus from Lakeside, operating every weekend during winter and daily in the summer months.
Meanwhile, the owners of classic cars, motorbikes, van and trucks are all being invited to the Museum on Sunday 17 April, (10am - 4.30pm) for another of the Museum's popular ClassicDrive & Ride In Days.


I am a young and innovative lady aged 27. I was born in a family of 3 and grew up in a all village in Zimbabwe, was successful in all my educational life to the ecte4 of acquiring a degree with Cyprus International University. I have a great passion of helping especially those in need and I enjoying working with people of any class. I am graduate of International Relations and almost done with master's degree in the same field at Istanbul Commerce University. I have worked with several humanity organizations and also acquired a European Union Development certificate.
Mega Revival Outreach - humanity and books editing European Union- Economic and Development Apparently I am seeking for a volunteering position in any country in the field of Care, women, children, international relations/ politics or humanitarian work.
Apparently I am seeking for a volunteering position in any country in the field of Care, women, children, international relations/ politics or humanitarian work.


text:
Q: Letting $z = x+ iy$, prove that $\left|x\right| +\left|y\right| \le \sqrt{2}\left|z\right|$ From Basic Complex Anyalsis 1.3 #16
Letting $z = x+ iy$, prove that $\left|x\right| +\left|y\right| \le \sqrt{2}\left|z\right|$
I know that $\left|z\right|=\sqrt{x^2 + y^2}$. I have attempted starting to start working with the left side using the triangle inequality to no avail. Just not sure where to start. Any help is greatly appreciated.

A: $0 \le (|x|-|y|)^2 = |x|^2-2|x||y| + |y|^2 $, hence $2|x||y| \le |x|^2+|y|^2$.
$(|x|+|y|)^2 = |x|^2+2|x||y| + |y|^2 \le 2(|x|^2+|y|^2)$, taking square roots gives the desired result.

A: Squaring both sides, we have
$$
x^2 + 2|xy| + y^2 < 2|z|^2  \iff x^2 + 2|xy| +y^2 < 2(x^2 + y^2),
$$
which is AM-GM.

A: Hint: use trigonometry $$|\cos \theta| + | \sin\theta| \leq \sqrt{2}$$ (two trig identities are needed to show this)

redpajama_set_name: RedPajamaStackExchange


text:
The metabolic syndrome
Endocr Rev. 2008 Dec;29(7):777-822. doi: 10.1210/er.2008-0024. Epub 2008 Oct 29.
Marc-Andre Cornier 1 , Dana Dabelea, Teri L Hernandez, Rachel C Lindstrom, Amy J Steig, Nicole R Stob, Rachael E Van Pelt, Hong Wang, Robert H Eckel
1 University of Colorado Denver, Division of Endocrinology, Metabolism, and Diabetes, Mail Stop 8106, 12801 East 17 Avenue, Room 7103, Aurora, Colorado 80045, USA. marc.cornier@ucdenver.edu
DOI: 10.1210/er.2008-0024
The "metabolic syndrome" (MetS) is a clustering of components that reflect overnutrition, sedentary lifestyles, and resultant excess adiposity. The MetS includes the clustering of abdominal obesity, insulin resistance, dyslipidemia, and elevated blood pressure and is associated with other comorbidities including the prothrombotic state, proinflammatory state, nonalcoholic fatty liver disease, and reproductive disorders. Because the MetS is a cluster of different conditions, and not a single disease, the development of multiple concurrent definitions has resulted. The prevalence of the MetS is increasing to epidemic proportions not only in the United States and the remainder of the urbanized world but also in developing nations. Most studies show that the MetS is associated with an approximate doubling of cardiovascular disease risk and a 5-fold increased risk for incident type 2 diabetes mellitus. Although it is unclear whether there is a unifying pathophysiological mechanism resulting in the MetS, abdominal adiposity and insulin resistance appear to be central to the MetS and its individual components. Lifestyle modification and weight loss should, therefore, be at the core of treating or preventing the MetS and its components. In addition, there is a general consensus that other cardiac risk factors should be aggressively managed in individuals with the MetS. Finally, in 2008 the MetS is an evolving concept that continues to be data driven and evidence based with revisions forthcoming.
Metabolic Syndrome* / epidemiology
Metabolic Syndrome* / physiopathology
Metabolic Syndrome* / therapy
R01 DK077992/DK/NIDDK NIH HHS/United States

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Where East, West, Tea & Art mix it up.
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You know those people who brighten up your day just by walking into it? Well this home is like that. It creates 'instant cheerfulness' – it's bright, spacious, brimming with character, has a fantastic flow, a great choice of entertaining areas, beautiful Northern light and a pretty garden – it's just … perfect really!
This home is set on the northerly side of one of Subiaco's best streets. This whisper quiet location is close to both Shenton Park and Subiaco's shops, bars, cafes and parks, and is just a 5-minute walk to Daglish Train Station.


Newport Flavors' Blackberry Organic Flavor Emulsion for High Heat Applications brings the delectable, naturally tart taste of Blackberry Flavor to your baked good creations. Due to the emulsive property, the Blackberry Organic Flavor Emulsion can be applied to your high heat baking needs. Cultivated for centuries and used to garnish the flavor of cakes, cookies, and breads, the Blackberry Flavor has long been a favorite, especially during the holidays. Predominantly cultivated in Oregon, the blackberry contains antioxidants to help balance the body's wellness. Bring the Blackberry Organic Flavor Emulsion for High Heat Applications to your culinary creations.


text:
Company Expertise Research Careers Investors
Innovation Fields
Lupus-Nephritis-Kit
Calling all LN researchers – explore the potential of a novel biomarker for kidney inflammation monitoring
Lupus nephritis (LN) is an autoimmune disease which affects approximately 40–70% of patients with Systemic Lupus Erythematosus (SLE) and is the leading cause of morbidity and mortality in SLE. LN causes the body's immune system to attack the kidneys, which leads to flares of kidney inflammation. Avoiding kidney function deterioration presents a significant area of unmet need in LN management, because existing tools are ineffective.
But what if there was a biomarker that could detect kidney inflammation in body fluids? Clinical studies show that the level of LGALS3BP (Lectin Galactoside-Binding Soluble 3 Binding Protein) in urine correlates with other active disease markers, such as clinical symptoms of kidney inflammation. It also shows a moderate correlation with the renal disease activity index, as currently used in LN monitoring. Building on these findings, we have succeeded in developing a RUO (Research Use Only) kit that allows quantitative analysis of LGALS3BP in urine.
We now invite scientists to test the potential of this new biomarker for LN related kidney inflammation: Our novel sandwich ELISA kit for LGALS3BP using in-house developed monoclonal antibodies is now available as a custom assay for research use.
Order your research kit and share your findings
Click here to request a quote using the "Request information button". Or contact your local MilliporeSigma representative and request a quote for custom kit SPRCUS86.
We are curious to learn about your findings and encourage you to publish and share your results with the LN research community.
To access the latest research in LN regarding the LGALS3BP biomarker, send us an email at lupus-nephritis-kit@emdserono.com – we will be happy to share the following posters with you:
Parikh, Samir V et al. Urinary Galectin-3 binding protein as a predictive marker for lupus nephritis flare. American Society of Nephrology Kidney Week 2018. October 25, 2018. TH-PO828.
Ding, Huihua et al. Urinary Galectin-3 binding protein as a novel biomarker of renal disease activity in lupus nephritis. 2018 ACR/ARHP Annual Meeting. October 21, 2018.
Vibrant Thoughts Blog
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Didymopsis perexigua är en svampart som beskrevs av Sacc. & Marchal 1885. Didymopsis perexigua ingår i släktet Didymopsis, divisionen sporsäcksvampar och riket svampar.   Inga underarter finns listade i Catalogue of Life.

Källor

Sporsäcksvampar
perexigua

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text:
STARKWHITE Auckland | 09 Oct – 03 Nov
09 Oct – 03 Nov
John Stezaker: Collages
John Stezaker "Mask (Film Portrait Collage) CCXXIV" 2015, collage, 25.5 x 20.7 cm, courtesy of The Approach, London
John Stezacker
starkwhite.co.nz
Starkwhite is pleased to present "John Stezaker: Collages" in association with The Approach, London.
John Stezaker is a celebrated British conceptual artist known for deceptively simple collages that introduce unlikely contrapositions. Drawing on old film stills, old actor headshots and even older postcards, Stezaker makes collages that subvert their original imagery, creating unique and compelling works of art.
Over the course of his career John Stezaker has consistently deployed the power and irreverence of the readymade. Much of his material comes from the golden age of image making and distribution – cinema, advertising's heyday, the rise of personal cameras, and affordable tourism. Fascinated early on by 1970s Spanish photo romans – popular love stories told through a sequence of photographs and accompanying speech bubbles similar to a comic strip – Stezaker began collecting such magazines and discovering a deep fascination for these generic images. In Stezaker's collages glossy Hollywood starlets are spliced with landscapes or find half their face colonised by grafted masculine features in often raw encounters. In other images, voids appear creating more ambiguous imaginary narratives and directing our attention to what has been removed and from where. "There is something very odd, even unnerving about cutting through a photograph," Stezaker says. "It sometimes feels like I am cutting though flesh."
Stezaker's collages pose elegant but uncanny connections between disparate genres. Through repetition, fragmentation, and superimposition, he disrupts existing narratives and instead offers disjointed, dreamlike scenarios. While the juxtapositions may seem intentionally ambivalent and contradictory, an unlikely narrative emerges. Landscapes become suggestive of the psyche of the individual or pair of lovers partly obscured beneath. Images of dark caves, plunging waterfalls, or idyllic vistas allude to the unconscious and suggest a complex emotional landscape underpinning the portraits. By adjusting, inverting and slicing separate pictures together to create unique new works of art, Stezaker explores the subversive force of found images. "I resist subordinating the image to any concept of legible use. My aim is to free it, to let it reveal itself from behind the cloak of familiarity" he comments.
Fascinated by the lure of images, Stezaker's four-decade long career has foreshadowed many of the concerns of our current time. His collages exaggerate, subvert and challenge received notions of glamour, gender, and celebrity. His work re-examines relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In an era of photoshop, fake news, and image-led social media platforms, we increasingly live in a world more saturated with and controlled by images than ever before. Stezaker's collages know this and draw attention to the ways in which images compel their own interpretations scantly mediated by truth, language, or logic.
Stezaker's work was first introduced to New Zealand audiences through the 2017 exhibition "John Stezaker: Lost World" at the City Gallery, Wellington. Curated by Robert Leonard, the exhibition was also shown at the Govett-Brewster Art Gallery and the Christchurch Art Gallery Te Puna o Waiwhetu. His exhibition at Starkwhite is the first time his work has been available to New Zealand collectors.
Recent solo exhibitions include: "Love", The Approach, London, UK (2018); "John Stezaker", Withworth Gallery, Manchester, UK (2017-2018); "Lost World", City Gallery Wellington, NZ, Govett-Brewster Art Gallery, New Plymouth, NZ, Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, Centre for Contemporary Photography, Melbourne, Australia (2017-2018); "The Voyeur: Photoroman Collages, 1976-79", Petzel Gallery, New York, USA (2017), "Sublime Smoke, Lisa Oppenheimer & John Stezaker", The Annex, London, UK (2017); "Paul Nash and the Uncanny Landscape: An Exhibition Curated by John Stezaker", York Art Gallery, York, UK (2017); "John Stezaker: Horse", Ikon Gallery, Birmingham, UK (2017); "John Stezaker", Sidney Cooper Gallery, Canterbury, UK (2016); "John Stezaker and Marcel Broodthaers", Gallery Sofie Van de Velde, Antwerp, Belgium (2016).
Recent group exhibitions include: "Picture Fiction",MCA Chicago, USA (2018); "Doodle & Disegno", Blain Southern, Berlin, Germany (2018); "A Murmur of History", DE LEON, Bath, UK (2018); "Journeys with 'The Wasteland'", Turner Contemporary, Margate, UK (2018); "Fotofest 2018", Houston Biennial, Houston, Texas, USA (2018); "The Still Point of the Turning World. Between Photography and Film", FOMU, Antwerp, Belgium (2017); "A Green and Pleasant Land British Landscape and the Imagination: 1970s to Now", Towner Art Gallery, Eastbourne, UK (2017); "The Trick Brain", Aishti Foundation, Beirut, Lebanon (2017); "20 Years", The Approach, London UK (2017); "Power Masks. The Power of Masks", Wereldmuseum, Rotterdam, Netherlands (2017); "Now, Today, Tomorrow and Always", Towner Art Gallery, Eastbourne, UK (2017); "Artists and Postcards", Musee de la Photographie, Charleroi, Belgium (2017); "Blackout: Richard Hamilton, Carlo Mollino, John Stezaker", Ibid, Los Angeles, USA (2017); "Fully Awake", Blip Blip Blip Gallery, Leeds, UK (2017); "Cannibalism? On Appropriation in Art", Sachet, Warsaw, Poland (2017); "The End of Collage", Luxembourg & Dayan, London and New York (2017); "Flesh", York Art Gallery, York, UK (2016-17); "Revolt of the Sage", Blain|Southern, London, UK (2016); "The Stolen Image", Fondazione Prada, Milan, Italy (2016); "Nigel Greenwood Inc. Ltd: Running a Picture Gallery", Chelsea Space, London, UK (2016); "Turning to See: from Van Dyck to Lucien Freud", curated by John Stezaker, Birmingham Museum & Art Gallery, UK (2016); "Collage: Moving Beyond Paper", Krannert Art Museum, University of Illinois at Urbana-Champaign, USA (2016); "On the Immense and Numberless", David Risley Gallery, Copenhagen , Denmark (2016); "Terrain: Land Into Art", Hestercombe House & Gardens, Taunton, UK (2016); "Fractured", Simon Lee Gallery, Hong Kong, China (2016).
Tuesday - Friday 11am - 6pm, Saturday 11am - 3pm or by appointment
Starkwhite
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text:
3 June 2007 Simple creative projects from an optics teaching laboratory
John W. Noé
John W. Noé1
1Stony Brook Univ. (United States)
Proceedings Volume 9665, Tenth International Topical Meeting on Education and Training in Optics and Photonics; 966519 (2007) https://doi.org/10.1117/12.2207521
Event: Tenth International Topical Meeting on Education and Training in Optics and Photonics, 2007, Ottawa, Ontario, Canada
2. Representative Projects
2.1 Light decay of 'Glow in the Dark' materials
2.2 Multiple reflections in a decorative lamp
2.3 Frequency response of the eye
2.4 A variable water drop lens
2.5 Color patterns in soap films
2.6 Point spread function (PSF) of a consumer CCD camera
2.7 Noise cancellation and the velocity of sound
2.8 Nanometer motion control with a rubber band
The core educational program of the Stony Brook Laser Teaching Center is learning through the collaborative development of individualized projects. Many of these projects, especially with students new to research, are simple explorations or demonstrations of everyday devices or phenomena related to light, optics, or sound that have some creative component. Often the topic is suggested by something the student is just curious about or 'invents,' or by a chance observation or news article. This paper will describe a number of these 'simple, creative' projects, and relate the discovery process by which each came about and the results obtained.
As described in a separate paper at this conference [1], the core educational activity of the Stony Brook Laser Teaching Center (LTC) is learning through the development of individualized hands-on projects; one such project was discussed in detail in a second separate paper [2]. Some of these projects can be described as fairly standard exercises explored in greater-than-usual depth over weeks or months [1]. Other projects relate to topics of current research interest, such as optical tweezers or optical vortices, and can be quite involved and open-ended. A third project category, which is described and illustrated through the various examples presented in this paper, consists of mostly simple explorations or demonstrations of everyday devices or phenomena related to light, optics, or sound that have some novel or creative component. This component could be related for example to the way the project topic was picked, or how the project was carried out with the simple tools and materials on hand in the laboratory or readily available. In some projects there is a 'Eureka!' moment of discovery when the student working alone has a significant insight, makes an unexpected observation, or invents something. More often the creativity arises in some way from the special chemistry between student and mentor that gradually develops as they communicate about and collaborate on the project over an extended period of time.
The students involved in these 'simple, creative' projects are mostly new to research and generally have had at most a very limited exposure to optics in a high school physics course. When they enter the LTC they are introduced to various optics phenomena and concepts through seeing demonstrations and participating in informal discussions. Except during the full-time summer program there are no classes or lectures and the unstructured discussions all take place in the small laboratory discussion area. The detailed optics knowledge and laboratory skills needed for each project are acquired on a need-to-know basis, through self-study and informal discussions with mentor(s) and more experienced students. The main requirement for success on the part of the student is ample interest and curiosity and an ability and willingness to collaborate with the mentor. Students and mentors become in effect partners in a unique shared experience, and the synergy of their interaction leads to the new ideas and insights not otherwise possible. The student-mentor partnership extends to the all-important writing process that concludes the project, as the mentor guides the student as closely as necessary to create a thorough and convincing written description of the project.
The projects described are not meant to be duplicated, although some of the ideas and 'tricks' might be useful to others. They are presented simply to provide examples of what's possible through relaxed one-on-one student-mentor interactions in a supportive learning environment. We hope that others will be inspired by these stories to explore opportunities to incorporate such unstructured project-based learning into their own educational programs.
In the following I will describe eight representative projects of the type described above. Most of the students involved were university freshmen (age 18 or 19) from the Introduction to Research course (WSE187) in the Women in Science and Engineering (WISE) program [3]. Several others were high school students, and one was a high school physics teacher in training. In many cases the creative component was the idea for the project, how it came about, or what was studied. In another case a simple but very effective technique for nanometer motion control was invented in the course of a much more involved project. Several projects involved interesting or unusual optical properties of everyday objects. Studies of this type have a grand history and can be very open-ended indeed, see for example Michael Berry's "Reflections on a Christmas-Tree Bauble." [4]
The duration of the projects ranged from a few weeks to a full semester. Those by WISE students are documented in straight-forward (hand-coded) web reports that are freely available on the WISE Programs portion of the Laser Teaching Center web site [5]. Learning to create such hand-coded html reports is an essential part of the WSE187 course, and the collaborative writing involved reinforces understanding as well as writing skills. The project by the prospective high school teacher is also described in a web report. Other projects are documented on the web site in pictures, abstracts, Powerpoint slides and full-length written reports prepared in LaTeX. Web reports typically include many photos, drawings and graphs. The drawings could be done on a computer (we use the Linux program xfig) or could simply be a photo of a hand-drawn sketch on the white board or in the student's notebook. Graphs and numerical simulations are typically made using the 1980's era DOS spreadsheet program QuattroPro, the ultimate simplicity of which is a valuable feature to students new to this type of analysis.
Light decay of 'Glow in the Dark' materials
My partner in this project was Jill Chen, a mechanical engineering major who was one of six students in my spring 2002 WISE class [6]. Jill was the unusual student who not only had an excellent idea for a project ("can we study those glow-in-the-dark stars?") but also suggested it almost immediately. As a young child, Jill had enjoyed the comfort of falling asleep in a room with a light on, and had also enjoyed seeing stars in the sky at night. At some point she had been introduced to glow-in-the-dark decorative stars and had ever since displayed these in her room at home and later in her college dormitory. This turned out to be an excellent project: one that could be effectively performed with very simple equipment already on hand, but which was also very open-ended. The following summarizes the shared adventure that is better described in Jill's own words on her project web page [6].
We started with some internet research about glow-in-the-dark (phosphorescent) materials, and soon learned about a company (Shannon Luminous Materials) that markets such materials for a range of applications [7]. A person at the company was interested to hear about the project and quite willing to help. He provided samples of Shannon's state-of-the-art 'Super Phosphorescent' material based on rare-earth-activated strontium aluminate (SRA) [8] as well as a more traditional zinc sulfide (ZnS) screen. Although a photomultiplier was available, one of our standard Thorlabs silicon photodetectors (model DET-210) proved to be adequate for observing the light decay for several hours, and had the advantage of simplicity and stability. No amplifier was used, but a high value resistor (105 to 106 ohms) was placed across the output of the detector to convert the small current signal to a voltage in the 0.1 – 100 mV range.
In projects that involve taking a modest series of readings I typically guide students to record readings by hand in their notebook and then type these data into a spreadsheet program for plotting. This manual technique has worked well for numerous laser beam profile measurements and the like, but in this case a very simple automated method based on the serial interface port in the Radio Shack Model 22-805 digital multimeter was employed instead. The software provided with the meter transferred one reading per second into a text file, which could then be imported into our QuattroPro DOS spreadsheet environment for plotting. This scheme was very simple, effective and economical (US $50 for the meter), and also pedagogically more transparent than using a less familiar device for an interface. To record data the materials were 'charged' by exposure to a bright desk light, the detector was set on top, and this package was quickly placed in a dark environment.
Light decay curve for a sample of a commercial 'glow-in-the-dark' (SRA) material. The >6000 solid points (blue) are light intensity readings at 1-second intervals. The red line with slope -1 illustrates a power law of the form I ~ t(-1).
Our expectation was that the light decay curve would be exponential in form, and thus characterized by a 'half-life.' Such data, when plotted on a semi-log plot, would appear as a straight line. Much to our surprise, when we plotted the two hours of useful data obtained we did not obtain a straight line at all! By chance the data were then plotted on a full log-log plot, and this revealed the astounding result shown above. The recorded light intensity drops relatively slowly at first, but at a gradually increasing rate. Then from about 100 seconds on the intensity I drops steadily in inverse proportion to the elapsed time, I ~ t(-1). This type of behavior is known as a 'power law' (the exponent can be any constant) and turns out to be quite common in nature and statistics [9]. Familiar examples from physics are the inverse-square law for optical radiation or gravitation, and the '1/f law' that describes the intensity distribution of random noise. It was a surprise to learn that power laws also describe seemingly-unrelated phenomena such as the frequency of occurrence of words in a book (Zipf's law).
While this project went on for more than a full semester the key result (the figure above) came early on and many questions (such as how the decay curve varies with temperature) were left unexplored. We were however able to confirm by more sensitive measurements that the power law decay continues for at least ten hours. We also learned from reading and conversations with others that delayed light emissions arise from triplet spin states, and that a random distribution of the triplet state lifetimes can explain the power law behavior of the composite decay curve.
Multiple reflections in a decorative lamp
A decorative glass candle lamp with interesting optical properties was the topic of two similar but independent student projects five years apart. The lamp was a table decoration at a local Indian restaurant [10], which was happy to donate one to our lab. The flame in the candle lamp is surrounded by four tinted glass panels whose inside surfaces have a partially reflective coating; these panels are arranged in the form of a rectangular prism, with opposite faces parallel to each other. When the flame is viewed from outside the lamp at eye level a sequence of flame images of gradually diminishing luminosity is seen. These are clearly due to multiple reflections and 12 or more images can be counted in a darkened room (see figure below). The goal of the measurements and analysis performed was to determine the relative luminosity of the images. This is interesting in part because the luminosity ratio between the first image and the last visible image is a direct measure of the visual sensitivity range of the eye.
Multiple reflections of the flame in a decorative lamp. The eye can perceive several even weaker reflections that the camera can't register.
After seeing a demonstration of the lamp Victoria Bonvento (WISE program, 2001) decided to study it for her project. She found the 'one way mirror' aspect of the lamp's metallized partially-reflecting surfaces especially appealing [11]. Hamsa Sridhar, a sophomore high school student, returned to this topic in spring 2006 for her initial research experience in optics. She was not aware of the earlier project at the time and made an independent and more complete analysis based on new and more careful measurements [12].
Victoria and I soon realized that the high reflectivity surface was the inner one, and that the luminosity ratio between successive images was simply equal to the reflectance r of this surface. We measured r directly by reflecting a HeNe laser beam against the inner surface on to a photodetector. While this direct method involved little analysis the geometry was awkward and our result r = 36 ± 4 % had a relatively large uncertainty.
The subsequent experiments with Hamsa involved more analysis but gave more information and a more certain result for r by two different methods. Since Hamsa was quite comfortable with math, but had not yet studied physics or optics, this was a pedagogically quite appropriate project for her. In the first experiment the He-Ne beam was directed toward the glass lamp from the outside at a slight angle. Using a photodetector, the intensity of the initial beam and the three beams that either reflected from one of the two surfaces of one glass panel, or passed completely through it, were measured. These values were analyzed through a series of equations to obtain the reflectance values of the inner and outer surfaces and the absorption in the tinted glass between. In the second experiment, the laser beam was allowed to travel through the glass lamp to a screen. Five spots of decreasing intensity were visible when the lamp was rotated slightly; they were consecutively isolated by an iris and their relative intensities measured using the photodetector. In this case the ratio between the spot intensities is r2, and this value could be accurately determined by a graphical analysis, as shown in the figure below.
The reflectance results from the two experiments were in good agreement and we took their average, 43.0 ± 0.5 % as the final result. It follows that the nth visible image must be (0.43)(n-1) times as bright as the first (unreflected) image, or 1/4,627 times as bright for n = 11. Thus the human eye can perceive an intensity range of about 5,000 – 10,000 at a single instant. (The eye can of course adapt to a much wider brightness range given time to adjust.)
Measurements and analysis on multiple reflections in the decorative lamp [12]. Left: measured intensities of multiply reflected laser beams. Right: predicted relative luminosity of the flame images.
Frequency response of the eye
The creative aspect of Meruba Anwar's project [13] derived from her strong native curiosity and ability as an observer. This was a short project for the WISE Introduction to Research course, about a third of a semester. The actual observations took just an afternoon or two, while learning html and writing a web report took a few days longer. Unlike Jill Chen (Section 2.1 above) Meruba struggled at first to find a suitable topic. I encouraged her to just pay attention to things around her that she was curious about and that seemed interesting. After several weeks she reported that while shopping at the mall that weekend she'd seen an unusual clock in which numbers and letters appeared to float in space [14]. She soon learned that the operating principle of the clock is the persistence of vision effect. By chance Meruba had stumbled upon a topic that was an excellent match to her interest in neuroscience.
I gave Meruba an assortment of LED's (purchased from the local Radio Shack store) and set up a square-wave generator to pulse them at any desired frequency. My intention was for her to explore how the threshold for visually detecting flicker (the Critical Fusion Frequency or CFF) depends on parameters such as the LED brightness and color [15]. After a few hours of investigation Meruba reported with great excitement an observation that was obvious in retrospect but which neither of us had anticipated – the threshold for detecting flickering depends significantly on whether one is looking directly at the LED (direct vision) or looking to the side (peripheral vision). By chance Meruba had discovered an essential feature of vision, the two types of cells (rods and cones) in the retina! An understanding developed in this way through self-discovery will certainly endure. Meruba went on to carefully record a variety of CFF observations and write an excellent web report that includes these [13].
Demonstrating the principle of the Fantezein clock.
A variable water drop lens
Scott Huang was a high school student in summer 2006 [16]. After some exploration of possible project topics he developed an interest in techniques or devices that measure or correct for wavefront aberrations, and we worked together to find a project related to this interest. One such device, the Shack-Hartmann wavefront sensor, is based on an array of small lenses ('lenslets') that create a corresponding array of focal spots on a CCD-detector. While discussing this idea I showed Scott an image I knew of that depicted droplets of water trapped in the openings of a window screen (see figure below). We considered making a lenslet array of fluid droplets, but it was soon evident that it would be difficult to make the lenses sufficiently small and uniform enough to create a useful lenslet array. While playing with water-drop lenses Scott happened to place a droplet of water into the opening of an iris diaphragm, a common object in our lab. He was fascinated by the way the focal properties of the lens could be varied simply by varying the opening, and decided to investigate this 'variable water-drop lens.' Scott soon learned that variable fluid lenses are a topic of considerable recent interest, with important potential applications [18].
Face viewed through water drop lenses in a screen [17].
Using a simple setup he devised, Scott measured the focal length of various water-drop lenses. These varied over a wide range (5 to 80 mm) as the droplet diameter varied from about 3 to 8 mm, and the droplet deviated more and more from a spherical shape [16]. Scott also made a simple microscope from the water-drop lens and recorded the image below and others with our Electrim 1000N CCD detector [1].
Partial image of a Ronchi grating (pitch 150 μm) recorded through the water drop lens.
Color patterns in soap films
My student partner in this project, Eric Tompkins, was just completing an MAT (Master of Arts in Teaching) program at Stony Brook to be certified as a high school physics teacher [19]. He needed a course credit to complete his degree and so undertook a semester-long project. Eric and I started by looking at various simple demonstrations of optical phenomena. One of these was the demonstration of colors in soap bubble films illustrated in Figure 7 below. The small bottle holds a mixture of roughly of equal parts water, glycerin, and Dawn dishwasher detergent. (The bottle originally held the glycerin.) When the bottle is tipped over with its cap in place, and the cap is then removed, a soap film can be seen across the mouth of the bottle. If the bottle is held in a nearly horizontal position as shown for a few minutes the film is affected by gravity and develops a distinct black band at the top. In a location free of air currents a white area and horizontal colored bands form below this. The colors on the soap film are most distinct in an area well lit by diffuse bright light, preferably indirect sunlight. Coincidentally, the opaque container does more than provide a convenient way of creating the film – it keeps the back side of the film in darkness and thus allows the black area to show up distinctly.
Interference patterns of reflected light in soap films. Note the 'black' film at the top, and the white area and horizontal colored bands in the right-most picture.
Eric was familiar with the way soap film colors arise from interference of light, but he had never seen a black soap film before. It was apparent to him immediately that this effect and the horizontal colored lines must be somehow related to the way film thickness must vary due to gravity, with the thinnest film at the top. We decided to focus the project on developing a mathematical model of the way the film colors vary with thickness. As described in Eric's research journal and report [19], the key concept is that a 180° phase shift occurs at the front surface of the film but not at the rear. Light reflected from the rear surface is however phase-shifted by its passage (twice) across the film. If the film is very thin, much thinner than a wavelength of light, the latter phase shift is negligible and one has purely destructive interference. To quantify this Eric derived an expression for the intensity of the reflected light, which was in turn used to create the graphs of intensity versus wavelength or film thickness shown in these figures.
Fig. 8a.
Calculated relative intensities of four colors (violet, blue, green and red) as a function of soap film thickness [19]. The plot at the left is just an enlarged view of the one at the right. It is apparent that the black soap film must be no more than about 10 nm thick. The fact that intensities for all colors peak around 90 nm explains the white region below the black band. Using these predictions reflectance measurements for monochromatic light could be used to map the film thickness as a function of position.
Fig. 8b.
Calculated relative intensities of reflected light as a function of wavelength, for eight different film thicknesses. Note that the colors of the lines in this case relate to thickness, not wavelength. These predictions could be compared to spectrometer measurements of reflected white light to uniquely determine the film thickness.
Point spread function (PSF) of a consumer CCD camera
Marissa MacDonald (WISE program, 2007) carried out the first astronomy-related student project in the LTC [20]. It was one of several projects over the last decade that utilized the lab's simple Sony Mavica FD73 camera as a quantitative tool, not just for documentation. An important concept in observational astronomy is the point spread function or PSF. This can be described as the response of an imaging system to the light from a point source such as a star. The figure below shows the setup we used to create and photograph a simulated star. The angular size of the pinhole at the camera (2.2 arc seconds) was not nearly as small as even the 'largest' star Betelgeuse (0.045 arcsec), but it was comparable to the diffraction limit of the camera and therefore adequate.
Setup for the point spread function experiment.
Fig. 10.
Simulated (left and center) and observed (right) PSFs for the Mavica camera. The image at the far left shows the predicted Airy pattern corresponding to the camera's aperture superimposed on a grid of 5.6 μm square camera pixels. In the center image the same Airy pattern has been 'pixelated' in the xv program. Far right, the observed PSF is compact and comparable in size to the diffraction limited spot.
Noise cancellation and the velocity of sound
Yu Fen (Jen) Hwang (freshman WISE course, 2004) was inspired to this project by late-night noise in her dorm room [21]. She had seen my demonstration of two tuning forks 'beating' against one another, and thus knew that one sound could cancel another. She wondered whether arbitrary sounds could be canceled in a similar way. (Jen was not aware at the time that noise cancellation was already an off-the-shelf consumer technology.) An important consideration in noise cancellation is the wavelength of sound. We decided to try to visualize the wave properties of sound with a small handheld loudspeaker and microphone. A 2.00 kHz sine wave was fed to the loudspeaker and also to one channel of our dual-channel oscilloscope, which controlled the oscilloscope trigger. The microphone signal was fed into the second channel. Figure 11 below shows 9 consecutive images recorded over 3 seconds as the microphone and speaker were steadily moved apart. The phase shift of the received wave (fuzzier trace) is apparent, as well as its diminishing intensity. After this we established the distance corresponding to a 2π phase shift as 17.8 ± 0.5 cm. This wavelength value together with the known frequency implies a sound velocity of 356 m/s, in good agreement with the accepted value at 25 C. Even more interesting was the result when both loudspeaker and microphone were pointed at the adjacent wall. Now moving the microphone caused no phase shift, but did cause a periodic intensity modulation. We had inadvertently created a standing wave! All in all, this simple impromptu project, which took just part of an afternoon, was quite successful at making sound waves a familiar entity.
Demonstrating the wavelength of sound (see text).
Nanometer motion control with a rubber band
The most creative aspect of Jon Wu's project [22] was a very simple yet quite effective technique for ultra-high-resolution motion control in a scanning optical interferometer. The path that led to this novel development was long and complicated. Jon was a high school participant in our 2004 full-time summer program. He expressed an interest in medical optics, so we looked at possible project ideas in this area. After considering various possibilities we focused on optical-coherence tomography (OCT), a technique for achieving micron-scale depth resolution within turbid media such as tissue by utilizing the limited coherence length of an broadband light source [23]. The idea gradually emerged of demonstrating the concept of OCT by observing interference fringe visibility as a function of path length difference. Similar to Fourier Transform Spectroscopy (FTS) the interferogram contains information on the wavelength components (spectrum) of the light, or in this case the spectral width of the broadband light source.
It was soon apparent from preliminary experiments in an interferometer that Jon put together that the challenge of the project was to achieve sub-micron resolution in the mirror movement over a range of thousands of fringes. (The difficulty of doing this is why FTS is rarely done at wavelengths shorter than the IR.) Jon experimented for some time with levers and the like that would scale down the motion of the mechanical translators available to us, which are graduated in relatively coarse 25.4 micron steps. His devices worked but were plagued with mechanical noise and backlash. While pondering these difficulties the idea came up of simply pulling on the mirror mount in a controlled way to gently deflect it. When an ordinary rubber band was used as the coupling device the result was amazingly successful (Figs. 12 & 13). Of course the range of mirror motion is quite limited, but the precise motion control provided by this simple trick has proven very useful for demonstrations and some other experiments.
A rubber band attached to the 25.4 mm translation stage pulls on the Thorlabs mirror mount to create reproducible nanometer-scale deflections.
Interference fringes from a HeNe laser recorded with the rubber-band translator as the micrometer was turned by a stepping motor. The step size is approximately 1.2 nm.
The response of the many students involved in these projects has been overwhelmingly positive, and the creative educational approach illustrated here has been enthusiastically endorsed by our university and many visitors. A great deal of time and effort is required to work individually with each student, but the resulting projects and educational experiences are often quite original and invariably of significant and lasting value.
I deeply appreciate the willingness of my students to collaborate with me so enthusiastically on the projects described in this paper and many others. I would also like to thank the many companies and individuals who provided information, materials and assistance in support of the projects. This work was supported in part by the Women in Science and Engineering program and the Department of Physics and Astronomy at Stony Brook.
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John W. Noé "Simple creative projects from an optics teaching laboratory", Proc. SPIE 9665, Tenth International Topical Meeting on Education and Training in Optics and Photonics, 966519 (3 June 2007); https://doi.org/10.1117/12.2207521
Point spread functions
Photodetectors
Development of the depth-graded multilayers for XTP mission
Dark energy survey operations: years 4 and 5
PSF estimation by gradient descent fit to the ESF
Seeing In The Sea a report and a challenge
The Extreme Physics Explorer and large area micro channel plate...
Indirect illumination to reduce veiling luminance in seawater
John W. Noé, "Simple creative projects from an optics teaching laboratory," Proc. SPIE 9665, Tenth International Topical Meeting on Education and Training in Optics and Photonics, 966519 (3 June 2007); https://doi.org/10.1117/12.2207521


The second is a snippet from one of the "Making of Halo 2" documentaries that came with the special edition of the game. You see one of the Bungie developers playing Halo and the voiceover describes what he is doing. First he sneaks up behind an enemy and wacks him on the head, then throws a grenade, then cleans up the survivors with the machine gun. Finally, he snipes a few far away enemies to clear the area. The Bungie guy then says "the challenge in the game design is how to string together this same 30 seconds of gameplay over and over again for 10 or 15 hours and keep it interesting."
Of course, I'm not really being fair. It would be just as easy to take five or fix books, or movies, and paint them with a broad snarky brush the way I have done here. In fact, I seem to remember that it's been said that there are only three plots in all of fiction (or science fiction). But I think the main point stands. Many games follow formulaic narrative structures. The good games are crafted so the specific details of the game situation are interesting enough to keep the player engaged.
Again, the good games craft their gameplay mechanics so that there is some apparent variety, or the core mechanics are so fun that you don't care if the game is repetitive (e.g. the Halo 2 Bitchslap).
The Grumpy Gamer generally derides the role of "story" or what I'm calling "plot" in games. But I think that however weak these game narratives are in some absolute sense, people do play games to see the plot play out. So, while many in the gaming community see the cut scene to cut scene structure as annoyingly juvenile at best and as a stifling straightjacket at worst, I think that there are good reasons for games to work this way. When well used, familiar formulas give the player clues about how far along she is in the current area and to some extent in the game as a whole. This sense of pacing and context can be an important factor in keeping the player interested.
But, even given all this, I don't think we should lament the formulaic structure of the plot heavy single player games. I think we should embrace the ones that work and strive to discover new ways exploit the strengths of the medium in that context. Meanwhile, I'll be happy to shoot some more aliens to get to the next cut scene.
God of War did a great job at keeping me captivated. The little reward nuggets of story are doled out at a great pace, and truly do feel like rewards. Much of this was also interwoven in actual gameplay, too.
Psychonauts just blew me away on so many levels. Smart writing and unique characters, and not only funnier than most games but most tv and movies, too. I'd actually categorize this as an old-school adventure game, with platforming thrown in. The best part that I found was that so much of the narrative was totally optional. If you wanted to only fly through all the platforming you could...but you'd probably be missing a few hours of conversations, backstory, and random things.
Oddly enough, both of those games (and Jade Empire as well) seem to fall down the most at the end. The story just drops, or trails off, or the final level/boss fight is more a chore than a fun experience. What makes the final act so difficult for game developers?


text:
Van der Bijl, Prof Paul Andries (mycology, phytopathology)
Born: 23 May 1888, Farm Nattevlei, Stellenbosch, South Africa.
Died: 25 July 1939, Stellenbosch, South Africa.
Paul Andries van der Bijl, botanist, was the youngest son of Andries Christoffel van der Bijl and his wife Aletta Catharina Johanna, also born van der Bijl. He attended the boys' high school in Wynberg, Cape Town, and in Stellenbosch, continued his studies at Victoria College (later the University of Stellenbosch) and was awarded the degree Bachelor of Arts (BA), with honours in botany, by the University of the Cape of Good Hope in 1909. After a short period as a science teacher in Bethlehem, in the Free State, he joined the staff of the Division of Plant Pathology and Mycology of the Department of Agriculture in Pretoria on 1 August 1911. During the next four years he continued his studies and obtained the degrees Master of Arts (MA) in botany in 1913 and Doctor of Science (DSc) in 1915 from the University of the Cape of Good Hope, the latter with a thesis entitled A study of the dry-rot disease of maize caused by Diplodia zeae. The thesis was published by the Department of Agriculture in 1916. In September 1915 he was transferred to Durban as mycologist in charge of the phytopathological laboratory and Natal Herbarium, where he worked on the destruction of trees by fungi and the diseases of citrus, sugar-cane and other subtropical crops.
In August 1921 van der Bijl became the first professor of phytopathology and mycology in the Faculty of Agriculture, University of Stellenbosch, the first and for many years the only such position in South Africa. He was a clear and capable lecturer and was tireless in his efforts to do the best for his students. His post-graduate students later filled a number of senior positions in their field. From 1927 he served as dean of the Faculty of Agriculture and he was a member of the university council from 1927 to his death. He did his best to extend the university's influence on agriculture and in particular promoted the amalgamation of the Faculty of Agriculture and the agricultural school at Elsenburg to form the Stellenbosch-Elsenburg College of Agriculture. In 1928 he succeeded Professor C.K. Brain* as principal of the college, a post he held until his death eleven years later. His work was appreciated by the agricultural community of the Western Cape and at their special request the Department of Agriculture appointed him chairman of the newly established Dried Fruit Board just before his death. He was also one of the first and strongest advocates of advanced forestry training in South Africa, until the first chair of forestry was instituted at the University of Stellenbosch in 1932.
Van der Bijl specialised in the collection and study of South African fungi and lichens and with his students described many new species of especially plant parasitic fungi. He soon became interested in the larger fungi, especially the Polyporaceae found on indigenous trees. With J.D.M. Keet, the Director of Forestry, he made an extensive collection of fungi in the forests of the Eastern Cape Conservancy in 1915. During his years at Stellenbosch he and A.V. Duthie* studied the fungi of the Western Cape and later those of the Knysna forests. After that he gave attention to the taxonomy of South African fungi. Altogether he produced some 60 publications, many of them in Afrikaans. The latter included the first local textbook of its kind, Plantsiektes; hul oorsaak en bestryding (Plant diseases, their causes and control; 1928), and all his scientific papers after 1929. He also wrote The fungus flora of the Western Province of the Cape (1929). His first scientific paper dealt with a mottled disease of the black wattle and many later papers with the decay of indigenous forest trees. A number of his papers were published in the Transactions of the Royal Society of South Africa and dealt with topics such as heart rot of Sneezewood (1917), South African Xylarias occurring around Durban (1921), a fungus which causes powdery mildew on the leaves of the pawpaw plant (1921), a new species of fungus on a spider (1922), fungi of the Stellenbosch district (1922), and notes on some South African Xylarias (1924). Many more papers appeared in the South African Journal of Science, on topics such as die-back of apple trees (1915), fungi affecting the wood of the willow (1916) and the wood of black ironwood trees (1917), the fungus causing root disease in sugar cane (1919), host plants of the Loranthaceae (1919, 1920), and descriptions of new South African fungi (1925, 1926, 1927, 1928, 1929). A number of papers, most with descriptions of the South African species of several different families, were published in the Annale van die Universiteit van Stellenbosch during the period 1923 to 1935. These were all written in Afrikaans.
Van der Bijl was elected a Fellow of the Royal Society of South Africa in 1924 and served on its council for some years. He was a Fellow also of the Linnean Society (London), a member of the Suid-Afrikaanse Akademie vir Wetenskap en Kuns, and a member of the South African Association for the Advancement of Science, serving as president of Section C in 1926. During 1914-1915 he delivered three papers before the Transvaal Biological Society and in 1916 became a foundation member of its successor, the South African Biological Society.
Van der Bijl left his collection of fungi and lichens to the University of Stellenbosch. The university named the Paul van der Bijl Laboratory for the study of plant diseases after him. He is also commemorated in the names of the fungus genus Byliana and the species Physalospora bylii, Acarospora bylii, Cerospora byliana, Lecanora bylii, Uromyces byliana and Puccinea byliana.
In January 1923 he married Anna Elisabeth Schreuder, but they had no children.
Annale van die Universiteit van Stellenbosch, 1923-1935, Reeks A, Vol. 1-13, papers by Van der Bijl.
De Bruyn, G.F.C. Professore: Universiteit van Stellenbosch en voorgangers. Kaapstad: Nasionale Handesdrukkery, 1989.
Doidge, E.M. South African fungi and lichens to the end of 1945. Bothalia, 1950, Vol. 5, pp. 1-1094 (see pp. 41-42).
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The late Professor P.A. van der Bijl. Journal of the South African Forestry Association, 1939, No. 3, p. 4.
Pienaar, E.C. Paul Andries van der Bijl, MA, DSc (Kaap). Tydskrif vir Wetenskap en Kuns, nuwe reeks, 1940, Vol. 1, pp. 7-8.
Pole Evans, I.B. A sketch of the rise, growth and development of mycology in South Africa. South African Journal of Science, 1916, Vol. 13, pp. 97-116.
Professor Paul Andries van der Bijl, MA, DSc, FRSSAfr, 1888-1939. Transactions of the Royal Society of South Africa, 1942, Vol. 29, pp. xliv-xlv.
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Transactions of the Royal Society of South Africa, 1917-1924, Vol. 6-11, papers by Van der Bijl.
The Transvaal Biological Society. South African Journal of Natural History, 1918, Vol. 1(1), pp. 24-32.
Union of South Africa. Public Service List, 1914. Pretoria: Government Printer, 1914.
University of the Cape of Good Hope. Calendar, 1910/1, 1914/5, 1916/7, 1917/8.


Darcy's Hope at Donwell Abbey by Ginger Monette is the second book in a series of Great War Romance novels, and while you could read this as a stand alone novel, I wouldn't recommend missing the two-book experience. Set during WWI, Monette captures the uncertainty of war-time romance with Pride & Prejudice's most beloved characters. If Elizabeth Bennet and Fitzwilliam Darcy were able to overcome their preconceived notions about one another in a shorter period of time, but become separated by the war, would their love endure the miles and trauma of war?
With all of Darcy's resources would he be able to find Elizabeth if she disappeared, even as he is stuck at the front in battle? Could spies and Germans keep them apart with their war efforts, or would love and chance find a way to keep them close? Without giving away the details of this book, readers will find that the hardened Darcy of book one has been softened by his love for Elizabeth. But in this one, Elizabeth is wary of discovery as she strives to hide and protect her loved ones from reputational harm.
Monette's settings and characterizations are in line with the time period, when women were gaining ground in male-dominated roles and expectations of marriage as the only option beginning to wane. The tension between Lizzy and Darcy has dissipated somewhat as they face new challenges outside their control, and they must not only learn to make their own decisions but also bear in mind how those decisions could impact the ones that they love. Darcy's Hope at Donwell Abbey by Ginger Monette is a solid follow-up to the first book, and I loved every minute of it. She has a strong sense of historical facts and the original Austen characters. This is by far one of my favorite P&P re-imaginings. Don't hesitate, get books 1 and 2.
Visit Ginger Monette on Facebook, on GoodReads, or on her website. Purchase the book here.
Giveaway- – Downton Abbey Tea!
Three lucky winners will each receive a tin of Downton Abbey Tea!


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Woolwich Polytechnic Junior Technical School for Boys was established in 1912 to train boys for jobs at engineering works. The school became the responsibility of London County Council in 1956 as Woolwich Polytechnic Boys School.
In 1974, the Poly was reorganised as a six-form entry comprehensive school spread over two sites. Years 1 and 2 (now 7 and 8) remained in MacBean Street, while the Upper School occupied the premises of the old Woolwich Central School in Sandy Hill Road.
In 1997, the school was designated a Technology College. The school maintained a presence in Woolwich up to 1999 when the Upper and Lower Schools were combined in the former Waterfield School buildings in Thamesmead.
Previously a community school administered by Royal Greenwich, Woolwich Polytechnic School converted to academy status on 1 August 2014. The school converted to a Multi Academy Trust and the girls' school will join this Trust in September 2019.
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Falling Skies Season 3 Finale 2013 "Brazil"
Falling Skies, News
Falling Skies Season 3 Episode 10 (Season Finale) "Brazil" airs Sunday, August 4 2013 at 10 p.m. (ET/PT).
Episode Synopsis: Falling Skies Season 3 Episode 10 "Brazil"- When the 2nd mass destroys a crucial Espheni base, a relentless enemy is taken down and the Mason family is reunited with those who had been lost. But the arrival of more interstellar players puts the fate of the Earth's remaining survivors in doubt. Robert Sean Leonard guest stars.
Show Summary: Falling Skies takes place in the aftermath of an all-out invasion by an alien military force. Wyle stars as Tom Mason, a Boston history professor and the father of three sons, who must put his extensive knowledge of military history to the test as second in command of a regiment of resistance fighters protecting a large group of civilians. Falling Skies also stars Moon Bloodgood as Dr. Ann Glass, a pediatrician who has become the survivors' primary physician; Will Patton as Colonel Weaver, the gruff and emotionally scarred commander of the 2nd Massachusetts, the team of civilian-soldiers whose job it is to protect the survivors; and Drew Roy, Tom's oldest son who is just about to turn 18.
In the second season of Falling Skies, viewers will learn what happens to Tom after his decision to go with the aliens at the end of the first season. Tom hopes that by agreeing to a dialogue with the invaders, he will not only free his son Ben from the invaders' influence, but also get a better picture of the aliens' overall plan.
Click Any Photo Below To Enlarge
Falling SkiesPhotosTNT
Sabienna Bowman
Sabienna is a freelance writer, pop culture junkie and unabashed fangirl. She blames an early exposure to The X-Files and the Must See TV era of NBC for her twin life-long loves of sci-fi and sitcoms. She's not sure where her all-consuming love for all things British came from, but it led her to Doctor Who so she doesn't complain.
The Librarians "And the Rise of Chaos" Review (Season 3, Episode 1) [Season Premiere]
The Popularity of Apocalypse Programs on TV
Major Crimes "White Lies, Pt. 1-3": Mid-Season Finale Review (Season 5, Episodes 11-13)
The Last Ship "Don't Look Back" Review (Season 3, Episode 13)


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Joe Scarborough: Americans who believe there's a crisis at the border are 'stupid'
"Morning Joe" Scarborough apparently does not believe we have a crisis at our borders.
In fact, the MSNBC host actually said that Americans who believe there is a crisis are "stupid."
Did He Really Say That?
Liberals are continuing to push the narrative that if you are not in line with their beliefs, you are wrong — period.
But Scarborough took that claim to a whole new level during recent episode of his show.
In fact, he said President Donald Trump should not have even been allowed to address the nation.
"Why in the world would the networks run Donald Trump's address tonight when we know that Donald Trump is going to be using it to spread these lies?" he lamented.
He later added: "At this point, I've got to say, how stupid are Americans who still believe there's a crisis on the southern border?"
Doubting the Crisis
Scarborough seems to believe that everyone trying to cross the border is a good person.
But even if that were the case — which it is not — immigration still needs to be controlled.
In addition to terrorists who are getting lost in the shuffle, there are gang members, rapists, murders, drug dealers, and human traffickers using our loose borders to enter this country.
While Scarborough may not consider these people a threat, most of the "stupid" Americans in this country do.
Suckers, Fools, and Fake News
Alas, demeaning Trump supporters seems to be a common theme in the liberal media today, with Scarborough pouring it on later during his show.
"They played you for suckers, they played you for fools, and I know that makes you angry," he claimed in an address to Trump supporters.
But the only thing most Trump supporters are actually angry about is the fact that our elected representatives cannot get anything done in Washington.
Both sides continue to stand on the line, daring someone else to cross it.
Meanwhile, President Trump was forced to shut down the government in an effort to get Dems to come to the table — and even that is still not working.
Scarborough may not think we are in a state of emergency, but there are millions of Americans who disagree with him, and we aren't backing down.
Maryland state Sen. Thomas V. Mike Miller Jr. passes away at 78
HHS Secretary Alex Azar hands in resignation letter, will stay on for the rest of Trump's term
Lincoln Project co-founder apologizes for sending 'inappropriate' messages to multiple men: Report


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Gymboree files for bankruptcy protection; to liquidate some 800 stores
BY	Marianne Wilson January 17, 2019
Gymboree has filed for Chapter 11 bankruptcy protection for the second time in less than two years. But this time it has no plans to revamp its business.
The children's apparel retailer, which operates more than 900 stores under three banners (380 Gymboree, Crazy 8 and Janie and Jack) will close all its Gymboree and Crazy 8 stores. It is pursuing a sale for its higher-end Janie and Jack brand, which has 139 stores, and also for Gymboree's intellectual property and online platform. Gymboree Group listed assets in the range of $100 million to $500 million and liabilities of $50 million to $100 million, according to its court filing.
Gymboree Play & Music, which offers classes for toddlers and children up to five years of age and their parents, is not part of the bankruptcy filing. It has operated as a standalone, privately-held company owned by Gymbo Global Education Group, an international education company, since 2016.
"The company has worked diligently in recent months to explore options for Gymboree Group and its brands, and we are saddened and highly disappointed that we must move ahead with a wind-down of the Gymboree and Crazy 8 businesses," stated Shaz Kahng, who was named CEO of Gymboree Group in November 2018. "At the same time, we are focused on using this process to preserve the Janie and Jack business – a strong brand that is poised to grow – by pursuing a sale of the business as a going concern. As we move ahead, we are working to minimize the impact on our employees, customers, vendors and other stakeholders."
Gymboree, Janie and Jack and Crazy 8 stores and their online platforms are currently open for business, with plans for going-out-of-business sales to follow. The company said it has discontinued its GymBucks and Gymboree Rewards programs effective immediately.
The retailer filed for Chapter 11 bankruptcy protection in June 2017. It successfully emerged later that year, in September, with about 350 less stores and new owners. It also cut its debt by some $1 billion.
But the retailer found itself under increasingly heavy competition from Target and Walmart, both of whom have expanded their kids' clothing offerings, and a reenergized The Children's Place. In July, Gymboree announced it was rebooting its brand with new in-store and digital experiences. The re-boot also included a merchandise update.
In December 2018, the company announced a strategic review that include a sale or other transactions for its Gymboree, Janie and Jack and Crazy 8 brands. It also said it planned to close its value-oriented Crazy 8 stores and "significantly" reduce the number of Gymboree store locations in 2019.
"Gymboree may have been able to regain ground through investment in their fleet of stores and omni-channel capabilities, but they were saddled with mounting debt at exactly the wrong time," said Tiffany Hogan, senior analyst, Kantar Consulting. "Gymboree also suffered from market conditions outside of its control, including a retail landscape bloated with stores and a shift to ecommerce."
With regards to the current filing, Gymboree Group said it has signed an asset purchase deal with Special Situations Investing Group (SSIG), an affiliate of Goldman Sachs, with SSIG serving as the so called "stalking-horse" bidder in the sale of Janie and Jack.
The retailer also has received a commitment for a debtor in possession financing, which consists of $30 million in new money loans to be provided by SSIG and Goldman Sachs Specialty Lending Holdings, and a "roll up" of all of Gymboree's obligations under the prepetition Term Loan Credit Agreement in an amount not less than $89 million. If approved by the court, the financing package is expected to support the company's operations during bankruptcy proceedings.
Gap Inc. to split into two public companies
Gap Inc. is spinning off fast-growing Old Navy as a standalone company. It also plans to close about 230 namesake stores during the next two years.
Walmart crushes estimates with blowout holiday quarter
Walmart blew past expectations for its fourth quarter amid strong U.S. same-store sales growth and surging online sales, posting its best holiday quarter in years.
Amazon cancels plans for New York headquarters
Start spreading the news – Amazon is not making a brand new start of it in old New York.
Sears will stay in business as judge approves Eddie Lampert's bid
Sears Holdings Corp. has been given a lifeline.
Sears gets last-minute reprieve
Sears Holdings Corp. is still in the game — at least until Jan.14.


George W. Bush, 43rd President of the United States, talked about the importance of family, faith and service to those in need during the Buckner Hope for Children dinner May 1 at Dallas Market Center. The event, Buckner International's premier annual fundraising dinner, saw a record-setting attendance.
Bush shared his comments along with his daughter, Jenna Bush Hager, in a question-and-answer interview format with WFAA Channel 8 news anchor Cynthia Izaguirre. Among the topics discussed were the recent death of his mother, Barbara Bush, grandparenting, and parenting daughters Jenna and Barbara while serving as president.
The pair also shared their personal recollections of the events surrounding 9/11, offering the crowd of almost 1,000 a personal look at the tragedy that shook the world and served as a defining moment of Bush's presidency.
Buckner International President and CEO Albert Reyes called Bush's public service and family an "inspiration" to America and the world.
"President Bush and Jenna, day after day, the staff of Buckner who work with some of the most vulnerable children and families in the world, tell me that one of the greatest gifts we can give them is inspiration," Reyes said. "Inspiration is the first step to hope. You and your family provide the kind of inspiration that leads to hope."
In recognition of the Bush family's contributions, Reyes presented the former president and his daughter with folk art depictions of Jesus washing feet. The set was crafted from banana leaves by a Kenyan artisan whose family was served by the Buckner Family Hope Center of Nairobi.
During his keynote address, Reyes recalled Bush's first inaugural address in 2001. "Standing in front of the American people and the entire world, he talked about a 'story' that was the American story."
"That clear call from President Bush must reverberate in this hall tonight," Reyes said. "Everyone deserves a chance. No insignificant person has ever been born. And while those words were spoken in 2001, their meaning has been the very heart and soul of Buckner International and friends like you for more than 139 years. That is why we say with one voice, 'Hope shines here!'"
The event also served as the public kick-off of the "Shining Hope Dallas" campaign to build and fund a Buckner Family Hope Center in the Bachman Lake Community of Dallas.
Campaign co-chairs Meredith and Kyle Bebee and Katie and John Golden made the announcement, appealing to the crowd to support the effort.
"The goal of the campaign is simple," explained John Golden. "To raise $14.5 million to build a new Buckner Family Hope Center in the very heart of the Bachman community – an area that is home to nearly 90,000 vulnerable people. Together, we're going to build something that becomes the most significant place in the Bachman community. This Family Hope Center will become a beacon of hope."
Meredith Bebee echoed the need, inviting Dallas to rally behind the effort. "Kyle and I are so excited to be part of this campaign. We're already seeing the incredible impact we can have on this community. And with your help, we'll do even more."
The campaign seeks to raise capital and operating funds for the new Buckner ministry, which will offer programs and services to protect children and strengthen families in the area. Preliminary fundraising efforts among select Buckner supporters have already raised $9.5 million towards the goal, including a $1.125 million commitment from Crystal Charity Ball.
The proposed 21,795-square-foot, two-story Family Hope Center will be built on approximately two acres at the corner of Lombardy Avenue and Geraldine Drive. It will sit strategically between multi-unit family living complexes and single-family homes in one of Dallas' most economically challenged areas. Buckner operates 26 similar Family Hope Centers in Texas and six countries.


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Antinea, l'amante della città sepolta (Frans: L'Atlantide; Engels: Journey Beneath the Desert) is een Italiaans-Franse avonturenfilm uit 1961 onder regie van Edgar G. Ulmer. De film werd destijds uitgebracht onder de titel De heerseres van Atlantis.

Verhaal

Tijdens een storm storten drie wetenschappers met hun helikopter neer in de Sahara. Ze redden het leven van een woestijnbewoner, die hen naar het onderaardse rijk Atlantis leidt. Daar zijn ze te gast bij koningin Antinea. De drie geleerden trachten te ontsnappen, omdat er aan het oppervlak een test voorzien is met een atoombom.

Rolverdeling
 Jean-Louis Trintignant: Pierre
 Haya Harareet: Koningin Antinea
 Georges Rivière: John
 James Westmoreland: Robert
 Amedeo Nazzari: Tamal
 Giulia Rubini: Zinah
 Gabriele Tinti: Max
 Gian Maria Volonté: Tarath

Externe link

Film uit 1961
Italiaanse film
Franse film
Avonturenfilm
Film van Edgar G. Ulmer
Film van Frank Borzage


As Waitangi Day approaches, the museum team is pleased to have, what we're pretty sure is, our first dedicated treaty display on show, located in the MTG Hawke's Bay Octagon space, currently within the Napier Library. 'Te Tiriti Ora: our living treaty', is a joint effort between museum and library staff, with relevant books available for checking out placed alongside the four sections. These focus respectively on He Whakaputanga of 1835 (commonly known as the Declaration of Independence), Te Tiriti o Waitangi itself, local stories of the treaty here in Te Matau a Māui / Hawke's Bay, and lastly a timeline of points from the Crown's treaty journey from 1840 to today.
I'm grateful I've been able to work on this project, not least because it gave me the opportunity to finally address my lifelong ignorance on something fundamental to who I am as a Pākehā – and to all people living on these islands collectively called Aotearoa New Zealand. There's always a sense of disbelief when I learn some crucial new piece of knowledge about the treaty, and wonder how on earth I got through 13 years of NZ public schooling without ever engaging with the topic!
It's been surprising to find that the more I read and listen, the less complicated it all seems, despite the increasing volume of facts and interpretations of events. I'd long had the impression that the English-language Treaty of Waitangi was the primary document signed, with an accompanying reo Māori translation that caused issues due to errors of translation and linguistic ambiguities. I assumed that this had led Māori signatories to misunderstand the agreement and accidentally sign away their sovereignty: the right to determine their own destiny. Colonisation was therefore an unfortunate mishap in cross-cultural communication and the way forward is necessarily highly complex and fraught.
Gaining even a basic familiarity with the history was enough to clear that up, as of the nine separate sheets that were taken around the islands to gather signatures, only one was an English version, signed by 39 rangatira. The other eight sheets were copies of Te Tiriti o Waitangi in te reo Māori, with more than 500 signatures between them. Those signatories understood exactly what the document said, as Te Tiriti clearly lays out the agreement whereby the Queen of England is permitted to establish governorship on Māori land to bring the increasing numbers of Pākehā under their own culturally appropriate system of law and order. Benefits to the Crown included the right to trade in land with Māori landowners, and in return the Queen committed to extend to Māori all the rights of citizenship as the people of England. She acknowledged the absolute paramount authority (tino rangatiratanga) of Māori over their lands, villages, and all things treasured.
All of which seems quite logical and is easy to understand: Māori delegated the authority to keep Pākehā in check over to the newcomers' own leader, in the form of a partnership that would enable both peoples to live on these islands in peace. Colonisation was and remains the Crown's fundamental breach of the treaty, and therefore to actually achieve peace the way forward seems to me quite simple: the Crown must honour the treaty by enabling the restoration of tino rangatiratanga.
I look forward to being in the museum today, tomorrow and on Waitangi Day to talk treaty with anyone keen to hear a short introduction to the topic, ask questions, or share their own knowledge on our living treaty. Mauri ora!
Weaving Workshops, join celebrated weaver Karmen Thomson for a series of 45 minute weaving workshops at MTG. Today (Saturday 2 February), Sunday 3 February and Wednesday 6 February at 10-10.45am, 11-11.45am and 1-2pm each day. Free entry, all welcome, please register through Eventfinda.
Visit Te Tiriti Ora: our living treaty exhibition at MTG with Jess Mio, Curator of Art. Today (Saturday 2 February) and Sunday 3 February between 10am–2pm. And Waitangi Day (Wednesday 6 February) from 9.30am-12pm. Free entry, all welcome. Please meet in the Main Foyer, no need to register.
Curators Talk, join Social History Curator Gail Pope in the House of Webb Tuesday, 5 February at 11am, meet in MTG front foyer. Free event.
Twilight Art Class, held in the exhibition space, explore various mediums used by the Webb family throughout their journeys. This session focuses on landscapes. Tuesday, February 5, 6-8pm. $35 per class ($30 for friends of MTG). Please register to secure a place 06 835 7781.
Toi Āhua art installation opens this week. Free entry.
Behind the Scenes: Art Deco Collection. Monday 11 February 12-1pm. Explore fine examples of Art Deco design in the museum collections including fabulous frocks to inspire you for the Art Deco Festival. Free Public programme, all welcome. Spaces are limited, please register through Eventfinda or at the front desk in the main foyer at MTG.
The Art Deco Festival begins on the 13 February. For a list of events on at MTG, please visit our website (mtghawkesbay.com).
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The American National Standards Institute proudly welcomed 14 new members in April 2015
The American National Standards Institute (ANSI) proudly welcomed 14 new members in April 2015:
Alabama Power Company
ARUP Laboratories
AWS Truepower, LLC
Contract Pharmaceuticals Limited Canada
Erie Indemnity Company
GM Financial
Seagate Technology LLC
Sechan Electronics, Inc.
State of Tennessee
Sustainable Electronics Recycling International
These organizations joined a federation that represents more than 125,000 companies and well over 3.5 million professionals. Under the Institute's umbrella, this diverse constituency works together to strengthen the competitiveness of businesses operating in the global marketplace and to improve the quality of life for all citizens by developing, implementing, and promulgating voluntary consensus standards and related conformance assessment systems.
"Active participation in ANSI and its programs can serve as both a strategic and tangible asset for an organization," said S. Joe Bhatia, ANSI president and CEO. "Not only will they gain access to information and business intelligence that is not available elsewhere, but they will also receive discounts on many products and services. Equally important, they can build relationships that empower them with a voice and influence over the standardization and conformity assessment decisions that directly affect their business."
Register Now for ANSI's Personnel Certification Accreditation Workshop: Understanding the Requirements of ANSI/ISO 17024
ANSI Announces Call for Nominations for 2016 ANSI Board of Directors