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Home SL leopard roars in Asia
SL leopard roars in Asia
Discovery Asia to broadcast Sri Lankan wildlife documentary
Tuesday, August 6, 2019 - 01:00
Nadira Gunatilleke
The wildlife documentary film, Wild Sri Lanka - Realm of the Leopard, will air on Discovery Asia for the first time from August 22 to 29 in South East Asia.
The film produced by Sri Lankan based production company, Aegle Creations (Pvt) Ltd took over two years to complete. The writer, as well as the director of the film, is Thivanka Rukshan Perera. This wildlife film depicts the lifestyle of the Sri Lankan leopard, a subspecies unique to Sri Lanka, and highlights the potential hazards and environmental threats faced by them. The documentary, Wild Sri Lanka - Realm of the Leopard, around 50 minutes in length, captures breathtaking visuals of Sri Lanka's natural beauty and wildlife.
Its international distribution and promotion are handled by Earth Touch in the UK. Aegle Creations has produced a number of documentaries currently screening around the world and has won various accolades in the past. Special promotional videos featuring the nature and wildlife of Sri Lanka were also presented to SriLankan Airlines' in-flight entertainment and Sri Lanka tourism promotion purposes. The film will also be distributed in France, Italy, Korea, Japan, Australia, the US and Canada over the next few years. It was recently presented to BBC Earth for consideration.
Aegle Creations is currently working on a historical-wildlife documentary based on a notorious man-eating leopard that terrorised the village of Punanai back in the 1920s.
Thivanka's Silent Letter won the Best Short Film (debut) Award at the Whatashort Independent International Film Festival held in New Delhi, India in 2017. He won the award for his work out of over 400 entries from 34 countries. It was picked for distribution by Shorts International Ltd and was broadcasted in the USA in 2017. It also clinched a certificate of excellence at the Fifth Mumbai Shorts International Film Festival in Mumbai, India in 2016.
Thivanka has directed several productions focusing on natural history. These include Sri Lankan Jungle Fowl, 2016 Demo Reel, The Devil Bird of Sri Lanka and Brown Wood Owl – Juvenile's Journey. The Devil Bird of Sri Lanka has earned around 95,000 views on YouTube.
A graduate of Academy of Art University, San Francisco, the USA, with a major in screenwriting, Thivanka has done his foundation in communications in Malaysia in 2010.


No, this section has nothing to do with hot dogs or sizzlin' Italian sausages. This is your direct connection to Freds in Cyberspace. Do you have a URL link you would like to share? Let us know and as long as it meets our content and fred-liness standards, we'll add it to the list.
Fred Herbert is a member of the Fred Society who has been bailing out Fred's (and others) for 37 years, after a short career as a Claremont (CA) & Pomona (CA) Police officer. Fred promises that if he can't get you out, right away, he'll ask the jailer to give you an extra blanket for those cold nights in your cell. Check out Fred's site, click here.
Check out Fred Jones' personal website.You'll find lots of eclectic stuff here – Fred's 50th Birthday Party Photos, Descendants of Daniel Jones, Shetland Sheepdogs and links to the Humane Society of America. Check out Fred's site by clicking here.
Fred B. Mullett is an extraordinary artist utilizing an ancient art form known as Gyotaku (Japanese name for "fish rubbing"). He not only 'rubs' fish, but shells, plants, feathers and much more. Check out Fred's fantastic art and beautiful website by clicking here.
There's lots to see on this eclectic website but be sure to check out Fred's photos (the link below should take you there directly). At the bottom of each photo you'll see a '<' and '>' icon. Use these to scroll through Fred's captivating photo collection. Click here.
If you can't hop on a jet and experience this world famous watering hole first hand, then check out their new website! You'll find out the story behind it's founder, Fred Kulapukapukaupa and learn the secret ingredients to a few of Fred's award winning tropical drinks. Hula on over to: Fred's Tiki Lounge. Need to add Fred's Tiki Lounge Link Here.
Fredflare.com is an on-line gift boutique that sells a variety of fun gifts, accessories, t-shirts, stationery and lots more.The name was derived from Hollywood megatalent, Fred Astaire. "Great design should be as fun and entertaining as an old musical or a modern music video," states the owners Keith and Chris. Astaire = Flare (The FRED Society has known this for years!). Check out their cool website by clicking here.
Fast-paced, energetic, universally engaging and theatrically clever, Fred Garbo Inflatable Theater Co. has won the praise and affection of audiences worldwide. They've been seen on the Late Show with David Letterman, at the Kennedy Center in Washington DC, on Broadway at the New Victory Theater and on stage and television in Chile, Japan, Ireland and Brazil (just to mention a few). Share their unique inflatable visions by clicking here.
Lynfred Winery is truly one of Chicago's most unique attractions. Founded in October, 1979 by Owner Fred Koehler and his late wife, Lynn, Lynfred Winery has fueled great expansion in the Illinois grape and wine industry. Lynfred is the oldest continuously operated bonded winery in the state. Savor and sip Lynfred's website by clicking here.
Astounding, amazing, era-defining! These are some of the superlatives that could be used to describe the exciting music of the band 'Fred'. 'Fred' has built a reputation for themselves as Earth's most hungry band. And when you hear this talented group from Cork, Ireland, you'll be hungry too…for more 'Fred'. Check out their cool website by clicking here.
Fred's Beds has seven stores in North Carolina: Three in Raleigh, one each in Greenville, New Bern, Goldsboro and Wilmington. Soon there will also be a Fred's Bed in Rocky Mount. So if you live in the area and are looking for a high quality bed, bedroom furniture or other bedroom accessories, check out Fred's Bed. Tell 'em the FRED Society sent you! Put on your bedroom slippers and shuffle on over to their site by clicking here.
Welcome To Fred is a moving and hilarious tale set against the vibrant backdrop of the 1960s and rural America. It is the timeless and classic story of Everyteen in the hands of a master storyteller. Brad grew up in Fred Texas. Find out more about the book and Fred Texas by clicking right about here.
Fred Koller has been a professional songwriter since 1973. Fred Koller now lives and works in Nashville, Tennessee. His songs include "Angel Eyes", a top five pop hit for Jeff Healy, and country hits for Kathy Mattea, Bobby Bare, Gene Watson, Lacy J. Dalton, Bob Gibson, Vern Gosdin, Nanci Griffith, Jerry Lee Lewis, Loretta Lynn, Michael Marin Murphy, Odetta, Pinkard and Bowden, Leon Russell, Shel Silverstein, The Sons of the Pioneers, Tex Williams, Keith Whitley, Lorrie Morgan, and many other artists. Click here.
Early in his career, Fred pursued marketing and advertising but never stopped longing to be a painter. In 1986 he followed his dream and began to paint full time. Check out his awesome acrylic masterpieces (we especially like the cat illustrations), support the arts and buy a few of his works by clicking here.
The paintings represented here were not created by well-known blue-chip artists or artists named Fred. They were created by ordinary people (Bobs, Earls, Debras and others). For unknown reasons they were donated to thrift stores where Fred purchased them. The goal of this museum is to increase the boundaries of the art world because making art is too important to be left only to art professionals. Walk the galleries by clicking here.
This site got it's name from the street these "cool cats" live on in London, UK. Frederick Street was built in the early 1800's and named after Prince Frederick, younger son of King George the third. Put your paw on your mouse and click here.
The award winning graphic design firm that helped create The FRED Society web site. Steve named his son Fred because "it's a cool name!" Check out their work and savor the cheese by clicking here. Thanks Vern!
Got a Fred link you would like to have listed? Send the link to us. Thanks!
Yes, we are definitely in favor of all Freds. Thanks for stopping by.


Woke up with no power again today. At this point, we're getting used to that state of affairs. I checked in with Nicoletta about it, and she waved her hands around and said enough unintelligible words in Greek for me to understand that this was once again something affecting our whole neighborhood. Fortunately, it cooled down last night, so we were able to enjoy breakfast under the grapes again.
By the way, while sitting at the corner taverna in Koumani with George and the owners (Dmitri, Margaret, and their son Peter) last night (we went there when wifi in Xirocambi proved too fussy), an American woman came over to introduce herself to us. In one of those small-world turns, we learned that she and her Greek-American husband (who hails from Koumani) owned a pizza restaurant in our hometown of Hamden Connecticut in the 1970s — a place called Acme Pizza on Dixwell Avenue. That was unexpected.
On our way out of town down to the beach this morning, we passed by the electrical workers on the road. We're pretty sure that they were violating every OSHA regulation possible — wires and cables were everywhere, and there was nary a hard hat nor a pair of gloves in sight. But we learned today that that's par for the course here.
As far as our beach experiences today, there's not all that much to report. We swam in the relatively flat water of Skoutari's "second beach," then walked over to the "first beach" when we wanted some shade (don't worry, mom — we're using lots of sunscreen and spending at least half of our time under thatched roofs and umbrellas). Skoutari has shallow, clear-as-day water and a very secluded, quiet, almost-locals-only feel.
We sat at a taverna reading until lunch time, then had an excellent Greek salad for lunch. Soon after we ate, George waved us over — he's working on restoring the small 12th century Santa Barbara chapel that sits right on Skoutari beach (and is currently covered in blue industrial plastic). He invited us over to the see the chapel, and we walked around the work site — no hard hats, no closed-toe shoes — looking at the restoration work (mostly repointing, from what we could see) and the frescos.
Then Nikos, another worker at the site, invited us over to see the sand-sifting device a few meters away from the chapel.
Nikos then explained that the chapel had once been surrounded by tombs — "mother, father, grandmother …," and then he pointed to three clear plastic bags near his feet and smiled. The bags had bones in them! We could see an actual human skull! And there was a box behind them with long bones (femurs? tibia? a mix?). We're not clear what the bones are destined for — we couldn't tell, given our limited Greek, whether they planned to rebury-them or throw them into the bushes. And if you can't really see what's in those bags below, trust us — they're bones.
After that exciting excursion, we headed over to Mavrouvoni beach, which has lounge chairs and umbrellas that make it much easier to be completely lazy. We lay reading as the wind whipped up a frenzy all around us — it was an incredibly windy day. And there were real waves by the afternoon! The windsurfers off in the distance were tearing across the sea.
As evening rolled around, we headed into Gythio, a port town not far from the beaches. It clearly has a mixture of working port boats and day sailors.
The town was developed most recently in the late 1800s, and we walked along the very pretty waterfront (a bunch of storefronts and cafes, nothing too touristy or high-end) until we decided to head up the hillside to see the houses. This is a delightful medieval warren of rooftops and staircases and how-did-they-get-a-car-up-here twisty alleys.
The houses look more and more ruined as you go uphill — by the time we arrived at great views hear the top of the hill, we were standing on the old rooftop of a ruin and eating tiny figs from a tree that hasn't seem much care in a long time.
Then we walked through the Gythio shops, spending the longest amount of time in a sweet shop (this should surprise no one who knows either of us).
Now we're at the slightly touristy Aurora Cafe sitting in waterside couches and sipping over-priced (but very strong) mixed drinks, about to wander down the waterfront in search of a restaurant that will serve us fresh fish (but not sardines — J has drawn the line on that suggestion).


If you are a Bollywood fan, you will realize that how the icons carry themselves with comfort and grace. Whether it is Deepika Padukone or Kareena Kapoor, there is no denying the fact that their dress and jewellery choice is always perfect.
Isn't it hard to visualize a girl without an adorable pair of earrings? Earrings are an integral part of the modern lifestyle. Much like footwears, it is essentially important to choose the right pair of earrings. To meet the ever-evolving fashion requirements, jewellery manufacturers and designers are coming up with an alluring variety of ornaments every now and then. However, a girl can never get enough of jhumkas and latkans in her casket. If you are a Bollywood fan, you will realize that how the icons carry themselves with comfort and grace. Whether it is Deepika Padukone or Kareena Kapoor, there is no denying the fact that their dress and jewellery choice is always perfect.
For an elegant and simple touch, latkans are good to go. A traditional pair of latkans perfectly goes well with every type of ethnic wear, be it saree or lehenga choli. In case, you are wearing an Indo-western gown, then settle for the plain ones with not-so-embellished chains hanging down.
It is evident that a girl's jewellery box is incomplete without latest style jhumkas. A pair of silver jhumkas is a style statement in itself. Team it up with a casual kurti or a decent-looking saree or a fusion dress and grab all the eyeballs. With the jhumka options soaring in the market than ever before, you will be definitely spoilt for choices. However, never say no to either silver jhumkas or a gold-plated pair, as it is timeless. It will help you survive multiple occasions of your life.
If you are not comfortable in heavy dangles, then ear studs are your saviour. No matter how you dress, you always look great in a pair of fancy ear studs. Though, the experts say that they bring the best look with pantsuits. Take care of how you style your hair while wearing them. Opt for a chic bun or leave your tresses open.
The trend of wearing Chandbalis originated from Deepika Padukone's ram-leela. The young actress was found with these huge earrings throughout the film. The movie was a hit and so was her look. So, her appearance made a place out of silver screens. It adds an impressive essence to your overall personality.
So, which one is your favourite? Tell us in the comment below. Considering the latest trends, it is the right time to grab silver payal online.


Internalization of Staphylococcus aureus by endothelial cells induces cytokine gene expression.
The ability of the vascular endothelium to elaborate cytokines in response to gram-positive sepsis has received limited attention. This study examined cytokine expression by human umbilical vein endothelial cells (EC) following infection with a gram-positive bacterial pathogen, Staphylococcus aureus. S. aureus infection of EC resulted in the production of interleukin-6 (IL-6) and IL-1 beta. For IL-6, message was detected at 3 h after infection, protein was present at 24 h, and both message and protein persisted for 72 h. IL-1 beta message was detected at 12 h, IL-1 beta protein was detected at 24 h, and both persisted for 72 h. Message for colony-stimulating factor 1 remained unaltered. UV-killed S. aureus also elicited IL-1 beta and IL-6 message and protein expression at 24 and 48 h. Twenty-one clinical isolates of S. aureus were tested, and all induced IL-6 release by 48 h. However, the laboratory strain 8325-4 did not induce cytokine expression at any time point and was internalized by EC 1,000-fold less than other strains were. Internalization of latex beads by EC did not induce IL-6 gene expression. Furthermore, cytochalasin D treatment of the EC prevented IL-1 and IL-6 induction by S. aureus but not by tumor necrosis factor alpha or lipopolysaccharide. These results indicate that S. aureus is a potent inducer of IL-1 and IL-6 in EC and that internalization of S. aureus by EC is necessary for their cytokine expression. Thus, our data suggest that the vascular endothelium may play an important role in the pathogenesis of septicemia caused by gram-positive organisms.
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Solaris Flares light landmark Vulcan statue
Lighting for the project was provided by 4Wall Nashville
USA - The largest cast iron statue in the world shines brightly over Birmingham, Alabama, thanks to lighting design by Schuler Shook and lighting design revisions, control system design, and programming by Marc Brickman and Tactical Manoeuvre, Inc. The essence of the 56-foot Vulcan statue overlooking the city is the 124-foot pedestal on which it stands, highlighted and enhanced with seven Solaris Flare IP HR dual-head outdoor fixtures.
Lighting for the project was provided by 4Wall Nashville. "The Flare IPs have an incredible amount of firepower and are killer bright," says 4Wall account executive, Damon Herbert. "We used the dual-head version of the Flare IP outdoor lights, with narrow 8-degree lenses for maximum throw."
Damon adds, "At night, the statue can be seen for miles and Tactical Manoeuvre's programming is exquisite. Over two years in development, the clients are extremely happy with the results. Flares make us look good."
Schuler Shook worked with the Kiwanis Club of Birmingham to develop concepts for re-energising Vulcan's presence over Birmingham through a dynamic use of light. The statue's inclusion on the National Register of Historic Places led the team to design fixture mounting locations concealed around the base of the pedestal and on tall poles strategically placed around the park.
Tactical Manoeuvre (TactMan) was brought on to the Vulcan project toward the end of the design and construction process. After viewing the proposals for programming services from several other companies, Wayne Gillis of the Birmingham Kiwanis Club saw a video of a light-to-music show at the Empire State Building. He knew that was the kind of show needed for Vulcan and the people of Birmingham.
Elisha Griego of TactMan explains, "Upon receiving Wayne's call, Marc Brickman and the team got to work. We made some adjustments to the original lighting design to leverage newly available options, including the addition of seven dual-head Flare IP fixtures to supplement the previously specified fixtures. With a 124ft tall base and a 56-foot statue on top of that, we needed serious firepower to get enough light from ground-mounted fixtures to give Vulcan a major presence on the Birmingham skyline, and the Flares were the perfect fit.
"The Flares also had the correct lensing for the job, and TMB worked with us and the general contractor to create custom glare shields."
Elisha adds, "TactMan also introduced an innovative, first-of-its-kind proprietary scheduler. Operated from an off-the-shelf iPad, the scheduler allows Vulcan Park staff to schedule lighting events without knowing a thing about lighting programming. These control systems serve as the basis for TactMan's proprietary audio sync app, soon allowing viewers to hear the audio for a light show latency-free, anywhere they have a line of site to the Vulcan statue."
Key personnel with Tactical Manoeuvre, Inc. include Marc Brickman, Elisha Griego, Tom Huston, Dietrich Juengling, Lindsay Scoggins, and Ian Shelanskey.
The general contractor was Brasfield & Gorrie, headquartered in Birmingham. Schuler Shook of Chicago was the project's lighting designer. Continued funding is from donations by the Kiwanis Club of Birmingham.
Robe Pointes light the Louvre for David Guetta
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redpajama_set_name: RedPajamaCommonCrawl


[Nella Fontaine Binckley, "Odds and Ends from an Artist's Life," Chapter VI, part 1. From a transcription annotated by Patricia D'Arcy Binckley of typewritten original, February 25, 2005. Original "written some time after 1941 by Nellie F. Binckley, 1860-1950 or 51." Notes in brackets are mine, unless followed by the initials "P.D.B." Occasionally, additional paragraph breaks inserted for easier reading.
That [circa 1880] summer [Grandmother] and Aunt Sue took me to Alleghany Springs [Montgomery County, Virginia]. I was still in my teens and it was my first visit to a watering place. I enjoyed the hotel life immensely. The scenery was lovely and I made sketches.
I had not had my art education which Dad had planned. But I had worked hard by myself, studied good pictures, and learned to paint.
When the proprietor of the Springs saw some of my sketches, he told me I could use a small room over one end of the bowling alley on the grounds for a studio. An outside stairway led up to it. That was delightful! My very first studio! And the guests began buying my little pictures.
It was hot and everybody used palm leaf fans. I painted some goldenrod on mine, and a lady asked me to paint one like it for her. Then I had a lot of orders for fans. A gentleman wanted me to paint a portrait of his dog. I love dogs, and understand them, so it was a success. Another man wanted his beautiful pointer painted. And so it went. I was a professional artist after all. I never taught school again.
Meantime I was having a glorious time socially. Dancing in the ballroom every night (except Sundays, of course) and walks and talks with various gentlemen during the days. I always liked older men best. Dad had spoiled me for commonplace men. But I loved to dance, and as the dancing men were mostly youngsters I had to put up with them, but seldom wasted time on them in daylight.
General Jubal Early was there and was with Grandmother a great deal. He and Grandfather had been intimate friends. And he was also very fond of my great uncle, General Johnston. There were a great many Richmond people at the Springs, and among them were John S. Wise and his wife. They were almost ostracized as Mr. Wise was a Readjuster. I knew nothing of politics, and cared less. So I had only a dim impression that there were some people -- mostly Republicans it seemed -- who wanted to readjust the State debt, whatever that meant. We were all Democrats, of course. Loosely speaking, most nice people in the South are Democrats, while most nice people in the North are Republicans. Six of one, and half dozen of the other.
One day Mr. Wise came up to my studio saying he had seen my portraits of the dogs and liked them very much. He was a great dog fancier, judge at dog shows, etc. He picked up a sketching board and on it drew a setter and showed me all the points. I remember he said the tail should have the curve of Saladin's scimitar. He was so nice and interesting that I forgot he was a Readjuster.
When I told Grandmother and Aunt Sue about it, they were shocked that "Johnny Wise" had come to see me. Bit I reminded them that a studio was really a public place. Anybody could come. I was desperately afraid, however, that if he came again and old General Early, who climbed up to my studio now and then should find him there, the fiery old general would probably throw him down the steps. But luckily Mr. Wise returned to Richmond [the] next day. The dog he sketched I named Readjuster.
One day I was out on a road near the Springs with my sketch box, looking for something to paint when along the road came a half grown darkey boy in the raggedest rags I had ever seen on any human creature. I showed him a quarter and told him I'd give it to him if he'd let me paint him. [He] looked longingly at the quarter but hesitated. Finally he say doubtfully, "What color you gwine paint me?" I hastened to assure him that I had no intention of whitewashing him or anything like that. When I made this clear, he joyfully consented.
There was a family at the hotel named Lamar, from Georgia. The two pretty daughters, one blonde, one brunette, had the most extraordinarily long hair down to the hem of their skirts -- which in those days meant down to the ground. We had a costume ball and they wore their hair loose, and were the sensation of the evening. I painted a small portrait of the blonde one with her hair down for Mrs. Lamar. They had peculiar names -- Elmira Edwita and Alberta Isolene. A married daughter was named Vallie Valeria.
One of the guests was a cattle king from Texas named Colonel Spaight. He was said to own a million head of cattle. He had been coming to the Springs for years, and he was seventy but a very spry old gentleman, and even waltzed quite frequently and very well too, though there was a slight hitch now and then. Stiffness of the joints, I suppose. When we had the big ball of the season the General invited me to lead the Grand March with him.
[Ellen/Nellie/Nella Fontaine Binckley (September 1, 1860-April 27, 1951). Family names and dates were whimsically tweaked by their owners during their lifetime, adding mystery and sometimes causing confusion. For Binckley's "Artist's Life," I'm opting for the full artist's signature name, Nella Fontaine Binckley.
Grandmother = Jane Johnston Mitchell/Michel (1811-1892).
Aunt Sue = Sue Henry Mitchell/Michel Taliaferro (1845-1940).
Dad = John Milton Binckley (circa 1831-1878).
Jubal Early (1816-1904) = hyper-racist proponent of "Lost Cause" mythology.
Great Uncle Joe = Joseph Eggleston Johnston (1807-1891).
John S. Wise = John Sergeant Wise (1846-1913).
Lamar = most likely the family of Henry James Lamar (1925-1896) and Valeria Bethsheba Jones Lamar (1832-1895), which included daughters Valerie Lamar (1855-1916), Alberta Lamar (1865-1887) and Wileyna Lamar (1861-1927).


Acupuncture is a proven therapy practiced throughout the modern world. Acupuncture is holistic in its approach and addresses the whole person, body and mind, and the problem/concern presented. I have been using Acupuncture to treat my patients pain with great success.


Hello, I am Dr. James Lund. Before I tell you a bit about myself I would first like to thank you for taking the time to browse our website. Please contact us by e-mail, phone, or in person if you have any questions, comments, or suggestions.
I am a Utah native, who grew up in Cache Valley. While working in the Washington DC area to establish residency for dental school, I met my wife Lauri, also a Utah native. She is a nurse and was working at a Georgetown University clinic at the time. We were married the following summer, and moved to Richmond, Virginia so I could attend dental school. Upon completion of dental school, my family and I returned to Cache Valley and worked there for a time. However, when Dr. Carl McMillan, who started this practice, decided to focus entirely on TMJ disorders, he needed someone to take care of his general dentistry patients. Seeing it as a good opportunity for both of us, in January 2003, I moved my family to Riverton and began the transition of purchasing Dr. McMillan's practice.
Change is inevitable when someone new enters a practice, and I have tried to keep that change as positive as possible. I really enjoy and am very appreciative for the many lifelong patients of Dr. McMillan's who decided to brave out the transition and stay with us. I also enjoy being able to make some changes and open our doors to many wonderful new patients who have joined us as well. We continue to accept new patients and still have room for about 80 more new families.
Some of the changes that have been made since 2003: a new parking lot that is twice as large, a new building façade, landscaping and a new fence. Those are the external changes in case you didn't recognize us. Internal changes that have been made may not be so visible, but they even more important when it comes to your treatment. We have worked hard to maintain the friendly, personal atmosphere that Dr. McMillan created while also trying to improve the efficiency, reliability and service our patients experience. I truly want your experience in our office to be surprisingly refreshing and pleasant. I also want you to have complete confidence in the quality of the work you receive. As a dentist, there are literally thousands of materials available for repairing dental problems. I have chosen to buy only the best, well proven materials. Others have advised me against this because the better materials are very expensive, and insurance pays the same regardless of the quality. However, I truly feel a personal responsibility to each patient to provide the best techniques and materials available. If there is a material or method that will increase the strength or longevity of dental work, you should expect to receive it. In fact, there is a copy of my pledge that every patient will receive the highest standard of care and that all work performed in our office is guaranteed to last. If you are keeping current with your six month cleanings, and you have a filling fail within the first two years, or a crown fail within the first five years, that is not due to neglect or decay, I will replace it at no cost. I chose that time frame not because I feel a filling should only last two years, or that a crown should only last five years; but because I feel they should last much longer. I chose those numbers because most insurance companies use those numbers as their guidelines for replacement. I know of no other dentist anywhere in the area who provides a written statement that guarantees their work.
COST: I feel that dental work should be affordable. As new patients come to our office and tell us how expensive their previous necessary dental work costs, I am amazed! As you just read, I strive to use the strongest, longest lasting, and best looking materials available for every patient. Still, I also plan on "growing-up" with my patients and caring for you, your children, your neighbors and extended family for many years to come. If I were treating you as a source of income, instead of family, we could not have the personal, long-term friendship that I enjoy so much with my patients. To me, you truly are a part of my family. There is no reason to charge in excess of the cost of my work. I love coming to work each day, I enjoy working with my patients and staff, and besides, I really would not want my kids to ever be spoiled.
INSURANCE: Insurance is a mixed blessing. It does help cover some of the cost for patients, however, insurance companies offer you, as a patient, the minimum benefit possible. Most insurance companies still have $1,000 or $1,500 maximums each year, just like they did in 1970. I know of no other industry that is so far behind in keeping up with inflation. Yet, it does help you if you can obtain it, so we accept most insurances and are contracted with all of the major insurance providers in the area, thus giving you an even greater discount to come here.
If you do not have dental insurance, we do offer a dental benefit plan in our office. View that plan here.
Another unique aspect of our office is a focus on sleep apnea, snoring, and other sleep disorders. This may seem odd to have in a dental practice, but the area of your body that is the problem for most people with snoring or sleep apnea problems is in the back of the throat. I invite you to browse the sleep section of this website, and see if there are areas in which we can help you sleep better and have more energy.
I also want you to feel cared for personally when you visit us. Our receptionist will always treat everyone with the best customer service possible. Our financial manager is exceptional at helping resolve difficulties with insurance, billing statement questions, as well as providing personalized support if financial arrangements for treatment need to be arranged. Our Hygienist does an amazing job while being surprisingly gentle. In fact, I am sure you will find all of our staff friendly, competent and pleasant to work with.
I really enjoy working as a dentist, and love working with and for other people. I want you to have the very best dental experience you have ever had when you visit our office. I plan on being here for a very long time and invite you to be as well.
P.S. I don't like to mention the honors and awards, but it is a question we get and patients seem to be interested in my education and credentials.


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A cápsula articular da articulação do joelho, também chamada de ligamento capsular,  é cápsula ampla e frouxa que contém a articulação do joelho. Ela é mais fina na frente e nas laterais e contém a patela, ligamentos, meniscos e as bursas do joelho. A cápsula consiste em uma membrana sinovial interna e uma membrana fibrosa externa separada por depósitos de gordura anterior e posteriormente.

Membrana sinovial

Anteriormente, a reflexão da membrana sinovial encontra-se no fêmur a alguma distância da cartilagem devido à presença da bolsa suprapatelar. Acima, a reflexão parece levantada do osso, devido ao tecido conjuntivo periosteal subjacente. Na postura em pé, a bolsa suprapatelar é aparentemente redundante. No entanto se desdobra quando o joelho é flexionado; para se abrir completamente quando o joelho for flexionado 130 graus. Durante a extensão do joelho, o músculo articular impede a compressão da bolsa suprapatelar. Na tíbia, o reflexo anterior e a fixação da membrana sinovial estão localizados próximos à cartilagem.

Anteriormente, a bolsa gordura infrapatelar se localiza abaixo da patela e entre as duas membranas. Estende-se desde a margem inferior da patela acima até a prega sinovial infrapatelar abaixo.

Posteriormente, a inserção femoral da membrana sinovial está localizada na margem cartilaginosa dos côndilos femorais lateral e medial, onde o espaço articular possui duas extensões dorsais. Entre eles, a membrana sinovial passa na frente dos ligamentos cruzados anterior e posterior. Esses ligamentos são intracapsulares e extra-articulares com sua fixação tibial localizada exatamente na margem da cartilagem. Ambos os meniscos lateral e medial estão, entretanto, localizados dentro da cápsula sinovial.

Membrana fibrosa
É uma membrana fibrosa fina, mas forte, que é reforçada em quase toda a sua extensão por faixas.

Suas principais bandas de reforço são derivadas da fáscia lata e dos tendões que circundam a articulação.

Bursas
As numerosas bursas ao redor da articulação do joelho podem ser divididas em comunicantes e não comunicantes :

 Bursas comunicantes:
 A bursa suprapatelar, a maior bolsa, estende-se pelo o espaço articular anterior e proximalmente.
 O recesso subpoplíteo e a bursa semimembranosa estão localizados posteriormente e são muito menores
 As bursas subtendíneas lateral e medial do gastrocnêmio estão localizadas na origem das duas cabeças do músculo gastrocnêmio .
 Bursas não comunicantes:
 A bursa pré-patelar subcutânea está localizada na frente da patela.
 A bursa infrapatelar [profunda] está localizada sob a patela, entre o ligamento patelar e a membrana fibrosa da cápsula articular. Em alguns casos, se se comunica com o espaço em comum.
 Outras bursas menos regularmente presentes incluem a bursa subfascial pré-patelar, a subtendínea pré-patelar e a subcutânea pré-patelar .

Somando-se à complexa estrutura do espaço do joelho, é possível encontrar vestígios de três divisões septais embrionárias do espaço do joelho chamadas de plicas sinoviais:

 A plica suprapatelar dividindo o recesso suprapatelar
 A plica infrapatelar, na frente do ligamento cruzado anterior, alcança desde a incisura intercondilar até a gordura do infrapatel
 A plica patelar medial, localizada adjacente à faceta medial da patela, corre verticalmente ao longo da cápsula articular medial

Imagens adicionais

Notas

Ligações externas
 joelho / ligamentos / ligamen2no Departamento de Anatomia da Dartmouth Medical School

Anatomia animal

redpajama_set_name: RedPajamaWikipedia


In loving memory of Gerald MacNeil, a wonderful husband and father, who passed away ten years ago, April 21, 2009, after a fourteen month battle with Non Hodgkins Lymphoma.
We'll never forget the time we had. Gerald gave us good memories that we'll never forget. He taught us so much and had an endless love for his family. He would be proud of his children, Gerry and Megan, and the fine adults they've become.
In Heaven he'll be waiting to meet us again someday.
Until then, we will live for Gerald who died too soon and carry on his legacy in everything we do. Supportive friends and family can honor Gerald by recounting a kind gesture or amusing stories involving him.
We never know when our last will come.


text:
Democracy in crisis
There is a way out of this impasse, but it won't be easy.
By Joseph Camilleri
Australians like to think of their country as one that upholds democratic values and enjoys the benefits of democratic institutions, including free and fair elections, free media and the rule of law. Yet, the growing perception is that Australia's democracy is in poor health. In private and public conversations, on talkback radio and other media, and in all the polls the same sense emerges of deepening alienation from party politics.
In itself this is no bad thing. To recognise the problem is a necessary first step towards resolving it, if not immediately, then over time. But any proposed cure will flounder if it does not rest on careful diagnosis of the ailment.
Illustration: Jim Pavlidis
The symptoms of our democratic deficit provide a useful starting point. The juvenile shadow boxing that passes for debate in federal and state parliaments is one such symptom.
Political corruption is another. In NSW, the Independent Commission Against Corruption has revealed what many have long suspected – that the parliament had been infected by widespread corruption, and that the infection had engulfed both major parties. Parliaments in other states have not been immune to the disease. Not surprisingly, a recent Transparency International survey found that 58 per cent of Australians believed political parties to be corrupt or extremely corrupt.
The money-politics nexus has other, less sensational but no less troublesome dimensions. Foremost among these is the growing dependence of political parties on private gifts and donations for electioneering purposes. And with this comes increasing reliance on paid advertising in which the political message centres more on advertising technique than policy content.
What these various symptoms indicate is a more general but disturbing trend: the inability of our leading politicians to articulate a thoughtful let alone imaginative approach to policy.
On taxation, the future of manufacturing, employment, the quality of education, climate change, refugees and asylum seekers, our relations with China and security policy we are habitually treated to a stream of repetitive cliches. On these and other areas of policy, the major parties seem unwilling or unable to lead a serious conversation that can engage the nation. The net effect is the steady corrosion of public discourse, with most of our mass media serving as willing accomplices.
If the symptoms are as unmistakable as they seem, we have to ask the question: "Why is it so?" Some have sought the answer in the changing profile of our political parties. They point to the rise of the career politician, or more accurately put, the political careerist.
A growing cohort of apparatchiks is said to have risen to the top on both sides of parliamentary politics. These are people who from a young age have pursued a political career, in some cases by joining university Labor or Liberal clubs or other party connected organisations, and soon make their way to the staff of MPs, before laying their own claim to a parliamentary seat. In this highly incestuous environment, the gaining of organisational leverage is the primary consideration, with policy development, in so far as it gets attention, very much a means to an end.
This reading of recent trends is no doubt helpful, but it does not fully explain the current impasse. Sharper questions are needed if we are to get to the nub of the problem.
First, if the ailment is purely the making of the political parties, why is it that other elements of society – business, the media, the professions, our educational institutions and the public at large – have not acted to stem the tide of political careerism?
Secondly, how do we explain the fact that the symptoms of democratic decay are by no means confined to Australia? Much the same pattern is evident in the US, Britain and much of Europe. In each case, conventional party politics is viewed with rapidly rising cynicism, resulting simultaneously in the politics of protest and the politics of withdrawal.
The short answer to both questions is that the trend line in Australia reflects a multifaceted worldwide phenomenon with deep currents that insert themselves into economy, society and culture in mutually reinforcing ways within and between countries.
What are these currents? The first, perhaps the most important, is economic and technological globalisation. Economic activity, including patterns of trade, financial flows, technical innovation, and the periodic relocation of industries to lower cost environments, now operates transnationally in ways that no single state can easily tame let alone control.
Countries such as Australia, with fragile manufacturing sectors and extractive industries that are highly exposed to fluctuating prices on the world market, are especially vulnerable, and governments have limited capacity for decisive or effective intervention.
The second current, also global in origin and scope, is the neo-liberal agenda that has gained ascendancy in the western world and has managed in just over three decades to set a new economic and political orthodoxy.
Its principal tenets are well known: the rule of the free market understood as the free flow of goods, services and capital; the emphasis on deregulation to allow market forces to act as a self-regulating mechanism; privatisation of public enterprises to reduce inefficiencies; and lower taxes and balanced budgets which require periodic curbs on public spending, whether in health, education, social security, environmental protection, or support for the not-for-profit sector.
Parties in government, regardless of their ideological preferences or election promises, are expected to conform to these strictures. They are assisted in this by elements of the bureaucracy well schooled in the new orthodoxy. They in turn regularly consult with and are monitored by international organisations, be it the OECD or the International Monetary Fund, credit-rating agencies and audit firms. Addressing stark inequalities of wealth and income or enhancing human security find little place in this discourse.
As a consequence, governing parties, having to operate within a highly restricted political space, find solace in the perks of office, occasionally breaching the boundaries of ethical or even legal conduct. Electorates displeased with the outcome feel they can do no more than punish the party in office and elect their opponents, and so the cycle continues with little prospect of significant change in either policy direction or political culture.
Is there a way out of this impasse? Diverse possibilities for reform are certainly available to us, but they all ultimately hinge on our ability to initiate a sustained national and international conversation about how we are to govern ourselves in coming decades.
The conversation needs to address policy options but also institutional arrangements and ways of expanding public participation in decision making. A sustained and multi-dimensional dialogue is needed in which not just the various arms of government, but business, in particular innovative sectors of the economy, media, professional associations, civil society organisations and educational institutions are full participants.
The dialogue needs to be international in scope and inspiration. In the global age, the notion of "democracy in one country" is no longer feasible. Political reform in Australia cannot proceed in isolation from the rest of the world.
Fortunately, the communications revolution is making it possible for political parties and other players in the public sphere to internationalise their discussion of policy options. New forms of collaboration in education and community engagement are also emerging locally and internationally. Can we seize these opportunities to fashion a new understanding of citizenship and with it institutions and practices better equipped for effective and humane governance?
Joseph Camilleri is emeritus professor at La Trobe University.


text:
The RUC - A forgotten story?
By Niall McCracken, 03 March 2014
"The stories have to be told" /
A SPECIAL project is telling the "untold story" of life inside the RUC and the handover to the new Police Service of Northern Ireland.
The creation of the new police structures, a key moment in the peace process, is depicted in the play `Crows on the Wire' that was launched at the end of 2013 by the Verbal Arts Centre.
The Detail interviewed some of the key players involved in bringing the story to the stage.
The newly commissioned play, which lifted the lid on the human story behind the changeover, was part of a wider project.
The play gives a human voice to the stories of serving officers whose personal lives and families became severely fractured through the turmoil of the Troubles.
But this year will also see a Crows On The Wire graphic novel, an educational resource pack for schools and a story-telling symposium in May.
For more information about the project visit www.crowsonthewire.com
Politician's "amnesia" on victims outside Northern Ireland


text:
nature structural & molecular biology
MiOS, an integrated imaging and computational strategy to model gene folding with nucleosome resolution
Maria Victoria Neguembor ORCID: orcid.org/0000-0002-1583-13041 na1,
Juan Pablo Arcon ORCID: orcid.org/0000-0003-3350-15762 na1,
Diana Buitrago ORCID: orcid.org/0000-0001-9819-12792,3 na1,
Rafael Lema2,
Jürgen Walther2,
Ximena Garate1,
Laura Martin ORCID: orcid.org/0000-0001-8801-66371,
Pablo Romero ORCID: orcid.org/0000-0001-9164-65412,
Jumana AlHaj Abed ORCID: orcid.org/0000-0001-5388-17514,
Marta Gut ORCID: orcid.org/0000-0002-4063-71595,6,
Julie Blanc ORCID: orcid.org/0000-0002-5367-06285,
Melike Lakadamyali ORCID: orcid.org/0000-0002-7524-64147,
Chao-ting Wu ORCID: orcid.org/0000-0001-5525-871X4,
Isabelle Brun Heath ORCID: orcid.org/0000-0002-5828-00202,
Modesto Orozco ORCID: orcid.org/0000-0002-8608-32782,8,9,
Pablo D. Dans ORCID: orcid.org/0000-0002-5927-372X2,10,11 na2 &
Maria Pia Cosma ORCID: orcid.org/0000-0003-4207-50971,6,9,12 na2
Nature Structural & Molecular Biology volume 29, pages 1011–1023 (2022)Cite this article
Chromatin structure
Epigenetics analysis
Molecular modelling
Nuclear organization
The linear sequence of DNA provides invaluable information about genes and their regulatory elements along chromosomes. However, to fully understand gene function and regulation, we need to dissect how genes physically fold in the three-dimensional nuclear space. Here we describe immuno-OligoSTORM, an imaging strategy that reveals the distribution of nucleosomes within specific genes in super-resolution, through the simultaneous visualization of DNA and histones. We combine immuno-OligoSTORM with restraint-based and coarse-grained modeling approaches to integrate super-resolution imaging data with Hi-C contact frequencies and deconvoluted micrococcal nuclease-sequencing information. The resulting method, called Modeling immuno-OligoSTORM, allows quantitative modeling of genes with nucleosome resolution and provides information about chromatin accessibility for regulatory factors, such as RNA polymerase II. With Modeling immuno-OligoSTORM, we explore intercellular variability, transcriptional-dependent gene conformation, and folding of housekeeping and pluripotency-related genes in human pluripotent and differentiated cells, thereby obtaining the highest degree of data integration achieved so far to our knowledge.
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Fig. 1: iOS allows simultaneous labeling of genes and proteins in SR.
Fig. 2: Restraint-based model reproduces ensemble average data and cell-to-cell structural variability.
Fig. 3: Hi-C reveals changes in TAD organization between hFibs and hiPSCs.
Fig. 4: Hi-C derived models of a 2.3-Mb region of human chr12 segment reveal conformational changes between hFibs and hiPSCs.
Fig. 5: Combined iOS and Hi-C modeling in hFibs and hiPSCs.
Fig. 6: Single-cell-like deconvolution of capture MNase-seq-derived nucleosome coverage in the GAPDH-IFFO1 and NANOG regions labeled with OligoSTORM.
Fig. 7: Integrated MiOS models of GAPDH-IFFO1 and NANOG genes in hFibs and hiPSCs.
Raw data for the capture MNase-seq (E-MTAB-10074) and Hi-C (E-MTAB-10073) sequencing experiments generated in this study were deposited at the European Nucleotide Archive under accession number PRJEB42293. Imaging and modeling datasets generated in this work are available upon request. We provide raw data related to plots and statistical source data in the Source data section provided with this paper.
Code availability
Stand-alone versions of the softwares used for chromatin coarse-grained simulations and for the fitting algorithms developed herein are available in the following repositories: Chromatin Dynamics (http://mmb.irbbarcelona.org/gitlab/juanpablo/chrom_dyn) and Chromatin Fitting (http://mmb.irbbarcelona.org/gitlab/juanpablo/fit_chrom).
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We acknowledge the support from the Barcelona Institute of Science and Technology (BIST) Ignite Grants (Seeding Stage 2017 and Second Phase 2018, to M.V.N. and P.D.D.); the European Union's Horizon 2020 Research and Innovation Programme (CellViewer no. 686637 to M.L. and M.P.C.; ERC SimDNA no. 676556 to M.O.; and under the Marie Skłodowska-Curie grant agreement no. 754510 to J.P.A.); Ministerio de Ciencia e Innovación (grant no. 008506-PID2020-114080GB-I00 to M.P.C.), and an AGAUR grant from Secretaria d'Universitats i Recerca del Departament d'Empresa iConeixement de la Generalitat de Catalunya (grant no. 2017 SGR 1110 to M.O. and grant no. 006712 BFU2017-86760-P (AEI/FEDER, UE) to M.P.C.); Centro de Excelencia Severo Ochoa (grant nos. CEX2020-001049-S, MCIN/AEI/10.13039/501100011033 to CRG and CNAG authors and awarded to IRB Barcelona 2020-25); CERCA Programme/Generalitat de Catalunya (to CRG and CNAG authors); the People Program (Marie Curie Actions) FP7/2007–2013 under REA (grant no. 608959 to M.V.N.); Juan de la Cierva-Incorporación 2017 (to M.V.N.); PROBIST postdoctoral fellowship from Barcelona Institute of Science and Technology (to J.P.A.); INTREPiD Postdoctoral Programme cofunded by the European Commission (under grant agreement no. 754422 to X.G.); Grant for the recruitment of early-stage research staff FI-2020 (Operational Program of Catalonia 2014-2020 CCI grant no. 2014ES05SFOP007 of the European Social Fund to L.M.) and 'La Caixa' Foundation fellowship (ID 100010434 grant no. LCF/BQ/DR20/11790016 to L.M.); the Spanish Ministry of Science (for the EMBL partnership to CRG and CNAG authors and grant no. RTI2018-096704-B-100 to M.O.); Instituto de Salud Carlos Tercero (to CNAG authors; grant no. PT17/0009/0007 to M.O.); the Biomolecular and Bioinformatics Resources Platform (ISCIIIPT 13/000/0030 cofunded by the Fondo Europeo de Desarrollo Regional FEDER) (grant nos. Elixir-Excelerate: 676559; BioExcel2: 823830; and MuG: 676566 to M.O.); NIH grant nos. R01GM123289 and R01HD091797 (to J.A.A. and C.-t.W.); Bruker Inc. (to C.-t.W.); PEDECIBA (Programa de Desarrollo de las Ciencias Básicas) and SNI-ANII (Sistema Nacional de Investigadores, Agencia Nacional de Investigación e Innovación, Uruguay) (to P.D.D.); and ICREA (Institucio Catalana de Recerca i Estudis Avançats) (to M.O. and M.P.C.). We acknowledge the advanced light microscopy unit (ALMU) from CRG for their excellent technical support.
These authors contributed equally: Maria Victoria Neguembor, Juan Pablo Arcon, Diana Buitrago.
These authors jointly supervised this work: Pablo D. Dans, Maria Pia Cosma.
Center for Genomic Regulation (CRG), Barcelona Institute of Science and Technology, Barcelona, Spain
Maria Victoria Neguembor, Ximena Garate, Laura Martin & Maria Pia Cosma
Institute for Research in Biomedicine (IRB Barcelona), Barcelona Institute of Science and Technology, Barcelona, Spain
Juan Pablo Arcon, Diana Buitrago, Rafael Lema, Jürgen Walther, Pablo Romero, Isabelle Brun Heath, Modesto Orozco & Pablo D. Dans
Departamento de Física y Matemáticas, Universidad Autónoma de Manizales, Manizales, Colombia
Diana Buitrago
Department of Genetics, Harvard Medical School, Boston, MA, USA
Jumana AlHaj Abed & Chao-ting Wu
CNAG-CRG, Centre for Genomic Regulation (CRG), The Barcelona Institute of Science and Technology, Barcelona, Spain
Marta Gut & Julie Blanc
Universitat Pompeu Fabra (UPF), Barcelona, Spain
Marta Gut & Maria Pia Cosma
Department of Physiology, Perelman School of Medicine, University of Pennsylvania, Philadelphia, PA, USA
Melike Lakadamyali
Faculty of Biology, University of Barcelona, Barcelona, Spain
Modesto Orozco
ICREA, Barcelona, Spain
Modesto Orozco & Maria Pia Cosma
Department of Biological Sciences, CENUR Litoral Norte, Universidad de la República (UdelaR), Salto, Uruguay
Pablo D. Dans
Bioinformatics Unit, Institut Pasteur de Montevideo, Montevideo, Uruguay
CAS Key Laboratory of Regenerative Biology, Guangdong Provincial Key Laboratory of Stem Cell and Regenerative Medicine, Guangzhou Institutes of Biomedicine and Health, Chinese Academy of Sciences, Guangzhou, China
Maria Pia Cosma
Maria Victoria Neguembor
Juan Pablo Arcon
Rafael Lema
Jürgen Walther
Ximena Garate
Jumana AlHaj Abed
Marta Gut
Julie Blanc
Chao-ting Wu
Isabelle Brun Heath
The original idea and conceptualization were by M.V.N., P.D.D., I.B.H., M.P.C. and M.O. M.P.C., M.V.N., P.D.D., J.P.A. and M.O. wrote the article with contributions from all the authors. M.V.N. produced all imaging results (iOS and MiOS) together with X.G. and L.M. R.L. produced all the capture Hi-C/MNase-seq results which were postprocessed and analyzed by D.B., under the supervision of I.B.H. J.P.A. developed and validated the restraint-based model. J.P.A. and D.B. performed Hi-C-based simulations of chromosome segments. J.W. generated the coarse-grained chromatin structures at nucleosome level, and the deconvolution of MNase-seq signals. Fitting algorithms and fitting results were generated by P.R. together with J.W. All modeling, simulations and fitting results were supervised and analyzed by P.D.D. and M.O. M.P.C. supervised the generation and analyses of all the imaging results with contribution from M.L. Design of Oligopaint probes was performed by J.A.A. and C.-t.W. M.G. and J.B. performed the sequencing of capture Hi-C/MNase-seq experiments. P.D.D. and M.V.N. integrated all the results and were the scientific coordinators of the project.
Correspondence to Maria Victoria Neguembor, Modesto Orozco, Pablo D. Dans or Maria Pia Cosma.
C.-t.W. holds or has patent filings pertaining to imaging, and her laboratory holds a sponsored research agreement with Bruker Inc. Although non-equity holding, C.-t.W. is a cofounder of Acuity Spatial Genomics; through personal connections to George Church, she has equity in companies associated with him, including 10x Genomics and Twist. The remaining authors declare no competing interests.
Nature Structural and Molecular Biology thanks Mattia Conte and the other, anonymous, reviewer(s) for their contribution to the peer review of this work. Primary Handling Editor::Sara Osman, in collaboration with the Nature Structural and Molecular Biology team.
Extended data
Extended Data Fig. 1 Schematic overview of human chromosome 12 region analyzed by MiOS.
a Schematic representation of chr12:6,140,000:8,460,000 region, showing the position of genes (grey arrows), Oligopaint probes (in green for NANOG, STELLA and magenta for GAPDH-IFFO1), and capture probes (orange). The A/B compartment track shows active A (red) and repressed B (blue) compartments for hFibs (from Hi-C; taken from9. Epigenetic marks for hFibs IMR90 (blue) and hiPSCs 20-b (red) are displayed (ChIP-seq tracks taken from30,31. The positions of the regions analyzed for the target genes (from left to right: GAPDH-IFFO1, STELLA, and NANOG) are highlighted in grey. b Genomic coordinates of Oligopaint probes. c-f qRT-PCR analysis in hFibs and hiPSCs for expression of (c) GAPDH, (d) IFFO1, (e) NANOG, and (f) STELLA. Mean and standard deviation (SD) of 2^-dCt values to B-ACTIN are shown; n = 6, and n = 4, independent replicates for hFibs and hiPSCs, respectively; two-tailed unpaired t-test; p = 0.4692 (c), p = 0.0672 (d), p = 1.4e-13 (e), p = 1.02e-7 (f). g Quantification of localization precision of super-resolution images. Boxplots (median with interquartile range) and whisker plots (10–90 percentile) are shown for oligoSTORM (locus, n = 8995), DNA-PAINT (H3, n = 23023), and oligoSTORM and DNA-PAINT beads (n = 135 and n = 158 localization tracks, respectively).
Extended Data Fig. 2 Restraint-based model reproduces cell-to-cell structural variability.
a Evolution of the number of input distance restraint violations from the experimental median distance matrix (Fig. 2a, left panel) when adding subsequent modeled structures to the ensemble obtained with the restraint-based approach. b End-to-end distance distributions for the experimental (gray) and modeled (red) ensembles. The boxes highlight the first, second and third quartiles, while the whiskers extend 1.5 times the interquartile range away from the box edges. Outliers are omitted. The plots come from 3,496 experimental and 70 modeled conformations. p = 0.16, two-sided Mann-Whitney test. c Root mean square deviation (rmsd) of bead/probe positions for best fitted modeled structures against each experimental structure (red, Nexp-model = 3,496), and null distribution of rmsd values between all experimental structures, after fitted / aligned (gray, Nnull = 6,109,260). p < 1e−16, two-sided Mann-Whitney test. The boxes highlight the first, second and third quartiles, while the whiskers extend 1.5 times the interquartile range away from the box edges. Outliers are omitted. d Variance from the first 10 principal components from PCA. e Projection of the displacement vectors onto the first 2 principal components from PCA. f 3D distance matrices for single structures extracted from experimental microscopy data18 (left) and from the ensemble obtained with the restraint-based model (right). The color scale ranges from 200 nm to 850 nm.
Extended Data Fig. 3 Contact matrices and correlation analyses between capture Hi-C replicates in hFibs, hiPSCs and published datasets.
a-c Contact matrices for the region chr12:6,140,000:8,460,000 in hFibs, displayed at 5-kb resolution, for (a) Hi-C data from Rao et al. (2014), (b) capture Hi-C for replica 1, and (c) capture Hi-C for replica 2. Plotted values are log10 of iteratively corrected interaction counts scaled to sum 1 million. The position of genes GAPDH-IFFO1 (magenta) and of STELLA and NANOG (green) are marked on X and Y axes. d, e Replicates 1 and 2, respectively, of the capture Hi-C from hiPSCs. Plotted values are the same as in (a-c). f Pearson correlation coefficient of the contact matrices between every pair of experiments: Rao et al. 2014, in-house hFibs (replicates 1 and 2), and hiPSCs (replicates 1 and 2).
Extended Data Fig. 4 Parameter selection and structure overlap for restraint-based models.
a, b Tuning of α parameter used in the distance restraint-based model for hFibs (a) or hiPSCs (b). For each α, correlation between experimental Hi-C interaction matrix and the modeled contact matrix (left) and mean absolute error between Hi-C derived average distances and predicted ensemble mean distances (right). Both Spearman and stratum-adjusted (HiCRep)70,71 correlation coefficients are shown. c Representation of the 2.3 Mb region of human chr12 segment from hiPSCs (cyan) and hFibs (yellow) cells. The GAPDH-IFFO1, NANOG, and STELLA loci are colored in pink, red, and orange, respectively. d Close-up of the GAPDH-IFFO1 region. e, f Close-ups of the STELLA/NANOG region highlighting the relative location of the two genes with respect to TAD formation in hiPSCs (cyan circle) and hFibs (yellow circles) cells.
Extended Data Fig. 5 Fittings using iOS localizations, capture Hi-C contacts, and the restraint-based model of chromatin.
Two specific cells with a given distance between both gene regions (GAPDH-IFFO1 and NANOG) are shown. a Structure from the simulated ensemble (distance GAPDH-IFFO1 to NANOG fixed at 1.191 µm) that best fits the iOS localizations within the confocal plane (considering a depth of 0.260 µm) of one hFib cell. Note that this single structure of the chr12 segment connecting the genes of interest fit to 52.8% of the iOS localizations (5-kb beads fitted are shown as orange spheres) and fulfills 43.9% of the Hi-C contacts simultaneously. Zoom-in of the genes showing the beads fitted to iOS localizations. b Same as (a) for a hiPS cell, where the GAPDH-IFFO1 to NANOG distance was fixed to 1.082 µm, fulfilling 72.7% of iOS localizations and 42.4% of the Hi-C contacts.
Extended Data Fig. 6 Nucleosome positioning in hiPSC and hFibs cells determined from capture MNase-seq.
a–e Comparison of fuzziness score obtained with nucleR (0:well-positioned - 1:fuzzy nucleosome) between hiPSCs and hFibs for nucleosomes detected in the complete captured region (chr12:6140000–8460000) (a) and at the individual genes (b–e); Replica 1 (R1) and 2 (R2) are shown. Box plots include a marker for the median of the data and a box indicating the interquartile range. Whiskers show minimum and maximum values. Wilcoxon rank sum test; (a) p < 2.22e-16 (188 vs 172 nucleosomes over two independent experiments, in hiPSCs and hFibs, respectively), (b) R1: p = 0.17, R2: p = 0.0012 (35 vs 34 nucleosomes over two independent experiments, in hiPSCs and hFibs, respectively) (c) R1: p = 4.8e-8, R2: p = 4.2e-10 (92 vs 83 nucleosomes over two independent experiments, in hiPSCs and hFibs, respectively), (d) R1: p = 0.04, R2: p = 0.0069 (32 vs 29 nucleosomes over two independent experiments, in hiPSCs and hFibs, respectively), (e) R1: p = 0.00022, R2: p = 0.0014 (29 vs 26 nucleosomes over two independent experiments, in hiPSCs and hFibs, respectively). f–i Nucleosome positioning around the following genes: (f) GAPDH, (g) IFFO1, (h) NANOG, and (i) STELLA. Black lines represent normalized (0–1) nucleosome coverage. Blue boxes are the nucleosome positions detected by nucleR60. Changes in nucleosome organization from hiPSCs to hFibs, detected with NucDyn41 are represented as color-coded boxes for inclusion (green), eviction (red), positive shifts (purple), and negative shifts (yellow).
Extended Data Fig. 7 Amplified views of the bottom-up first-principle coarse-grained model of the nucleosome fiber and the distribution of fitting values when the sampled conformations are confronted to iOS localizations.
a A representative folded GAPDH gene is amplified until consecutives centroids are shown. Each individual DNA centroid is located at the base pair reference frame (BPRF) following Cambridge and Tsukuba conventions72,73,74. These centroids represent the monomer length defined in our implementation, whose arbitrariness was based on a detailed knowledge on the structure and dynamics of B-DNA at the atomistic level42,75,76. In the first amplification, each DNA centroid is roughly represented considering its spherical exclusion volume (radius of van der Waals) centered at the BPRF. In the last two amplifications, the DNA-excluded volume is no longer depicted, and only the center of the BPRF is shown. Note that on average, being B-DNA, the distance between two consecutives base pairs is ~3.3 Å, although the experimentally falsifiable resolution of our predictions ranges from nucleosome clutches to near single nucleosome particles. b Distribution of the fitting values obtained from the filtered ensembles of GAPDH and NANOG folded conformations in hFibs and hiPSCs when confronted to iOS localizations. The top 10 structures with the highest fitting numbers, for which physical descriptors were computed and reported in Fig. 7 and Supplementary Table 2, are found at the right of the vertical dashed lines.
Supplementary Note (related to Methods) and Tables 1, 2, 4 and 5.
Supplementary Video 1
Video of the overlap of structures obtained with the restraint-based simulations. Representation of the 2.3-Mb region of human chr12 segment from hiPSCs (cyan) and hFibs (yellow) cells. The GAPDH-IFFO1, NANOG and STELLA loci are colored in pink, red and orange, respectively. The video was made using the Molywood tool76.
Supplementary Table 3
List of primary probes Oligopaints.
Source Data Fig. 1
Statistical source data.
Source Data Extended Data Fig. 1
Springer Nature or its licensor holds exclusive rights to this article under a publishing agreement with the author(s) or other rightsholder(s); author self-archiving of the accepted manuscript version of this article is solely governed by the terms of such publishing agreement and applicable law.
Neguembor, M.V., Arcon, J.P., Buitrago, D. et al. MiOS, an integrated imaging and computational strategy to model gene folding with nucleosome resolution. Nat Struct Mol Biol 29, 1011–1023 (2022). https://doi.org/10.1038/s41594-022-00839-y
Issue Date: October 2022
Nature Structural & Molecular Biology (Nat Struct Mol Biol) ISSN 1545-9985 (online) ISSN 1545-9993 (print)


Matthew P. Guichard is a nationally recognized trial attorney, and the founding member of the law firm of Guichard, Teng & Portello. His practice focuses on plaintiff personal injury, general and commercial litigation, professional liability, business transactions, alternative dispute resolution and international law. Matt is regularly selected by clients to handle complex cases at trial after other law firms have litigated those matters up to trial, and is often selected by his peers to mediate difficult matters. Matt authors the popular "Civil Jury Verdicts" column in the Contra Costa Lawyer Magazine and is a former member of its Editorial Board. He is a Hearing Officer in Contra Costa County for Coroner's Inquests. He is a member of the Contra Costa Consolidated Fire District Fire Commission. He is a board member of the Walnut Creek Chamber of Commerce and Visitors Bureau. He is a board member of the Rotary Club of Walnut Creek. He is a former president of the Robert G. McGrath American Inn of Court. He was a regular lecturer for the State Bar and the University of California CEB Program.
San Francisco Trial Lawyers; American Trial Lawyers; International Bar Association; Contra Costa County Bar Association; Alameda County Bar Association; St. Thomas Moore Society; Robert G. McGrath American Inn of Court; Former State Bar Delegate; Former Chairman American Cancer Society Daffodil Days; Former Chairman Child Assault Prevention of Contra Costa County: Former Board Member Youth Homes, Inc.; Former President of the International Bar Section of the Sacramento County Bar Association.


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Q: Using Emojionearea to implement chat function but large texts shift the emoji panel to left I am implementing a chat function where i am using the EmojioneArea to implement the emojis in the chat. The problem is whenever larger texts are added in the text area, the emoji panel starts shifting to the left more and more. When i inspected it, the position of the emoji picker keeps getting 'right' css property increased as i add more text. Is there any way i can prevent the right property being changed by any addition of text?
When nothing is added in text
When large number of text is typed inside
When inspected the right property here keeps adding up thus shifting the whole picker

redpajama_set_name: RedPajamaStackExchange


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As a Sr. Manager, Narrative Direction, your expertise with the written word and your stellar people-management skills will help you bring Riot's internal IP resource materials to new levels of excellence. In partnership with the Head of Creative Foundations and the Art Director of Creative Foundations, you complete a triad of craft expertise that sets the vision for what IP documentation looks and feels like, and lead the quest for anticipating and capturing future needs. On a tactical level, you'll make sure work is well-written, error-free, and conforms to Riot's in-house style, while elevating that style with your experience and insight. You'll manage and mentor a group of writers and editors, fostering growth in both their craft and soft skills, and set the craft bar on the team. As an IP expert, you'll contribute meaningfully to the worldbuilding efforts our team sets forth, partnering with our internal artists and product teams.
The Creative Foundations team is a central part of the IP Strategy team, which works to support all production teams at Riot, unlocking Riot's ability to effectively collaborate on resonant, coherent, impactful stories that delight fans across the world. Specifically, Creative Foundations helps Riot develop its intellectual property by enshrining its characters and environments in style and product guides, documenting the lore of our universes, and working with environment artists to develop the unknown areas of the IP. It is responsible for creating the IP resource material used across all of Riot's IP expressions--games, stories, animations, merchandise, and more. It is a team of creatives who believe in the power of consistent, believable worldbuilding to support incredible storytelling, and love building bridges between all the teams telling those stories at Riot.
As an Sr. Manager, Narrative Direction on the Creative Foundations, you'll work with artists, designers, and producers to ensure content is presented clearly and evocatively, and that writing, art, and design support and enhance one another. As part of the central team responsible for maintaining cohesion and protectability of Riot's IPs, your work will be seen throughout all of Riot's output. You will directly affect the quality and impact of our foundational materials which, in turn, increases the quality and consistency of our IP across products. You'll be responsible for thinking strategically about the longevity of materials, keeping them engaging and inspiring for creatives to use. As we develop our IP Hub, you'll be instrumental in reformatting and editorializing our foundational materials to an intuitive digital medium that best serves our customers. As a narrative craft expert, you'll be tapped in to give your expertise from both storytelling and technical editing perspectives.
The ideal candidate for this role is driven to achieve excellence in creative world-building, is an all-star collaborator who loves the creative process and working with other creatives, and has a strategic mind for creating systems to better understand a fictional world. Additionally, the ideal candidate is passionate and successful in nurturing talent and growth within their team.
Establish and ensure the quality of narrative craft for all materials produced by the Creative Foundations team
Work with writers, editors, producers, stakeholders, and product owners to create high impact and educational internal IP resource materials that achieve the goals of each type of work.
Ensure the accuracy and narrative quality of the IP Hub, as well as advocate for improvements to keep the tool useful as Riot's IPs evolve.
Think strategically about the longevity of materials, keeping them engaging and inspiring for creatives to use.
Manage and mentor multiple direct reports within the narrative team.
Advocate for IP consistency across teams, and establish a culture of sharing documentation and knowledge across creative communities within Riot.
Embody Riot's cultural values in interpersonal interactions and the production of narrative content.
In partnership with leaders across the IP Strategy team, proactively assess areas of narrative IP support required within Riot and, where needed, contribute writing and worldbuilding expertise beyond foundational material.
8+ years of professional industry experience in games or related entertainment media.
4+ Years experience managing other writers and editing their work.
Edited published content in at least two different media (one of which, must be digital).
Experience working in agile team environments, and giving clear and applicable feedback.
Experience working in a multi-platform IP with an understanding of editorial processes, from planning to publication.
Familiarity with the League of Legends IP, Valorant IP, and Riot's portfolio of games.
Experience with game pipelines and execution constraints of multiple genres of games
Experience participating on or overseeing a team that contributes to content management systems and/or digital publishing platforms
For this role, you'll find success through craft expertise, a collaborative spirit, and choices that focus on your fellow Rioters, who are the customers of your work. Being a dedicated fan of games is not necessary for this position!
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 Remote (UK)


In today's world everything from Coca Cola to cars can be called 'classic.' But in its earliest sense this word, Latin in origin, was used to describe the literatures of Greece and Rome because they were 'first-class', the best of their kind. As an academic field today, Classics is the study of these languages and literatures and of the cultures of which they were a part, as well as the study of the continuing impact that antiquity has had on the modern world. Although Latin and ancient Greek are seldom spoken today, they have left an indelible impact on modern languages such as English, Spanish, and French. Furthermore, the ideas given voice in the Greek of Homer or Plato and in the Latin of Ovid or Cicero have shaped the Western tradition from which America emerged. Indeed, America is a product, in part, of the renaissance or 'rebirth' of ancient culture that characterized the years after 1400.
Even if you do not have time to study Latin or Greek or to major in Classics, you can continue your study of antiquity through courses taught in English on a wide range of topics. Many academic fields today have their roots in classical antiquity (even 'cybernetics' derives from a Greek word!). So it shouldn't be surprising to find that Classics is an interdisciplinary field which has contributed to the development of fields such as politics, psychology, and literary criticism. Or that Classics applies to its own work the latest approaches developed in new fields such as reception studies, women's studies and archaeology. In the Classics Department you can study such diverse topics as ancient technology, Hollywood's continuing fascination with ancient Greece and Rome, or Thomas Jefferson's love for ancient architecture and the role he played in turning Washington, D.C. into a modern 'classical' city.
The Department offers instruction under three different headings: CLAS, GREK, and LATN. CLAS courses deal with various aspects of the ancient world utilizing English language texts and works of Greek and Latin literature in English translation. CLAS courses do not provide instruction in the ancient languages nor will they satisfy the Global Engagement requirement in the College of Arts and Humanities. GREK and LATN courses utilize English language texts as well as material in Greek or Latin. They are designed to help students to master the Latin or Greek language and can be used to satisfy the College's Global Engagement requirement.


The sign on the door of the building in Florence's Fortezza da Basso during Pitti Uomo told the story of dramatic changes in society – spelled out in fashion. 'Open: Beyond Genders' it read. While inside, the experimental clothes created a frisson of surprise, in no way could they be described as shocking.
The concept of 'gender neutral' has grown fast in the new millennium, with young Asian customers leading the pack by buying the same clothes in a single shop off the same rail. But to find the idea of 'gender neutral' as a fashion reality in the world's largest menswear marketplace is a quiet revolution.
Two Japanese designers showed together in Florence – but working in different registers. Undercover by Jun Takahashi faced off the gender issue using ankle-length pleated skirts in fine grey wool or bold plaid. They swept the worn stone floor of the Stazione Leopolda, before these female shapes were followed by more futuristic sports clothes, some printed with 'human error' or 'computer malfunction' and others with plastic hoods covering the face, adding a feeling of 'outer space' which echoed Stanley Kubrick's 2001: A Space Odyssey. The end of the show went back to skirts: long, draped and white, suggesting the gender fluidity of these young men.
Takahiro Miyashita, who titled his collection The Soloist, was just that – following his own track of mixing conventionally tailored and sporty pieces. Male or female? Hard to tell with the faces covered by hoods as if facing a post-apocalyptic future where gender might be irrelevant.
What exactly does 'gender neutral' mean, when human bodies are drawn in their own natural shapes? I would describe this current look as a deliberate approach of different sexes to make themselves appear similar, or at least not to be defined by clothes that signal a rigid binary view of gender. This was not exactly the case for the American company Brooks Brothers which is celebrating 200 years in fashion – an event worthy of a vast arena, a full orchestra and two walls of Renaissance paintings.
The result of CEO Claudio Del Vecchio's vision was grandiose, dutifully up-to-date with a mix of races on the runway and some female models to prove that this was not all a man's world. But womenswear designer Zac Posen might have done more, while still focusing on quality, to push gender neutral looks further forward than a woman's elegantly tailored camel coat and matching skirt. By contrast, the male styling made simple pieces – like a cable-knit cardigan tucked into tailored trousers – look weird. Happy Birthday Brooks Brothers! As the Chairman said, the original founder Henry Sands Brooks was no traditionalist, and this anniversary show could have done with more of his spirit of invention and innovation.
Perhaps the successful vision of clothing shared between genders works best when an entire country's philosophy is to close up the male-female divide. Finland, like other Nordic countries, has a sharing of spirit and action between the sexes. And it seemed natural that among this year's guest nation for Pitti Immagine, husband and wife team Niina and Timo Leskelä showed with casual style how the same garment can be worn by both men and women.
Making their designs in neighbouring Estonia and focusing on shades of black in cotton, wool and linen, the duo, whose brand name is Nomen Nescio, explained their philosophy. "We think 'humans' – Finland has been really democratic and we are sexually equal," said Niina. "There is not so big a difference between men and women. Also, I am the CEO of our brand, which is important to us because we want more women bosses!" The designers say that when they make a new piece, they both try it on several times. "So, when I put it on it looks like my coat – it changes with the person who is wearing it," Niina says, while her husband Timo had put on her trousers that morning. Perhaps when gender neutrality becomes a reality in each family, the male-female divide – at least in fashion – really will be stitched together.


The World Amateur Go Championships took place this year in Guanzhuo, China. 55 countries took part in the competition, as well as an extra player from the host nation. Ireland were represented by Colin MacSweeney, who performed very well. With an initial win over John Leuner of South Africa, Ireland moved into first place at the end of round 1. A few defeats came our way after this, but with victories over China (2) and Brazil, Colin finished on 6 points. This saw us take 46th place, a good result.
Posted by ian	on Wednesday, May 16th, 2012 at 10:38 am.


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