Sometimes you lose your entire market share to two plumbers and a hedgehog. In this week's Trailblazers, Walter Isaacson explores the immersive experiences and unlikely victors of the volatile video game industry.
Grand Theft Auto V sold 11.2 million units on its release day, grossing $1B in its opening weekend – more than four times the highest-grossing film. How did video games become such big business and change the way an entire generation spends its leisure time? It started back in 1972, and it started with Pong – Al Alcorn's first engineering project and an accidental runaway hit. Pong's simplicity and arcade success drove Atari to bring the arcade into the home, and video games became the gateway drug to computer literacy for an entire generation of people.
But Atari's reign at the top didn't last for long. With so many consoles, so many games, and developers unwilling to pare down its platform selection, the video game industry crashed in 1983. In swooped Nintendo, a Japanese conglomerate with a Disney-like discipline for imagining family-friendly characters and addictive gameplay. Donkey Kong and Super Mario Bros. reinvigorated the industry, and by 1990, after the release of their handheld Gameboy, Nintendo boasted a baffling 95% market share.
A succession of usurpers came at Nintendo, starting with Sega and their Genesis console. They made a name for themselves as an edgy group of renegades: promoting women to executive leadership positions, taking over whole towns to earn retail space, developing combative advertising campaigns, and all-but ignoring Nintendo's target demographic. When Sega chose not to go jointly create a console with Sony, though, Sony struck out on their own with the PlayStation – effectively killing Sega's console business. Microsoft's Xbox soon followed, and video games became the megalithic industry it is today. With VR, AR and new markets opening up all over the world, the game is just beginning … even after all these years.
How do you make Wal-Mart wish it never said no?
Nolan Bushnell Is a technology pioneer, entrepreneur and scientist. He is best known as the founder of Atari Corporation and Chuck E. Cheese Pizza Time Theater. Over the past four decades he's founded numerous other companies including Catalyst Technologies, Etak, Androbot, ByVideo.
Blake Harris Is the author of Console Wars: Sega, Nintendo, and the Battle that Defined a Generation.
Tegan Jones Is the co-host of the gaming/lifestyle podcast "Sass Effect." She's also an editor for Gizmodo Australia, Kotaku Australia and Lifehacker Australia.
Steven L. Kent Is the author of The Ultimate History of Video Games. He's contributed to publications such as the Seattle Times, Electronic Games, Computer Entertainment News, USA Today and the Chicago Tribune. He also writes military science fiction novels.
Tom Kalinske Is the former CEO of Mattel, Matchbox, and president and CEO of Sega of America, Inc. and Leapfrog. He is currently the Executive Chairman of Global Education Learning, a company dedicated to children's education in China.
WALTER ISAACSON: Considering that it was the day of the biggest premiere in the history of the entertainment industry, Hollywood was unusually quiet. It was Tuesday, September 17th, 2013.
Look all you want, but nowhere in Hollywood would you find rope lines or red carpets. There were no lavish after parties, no borrowed diamonds or ice sculptures, and no reporters asking anyone who are you wearing. Instead, the action could be found at the strip malls around the world, where groups of people stood outside, waiting patiently in the dark.
What they were waiting for was the clock to strike midnight. Because at midnight, something unprecedented was about to happen.
The hot property making its world debut that day wasn't a motion picture. It was a video game.
That was the daGrand Theft Auto V" was released on Xbox 360 and Playstation 3. And nothing would tell the story of its success better than the numbers. That version of "Grand Theft Auto," or "GTA," sold 11.2 million units in just 24 hours. It would gross $1 billion in just three days.
By comparison, that's about four times the opening weekend gross of the movie "Star Wars: Rogue One." Within a year, "GTA" boasted more than 33 million online players worldwide. That's more than the populations of Austria, Ireland, Greece, and Sweden combined. For developer Rock Star Games, it was a lot of money. But it wasn't easy money. "Grand Theft Auto V" took many painstaking years to put together with a development budget reported to be more than $250 billion. But how did we get here? How did the home video game market come to not only disrupt the entertainment business as we know it, but also change the way an entire generation spends its leisure time?
We're about to find out. I'm Walter Isaacson, and this is "Trailblazers–" an original podcast by Dell Technologies.
Hello, Hello, all you people out there in game land.
MAN: Our creative powers are being stretched.
BOY: Gee, ma! We want to finish the game!
MAN: The computer signals the action when it's ready.
MAN: Today, we're going to play an exciting new game.
WALTER ISAACSON: On today's episode of "Trailblazers," we're looking at the world of video games. Sit down in front of any modern video game console, and it's pretty easy to get sucked into the immersive experiences that they create.
It was a call Al Alcorn didn't care to take. It was from Andy Capp's Tavern in Sunnyvale, California. The new arcade game machine that Alcorn had recently installed there wasn't working.
This was no ordinary game. It was "Pong," a game similar to ping pong where a blip on the screen gets bounced back and forth by two paddle-like lines. It was born from an idea borrowed– or inspired– by a Magnavox console game spotted at a trade show by Nolan Bushnell, the founder of Atari.
By today's standards, it's something that looks incredibly primitive. And as Bushnell explains, the success of "Pong" was not something he saw coming.
NOLAN BUSHNELL: I actually didn't think of it as a viable product. As serendipity would have it, that same day, my first engineer, Al Alcorn, came on. And I wanted him to have a learning project that wasn't very complex.
We had a contract to build a driving game from Bally, and it was going to be quite a complex thing. And I wanted him to get his feet wet. And so I described the "Pong" game to him and said he had to get it done in a week. And he did. WALTER ISAACSON: Arriving at the tavern later that day, it di dn't take Alcorn long to discover the problem. The "Pong" machine was so clogged with quarters, it broke.
It was the first sign that Atari was on to something. A normal arcade machine might take in $10 a day. But the "Pong" machine made $40. Soon, millions of people would be introduced to video gaming through "Pong–" first with the arcade version, and soon after through Atari's home console. Bushnell quickly grasped the key to its breakthrough success.
NOLAN BUSHNELL: "Pong" worked because it was amazingly simple– no rules, really, and people could figure out how to do it almost immediately.
STEVEN L. KENT: You know what the instruction set for "Pong" was? The instruction set for "Pong" was avoiding missing ball for high score.
WALTER ISAACSON: "Pong" gave birth to the era of the video game, and Nolan K. Bushnell was its midwife. Not only was he able to create a game that was incredibly addictive, but he was also able to tap into a social idea that was ripe for the times.
NOLAN BUSHNELL: What made it a hyper success is that it was just at the point where there was a lot of talk about women's liberation and things like that. And the average woman could beat the average man playing "Pong" because of small muscle organization. And it was enlightening.
Because if a woman wanted to play "Pong," it was a two-player game, and it became acceptable for her to ask some burly guy off of a bar stool to come over and play "Pong" with her.
WALTER ISAACSON: Not only did "Pong" level the playing field between competitors, but it also helped introduce the world to a new concept– one that would forever change the way we interact with each other. It demystified the concept of a computer, something few people had experienced this side of a "Star Trek" episode.
NOLAN BUSHNELL: I've always said that video games were the training wheels of computer literacy. Before the video game, people didn't know that you could do things on a screen. Numbers of people asked me with "Pong," how does the TV station know I've turned this knob. It was just this mindset.
And it turns out that 100% of software programmers that I've ever met have all been game players as kids. And I think that you learn logical functions, you learn cause and effect. And I do believe that whether we call it training wheels or a gateway drug, I think that video games have always been very, very powerful.
WALTER ISAACSON: Bushnell had earned his electrical engineering degree at the University of Utah while working during his spare time at the lagoon amusement park, giving him just the right combination of skill sets to launch his disruptive technology on the world. Steven Kent. STEVEN L. KENT: The timing was perfect. Nolan, in his mind, in this great, creative, energetic mind of Nolan Bushnell, who had worked in a carnival midway, he knew what attracted people to the games on the midway. And he tried to employ that into his games. It was this perfect convergence.
WALTER ISAACSON: Strange as it seems in hindsight, when Bushnell sought to take "Pong" into production, investors were hard to find. One reason was context. In many people's mind, "Pong" was an arcade game in the tradition of pinball. And for generations of older Americans, pinball was looked down upon as a completely useless pastime.
Nolan Bushnell, however, disagreed. He understood the commercial attraction of an arcade-induced dopamine rush. He also understood that to bring video games to the masses, it would be impossible to make his millions just $0.25 at a time. He had to get games out of the arcades and beer parlors and into American homes. Bushnell's idea– the Atari home console, an idea that initially fell completely flat.
NOLAN BUSHNELL: We took it to the toy show, and we sold zero. And we said, whoa, what's going on. It turned out that there was an unwritten rule in the toy business that they wouldn't sell anything over $29. And we were asking $79.
And it wasn't until we found Sears sporting goods, who said, yeah, we can sell this. And actually, the buyer flew out the next week and took 100% of our production.
WALTER ISAACSON: In a deal with Sears, Atari introduced the home console version of "Pong" in 1975. Then a couple of years later, with the introduction of their first cartridge system, an entire market was created, and video games had come home.
Atari became the flagship brand of the home computer game revolution, with hit after hit– "Asteroids," "Tank," "Lunar Lander," "Battlezone," and "Missile Command." It seemed like Atari was unstoppable. Nolan Bushnell was not only rewriting the rules about how we played, but he was also rewriting the rules about how we worked with the new culture that he fostered at Atari.
NOLAN BUSHNELL: It was a culture that we tried to get rid of class distinctions as much as possible. For example, we didn't have reserved parking spaces for the executives. We didn't have an executive dining room. And we said we're all in this company together. We have different roles. And yeah, some of us get paid a little different, because we went to school longer. But in general, we're all here, elbow to elbow, trying to make something wonderful. And I think that that was really appreciated. We were the first company to give stock options to every employee in the company, which the VCs, when they later on, when they came in, thought was scandalous.
WALTER ISAACSON: In time, though, Atari became the first major casualty of one of the emerging realities of the video business– the gamer's growing appetite for new, unexpected experiences. Maybe Atari saw its challenges coming, but it probably didn't guess how soon it would be upended by two plumbers and a hedgehog.
In 1889, Fusajiro Yamauchi of Kyoto, Japan founded a company to sell playing cards. The name he chose was Nintendo, from words meaning leave luck to heaven. Fast forward to the 1960s. Nintendo, now run by grandson Hiroshi Yamauchi, hit it big by striking a deal to portray popular Disney characters on its playing cards.
TEGAN JONES: That really saved the company. And they were hugely popular, and the company went public in 1962. That really resulted in a lot of new capital. So Nintendo ended up making some interesting business acquisitions at that time– a taxi company, an instance rice company, vacuum cleaners, short-stay hotels, which was an interesting choice, and toys as well.
WALTER ISAACSON: And yes, you did that correctly– Nintendo, for a time, ran a by-the-hour hotel chain. When the fledgling video game industry emerged, Nintendo found its niche.
TEGAN JONES: In 1975, they also thought that it might be a good idea to start producing their own games. So the first one was "EVR Race," which is something not many people have heard of. But in the same year, they also released just a small game called "Donkey Kong," which was created by the Nintendo giant Shigeru Miyamoto, who became one of the biggest rock stars of gaming.
And originally, it was actually released on the Atari 2600 in television and the ColecoVision and in arcades. So this was before there even was a Nintendo video game console. WALTER ISAACSON: Then, in 1983, mayhem. New games rained down on the market as third-party publishers rushed to exploit the new video gaming trend. New consoles were introduced from the likes of Mattel, Coleco, and Tandy.
Buyers, wary of committing to any one console, committed to none. Prices dropped to pennies on the dollar. As speed to market overtook quality, the video game industry collapsed. The industry, once worth billions in annual revenue, now embodied the Yogi Berra-ism– nobody goes there anymore. It's too crowded.
For the playing card company from Kyoto, the stage was set. The rise of Nintendo gaming is a story in at least three acts, yielding lessons that resonate throughout the industry today. One of those acts began in the early 1980s on a bullet train zipping across Japan.
One of the nameless salarymen riding the train that day was a gentleman playing with the images on his pocket calculator. That fascinated a fellow passenger by the name of Gunpei Yokoi. In the universe of portable gaming systems, it was the birth of a movement.
Yokoi saw potential for a compact, go-anywhere game system using the same liquid crystal display technologies used in pocket calculators. His idea evolved, first as the Game & Watch system, then as the Nintendo Game Boy. The lesson– sometimes the best inspiration is observing other people.
Another act was the introduction of a new console. But Nintendo was mindful of lessons learned from the industry's mid-'80s collapse. Tegan Jones.
TEGAN JONES: In 1985, two years after the crash, they released the Nintendo Entertainment System, known as the NES. And it was a huge hit. And they prevented the market crashing for them by making sure that they limited the third party games each year. So their market for their console couldn't be flooded. They were in control of the amount of titles that would come out. So there wouldn't be people getting sick or tired of the games that they had.
WALTER ISAACSON: In act 3, the creation of a cultural ecosystem featuring family-friendly characters– Donkey Kong, Mario, Luigi, and a surfeit of supporting actors. With Disney-worthy discipline, Nintendo would tightly govern the look, the music, and the feel of its games. That consistency would warm users to each subsequent game or platform.
And in all things, Nintendo showed a stubborn disregard for what its competitors were up to. Nintendo's creativity, consistency, and familiarity paid off. Through the late '80s, its rise to dominance coincided with the post-crash resurgence in video gaming. By some estimates, in 1990, Nintendo enjoyed a 95% share of the video game market.
In a business governed by the phrase "what's next," they must have known it wouldn't last. The console wars were about to begin.
The rise of Sega began halfway across the Pacific on a beach in Maui, author Blake Harris explains.
BLAKE HARRIS: It's 1990, and Tom Kailnske is on vacation with his wife and his three daughters, and he's kind of at a crossroads in his life. He had been essentially pushed out of his previous job due to political infighting and didn't really know what was next, and certainly felt like maybe the best years were behind him.
And then he's approached on the beach by a small Japanese man named Hayao Nakayama, who is the head of Sega of Japan, a pretty brilliant, dictatorial businessman with the world's most wonderful comb-over. And he says, Tom, I've been looking for you. And Tom, caught off guard at his vacation, says why would you be looking for me. And Mr Nakayama says, Tom, I want you to come run Sega and take on Nintendo.
WALTER ISAACSON: By this point in his career, Tom Kailnske had already held positions as the CEO of Mattel as well as the CEO of Matchbox and was taking a moment to figure out his next move. And as Kailnske himself recalls, when he was approached on the beach to run the American arm of Sega, he was reluctant.
TOM KALINSKE: I thought, well, this is crazy. Why should I interrupt my vacation and go go to Japan with this guy? And my daughter, who was about five at the time, piped up and said, well, Daddy, he says it's important that you go, so I think you better do it. WALTER ISAACSON: And so he did. Nakayama and gave Kailnske free rein of Sega's US arm. The first thing he knew he had to do was change the culture of a company that had started to identify itself as weak.
TOM KALINSKE: Inside the company, I would say that the morale was low. They had been beaten up a lot by Sega Japan and by their competition, Nintendo, and they weren't successful. So we had to come in and change that culture and bring in new and different people.
One of the things I did was I started bringing females into the company, which was unheard of in those days in the video game industry. And I think that helped us quite a bit. They became senior executives and performed extremely well.
Anyway, a lot of changes had to be made, and we had to also have a strategy that Japan would let us do. Nakayama, when he hired me, said I'm going to let you make the decisions in the United States. But that wasn't so easy at that time.
WALTER ISAACSON: Kailnske's next job turned his newfound enthusiasm into a strategy that he could pitch to the Sega execs in Japan. Blake Harris.
BLAKE HARRIS: He went to Japan to deliver what he called his four-point plan. And this was his– I've been studying the industry for a few months. I'm still an outsider to it, but here is my observations and the ways that I think that we, say, have a chance to get our foot in the door.
And his strategy entailed things like dropping the price, giving away the company's best game for free, which was unheard of, and which turned out to be "Sonic the Hedgehog," bundling that game with the system to basically create more games, unlike Nintendo games, by making sports games and licensed games like that, to basically go after older markets, to go after college kids and adults. Because Sega basically conceded to Nintendo– you own the market from age 6 to 14. You own the kids. So we're going to try to get everybody else.
WALTER ISAACSON: Kailnske presented his plan to executives of Sega Japan. It did not go well.
TOM KALINSKE: Well, you can imagine when I said all these things to this room of board members and senior management in Japan, most of whom didn't speak English. They started talking in Japan, and they were very upset with me. My key ally, a fellow named Toyota Shinobu, was translating as fast as he could for me. And he said, well, Tom, basically, they think you're crazy, and they don't agree with anything you said.
If you lower the price of hardware, we will make less profit. If you put in our lead software into the hardware pack, we'll lose the profitability from that software sale. If you can't take Nintendo on, they're much too powerful, they're much bigger than we are. That's just a crazy idea. They can't imagine why you'd want to do that. And they don't believe you can get college males to play video games because they're too busy studying.
And at that point, Nakayama got up and started walking to the door. And he kicked over a chair. You could tell he was very upset. And I could tell he didn't agree with what I was saying. But he turned, and he looked at me and he said, OK.
I don't agree with what you're saying, and neither does anybody in this room. But I told you you could make the decisions for the Western world when we hired you, so go ahead and implement your plan. And they provided the funding for me to do all of those things that I had suggested.
WALTER ISAACSON: Kailnske went to work. Sega US launched an aggressive ad campaign positioning Sega as an edgy brand for older players and Nintendo as a mere child's toy. For Kailnske, that differentiation was vital.
TOM KALINSKE: Well, to me, if anybody can do what you're doing, you don't really have a strategy. They'll soon– particularly if they have more money than you do– if they can implement your strategy better than you can, or with more money behind it than you have, obviously, they're going to be more successful, and you're going to fail.
So that's why, throughout my life in Sega, we went after this older age group– because others weren't going to be able to copy us. And we were going to have a free reign for some number of years, at least. And that's exactly what's happened.
WALTER ISAACSON: The launch of the Sega Genesis system featured the line "Genesis does, but Ninten-don't." Ad after ad pounded Nintendo, many of them prompting demands that they cease and desist, most of which Kailnske ignored.
TOM KALINSKE: There was a couple of cases where our lawyer said, well, they've got a good point here. Maybe we better cool that one down a little bit. That specific one, that I recall, was actually on our Game Gear color handheld unit. We had a color LCD screen. And if you recall, Gameboy was black and white or green and white or gray and white.
And the ad we used had an Airedale. And we talked about how dogs are colorblind. And if you don't mind not being able to see color, then maybe you should play with a Gameboy. And we showed the dog drinking out of the toilet at the end.
Well, this, for some reason, upset Nintendo greatly. And they sent a letter saying that this was something that we had to stop doing. And so that ad, we actually did pull.
WALTER ISAACSON: Persuading retailers to stock Sega was a bigger problem. Nintendo held enormous sway, and retailers felt they couldn't afford to poke the bear. Visiting Walmart Corporate Headquarters in Arkansas, Kailnske and his colleague, Shinobu Toyoda, were turned down flat. As Blake Harris describes it, that's when they decided to channel some of the scrappiness that had characterized the famous hedgehog.
BLAKE HARRIS: When Tom and Shinobu left the headquarters in Bentonville, Arkansas, they were flustered. But then Shinobu noticed, across the street, there was a For Rent sign in a mall area. And Tom and Shinobu had the idea to open up a Sega Genesis store where they didn't actually sell anything, but they invited customers to come in all day and play the Genesis for free.
And not only that, they pretty much bought up every billboard in Bentonville, Arkansas, and they turned Bentonville into Segaville, to the point where dozens of people were going into the flagship Walmart in Bentonville every day and saying, where can I get a Sega Genesis. And you couldn't, because they didn't sell it.
And so after a few months of this kind of strategy, which was amplified with getting Sega seat cushions at the University of Arkansas football games and basically continuing to just dominate Bentonville with Sega stuff– eventually, the executives at Walmart called Tom to say we raise the white flag. We will carry your products.
WALTER ISAACSON: By 1994, Sega climbed to a 55% share of the video game market, up from 2% during Kailnske's tenure. And the secret to creating a company with that kind of success– something that we see over and over again in any company that thrives on innovation– giving employees permission to fail. Tom Kailnske. TOM KALINSKE: At Sega, our corporate culture w as very free and loose and creative. And we celebrated failure. I know this sounds strange, but we did. We used to have the golden chicken award, which was a big rubber chicken.
And we'd hang it over the cubicle of the winner of that that month, and also gave him $100. Because the Golden Chicken Award was for the guy or gal who had a really good idea, but it just didn't work. So we gave him the Golden Chicken Award. And that kind of stuff inspired a lot of laughter in the company.
WALTER ISAACSON: But like all great parties, at some point, it has to end. And the end of the reign of Sega can be blamed on a missed opportunity that created an incredibly powerful new player in the market.
TOM KALINSKE: We were very friendly with Sony. Sony approached us to learn how to make software. They had acquired a studio in Santa Monica, and they really didn't know how to make video game software. And so our head of R&D, Joe Miller, sent a couple of guys down there to help them learn how to make video games.
And sometime during that, we had a conversation where, instead of each of us making a hardware system, why don't we have a joint hardware system. Whether you call it the Sony Sega system or the Sega Sony system, who cares. You never make money on hardware. You make all your money on software.
So instead of having competing hardware systems, let's have one, and we'll each benefit from the software that we produce and sell for it. I thought this was a great idea. It was a slam dunk deal, in my opinion, because we at Sega were so much better at creating great software than they were at that time.
So we went to Japan together and met with senior Sony management. And senior Sony management said yeah, that's a good idea. We went over to Sega, and Nakayama did not like the idea. He thought that Sony would never be successful on their own, so why should we help them to the degree that this would require us to help them.
Well, to me, at the time, it was obvious. It clearly was not obvious to Nakayama or others in Sega. So the deal was killed. And I have actually always blamed myself for not being persuasive enough to get that done. Because I still, to this day, think that would have been really great for both companies and would have been better for the video game industry in its entirety. WALTER ISAACSON: Instead, Sony decided to go it alone and developed the Playstation. And Sega saw its market share dwindle in an increasingly crowded market.
The closest you might come to seeing what a $100-billion industry looks like is to walk around here at E3, the Electronic Entertainment Expo. It's the video gaming answer to the Detroit Auto Show– a place to glimpse what's coming, what's possible, and where the giants are placing their bets– Xbox with its Scorpio, Playstation with virtual reality. Nintendo will build on the launch of its Switch.
But for all the platform wars, no one in the video game industry can ignore its highest axiom– the name of the game is the game. In other words, success or failure hinges on the popularity of the games themselves– a lesson rooted in Atari founder Nolan Bushnell's arcade philosophy and underlined in bold with the stratospheric success of titles such as "Grand Theft Auto V." And if Bushnell now has his way, the next big disruption in video games might just seem a little familiar.
NOLAN BUSHNELL: We have "Pong" in virtual reality right now in which you're the paddle. And so if you imagine that it's a two-player game, the other person is about 12 feet away from you. But in the virtual reality, it looks like you're probably 30 feet apart. And you're running back and forth being the puddle, and the ball is going back and forth between you. It's actually a lot of fun.
WALTER ISAACSON: Today's video game industry draws its strength from millennials, a generation of digital gaming natives who grew up with video games and who populate its armies of content creators. For millennials, video games have truly gone mainstream and now include players from all walks of life in ways never seen before.
The rise of video gaming is especially intriguing to marketers, for whom millennials represent a huge– but increasingly hard to access– demographic. Turning from conventional mass media, they have disappeared into the fast-growing selection of new media channels, including video games themselves. Some reports measure today's in-game ad spending in the tens of billions of dollars. As Nolan Bushnell would tell you, that's a lot of quarters.
I'm Walter Isaacson, and you've been listening to "Trailblazers," an original podcast from Dell Technologies. If you want to find out more about how gaming is making its way into the business world– think virtual reality– be sure to visit delltechnologies.com/trailblazers4. That's trailblazers, then the number 4.
In the next episode, we'll be looking at the increasingly disruptive world of newspapers– an industry struggling to survive in a world of shrinking budgets and rampant online competition.
And you can subscribe to this show on iTunes or wherever you get your podcasts. And if you like it, please leave us a rating and review. We'd appreciate it. Thanks for listening.


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After arriving at Miramar, Pratt did a few interviews outside the Bob Hope Theater, then met with the hundreds of people that were there to watch his film and to see him.
He signed hats, posters and other items as he walked by the crowd. He also posed for pictures with some of the service members that were there to see the film.
Pratt said that he is happy to meet anyone that serves in the military.
"Anyone who puts on the uniform and defends our freedom, I'm down to meet them," Pratt told NBC 7.
The movie, "Passengers" is about two strangers, Jim (Chris Pratt) and Aurora (Jennifer Lawrence), who wake up 90 years too early during a 120 year-long journey to a colony planet.


Key regions in the interoceptive and control networks are larger for meditators, and connections between these regions are stronger.
Techniques that help you concentrate better, using breath, a mantra (a spiritually meaning word or phrase), or a picture or physical experience to focus your attention. Meditators train their ability to rest their attention on this object and disengage their consciousness from everything else going on.
Mindfulness meditation emphases staying present in the moment and maintaining an alert, present, nonjudgmental state. It is important not to let the mind wander to the past or future, not to ruminate on anything, and not to let the mind associate to other topics. The goal is to deconstruct mental states to their most basic experiential elements and observe them in a deep state of equanimity.
Guided meditation involves using a chant, a mandala (a complex picture of religious significance) or feelings of loving kindness or compassion to guide attention to a particular content.
This page was last edited on 24 December 2016, at 16:57.


I've got an updated copy of list online now. You can find it on the link here. Or you can simply look at the top navigational bar and click on "Appalachia Film List." As always, let me know if you have any recommendations.


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Well to tell you the truth I was expecting something alot heavier from the description, but I was impressed when I picked up the box that it weighed almost nothing (1lb 4ozs which is approx. 1/2 a kilo). Apon opening it I was even more surprised by the kit already setup and ready to bolt in.
The way that this kit is packaged allows you to have an easy installation and to also reduce the risk of damaging the LCD module.
The first thing you need to do is to get your case ready (It is recommended that you turn your computer off and remove the power plug before commencing with the install). You will have to remove your case and then once that is done, (if its a single piece cover then just remove it, if its a two piece you will need to remove both sides in order to access the screw holes for the bays), then remove two adjacent 5 1/4" bay covers and also one metal cover from the back of your machine, these will be where the kit is mounted in the front and the whole in the back is for the serial cable to go through. Depending on how your metal expansion card covers are made on the back you will probably need to either "snap" it out or on some more expensive cases just unscrew one.
You will need to plug the cables (power and data) into the LCD before screwing it in, this makes it easier and makes the connections as firm as they can be. Once you have done this you can carefully slide the LCD and Bracket into place and then you will need to screw it into place with the supplied screws. Although there are eight holes and only four screws this is fine, you should just use the top and bottom holes on either side and leave the middle ones, the other wholes are there just incase you need them to fit the kit into your case.
Now that the LCD and Bracket it nicely in place you will need to feed the Serial Cable through the whole in the back of the computer and plug it into your hopefully free 9 pin Serial COM Port. Then you need to connect the power, if you don't have a spare HDD size power plug then you will either need to make one or you can get one for around five dollars at your local Dicksmith or Tandy store, this shouldn't be the case as your using the bays that would otherwise have drives and therefor spare plugs but some of you may have a mass array of fans or other such devices using them already.
OK, the kit is in and your ready to roll, its best to leave the case off just incase you have to adjust it in some way. Just plug the power in and boot up your machine.
The software that you need to drive the LCD display can be freely downloaded from the Internet. The following are just our selected software for different Operating Systems, but there are many others out there for you to try.
Just download these programs and save them to your computer. You can now proceed to installing them in the next step.
Now that the kit is installed into your machine its time to proceed to the installation stage. The following steps are how we installed the software on my machines (Pentium II 450 running Windows 2000 and a Celeron 600 running Red Hat 6.2).
Firstly I must say due to the nature of Linux the install maybe different for you depending on the distribution and configuration of you machine.
To uncompress the file you will need to be in the directory in which you downloaded it to, and you can simply enter this command: tar -xzvf lcdproc-0.4-pre9.tar.gz.
Now to install the program change into the directory created by the previous step, i.e. cd lcdproc-0.4-pre9. As usual the next recommended step is to read the provided installation notes by cat INSTALL | more. The way we proceeded from here was to edit the Makefile.config, firstly we modified the DEVICE line to point to the appropriate COM port on my machine which was /dev/ttyS0. Then we commented (#) out the lines of all the drivers we didn't want (this was only the Matrix Orbital ones) the rest seemed to be "handy" and could be used later. Now time to make, once that was done we logged in as the super-user, su, and proceeded to do a make install. If all went well then your program should be installed and the /dev/lcd link made to point to where your LCD is connected.
To install on Windows just double-click on the executable you downloaded, in our case it is lcdsetup13.exe. To step through the install all you need to do is select the directory you wish to install the program and the start menu group you wish it to appear in. When you have installed the software it will ask you to make some simple configuration options as to what information you want displayed and where the device is connected and what type it is. Now your done, time to see what this baby can do.


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Report: Ousted Tinder Cofounder Settled Her Sexual Harassment Lawsuit Against The Company For 'Just Over $1 Million'
Maya Kosoff
Nov. 4, 2014, 12:19 PM
Whitney Wolfe, an ousted Tinder cofounder, made just over $1 million after settling a sexual harassment lawsuit with Tinder and IAC.
Getty Images/Michael Buckner
Tinder has had a turbulent year. In June, Whitney Wolfe, who was listed as a cofounder and later ousted from the company, sued Tinder and its parent company IAC for sexual harassment.
The sexual harassment lawsuit was settled in September. Initial reports disclosed that Tinder/IAC and Wolfe had settled for " an undisclosed sum."
Forbes now reports that Wolfe netted "just over" $1 million from the settlement.
Wolfe alleged that Rad and Tinder cofounder Justin Mateen sexually harassed her. She said she endured the harassment for most of the time she was employed at Tinder, Business Insider's Alyson Shontell reported when Wolfe first filed the lawsuit this summer.
Wolfe claimed she was called a slut and a liar, and that after she and Mateen broke up after dating on-and-off in 2013, Mateen became "verbally controlling and abusive" toward her. She said Mateen's actions after their breakup allegedly forced her to resign from Tinder.
She also said she had her cofounder title removed by Rad and Mateen because having five co-founders was " too many." Mateen allegedly also told Wolfe it would be considered "slutty" for her to be a cofounder of a "hookup" app like Tinder.
"Whitney's lawsuit against Tinder has been resolved (without admission of wrongdoing)," John Mullan, a partner at Rudy, Exelrod, Zieff & Lowe, LLP, the firm representing Wolfe, said in an email to BuzzFeed in September.
"She is proud of her role as a cofounder of Tinder and of the role she played in the app's success. She is now pleased to be able to focus her energy, talents, and ideas on exciting new opportunities."
In other Tinder news, the company's CEO Sean Rad decided to step down on Tuesday.
SEE ALSO: Tinder's CEO Is Stepping Down
More: Tinder Whitney Wolfe
Leaked Barclays memo warns of a crackdown on traders using cell phones on the trading floor

redpajama_set_name: RedPajamaCommonCrawl


Automotive use of fuel cells has received increased attention due to clean and efficient power generation. Successful vehicular applications require careful balance of design and control trade-offs. This article presents a model-based vehicle design capability with sufficient fidelity and efficiency to perform design and power management optimization using quasisteady fuel cell performance maps. Optimized fuel cell systems demonstrate a trade-off between power density and efficiency depending on compressor size. Vehicle performance can be improved significantly when the fuel cell system is designed to balance this trade-off.
Larminie, J., and Dicks, A., 2002, "Fuel Cell System Explained", 2nd ed., Wiley, New York.
Rowe, A., and Li, X., 2001, "Mathematical Modeling of Proton Exchange Membrane Fuel Cells," J. Power Sources [CrossRef], 102 (1–2), pp. 82–96.
Springer, T. E., Wilson, M. S., and Gottesfeld, S., 1993, "Modeling and Experimental Diagnostics in Polymer Electrolyte Fuel Cells," J. Electrochem. Soc. [CrossRef], 140 (12), pp. 3513–3526.
Amphlett, J. C., Baumert, R. M., Mann, R. F., Peppley, B. A., and Roberge, P. R., 1995, "Performance Modeling of the Ballard Mark IV Solid Polymer Electrolyte Fuel Cell," J. Electrochem. Soc. [CrossRef], 142 (1), pp. 1–8.
Baschuk, J., and Li, X., 2000, "Modelling of Polymer Electrolyte Membrane Fuel Cells With Variable Degrees of Water Flooding," J. Power Sources [CrossRef], 86 , pp. 181–196.
Bussel, H., Koene, F., and Mallant, R., 1998, "Dynamic Model of Solid Polymer Fuel Cell Water Management," J. Power Sources [CrossRef], 71 , pp. 218–222.
Berg, P., Promislow, K., Pierre, J., and Stumper, J., 2004, "Water Management in PEM Fuel Cells," J. Electrochem. Soc. [CrossRef], 151 (3), pp. A341–A353.
Amphlett, J. C., Mann, R. F., Peppley, B. A., Roberge, P. R., and Rodrigues, A., 1996, "Model Predicting Transient Responses of Proton Exchange Membrane Fuel Cells," J. Power Sources [CrossRef], 61 , pp. 183–188.
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Wang, Z. H., Wang, C. Y., and Chen, K. S., 2001, "Two-Phase Flow and Transport in the Air Cathode of Proton Exchange Membrane Fuel Cells," J. Power Sources [CrossRef], 94 , pp. 40–50.
Pukrushpan, J. T., Stefanopoulou, A. G., and Peng, H., 2004, "Control of Fuel Cell Power Systems, Principles, Modeling, Analysis and Feedback Design", Springer, New York.
Xue, D., and Dong, Z., 1998, "Optimal Fuel Cell System Design Considering Functional Performance and Production Costs," J. Power Sources [CrossRef], 76 (1), pp. 69–80.
Cunningham, J., Hoffman, M., Moore, R., and Friedman, D., 1999, "Requirements for a Flexible and Realistic Air Supply Model for Incorporation Into a Fuel Cell Vehicle (FCV) System Simulation," Future Transportation Technology Conference and Exposition , Costa Mesa, CA, Aug. 17–19.
Assanis, D., Filipi, Z., Gravante, S., Grohnke, D., Louca, L., Rideout, G., Stein, J., and Wang, Y., 2000, "Validation and Use of Simulink Integrated, High Fidelity, Engine-in-Vehicle Simulation of the International Class VI Truck," SAE Paper No. 2000-01-0288.
Markel, T., Brooker, A., Hendricks, T., Johnson, V., Kelly, K., Kramer, B., O'Keefe, M., Sprik, S., and Wipke, K., 2002, "Advisor: A System Analysis Tool for Advanced Vehicle Modeling," J. Power Sources [CrossRef], 110 (2), pp. 255–266.
Murphy, K., Kalata, P., Fischl, R., and Marchio, D., "On Modeling Surge Avoidance Controllers (sac) in Compressors, Design Procedure," "Proceedings of the American Control Conference", Seattle, WA, June.
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Han J, Kokkolaras M, Papalambros PY. Optimal Design of Hybrid Fuel Cell Vehicles. ASME. J. Fuel Cell Sci. Technol. 2008;5(4):041014-041014-8. doi:10.1115/1.2890106.


The Vedas are the HolyScriptures of Hinduism. Literally Veda means knowledge or wisdom.Because the Rishis or sages had the Vedas channelled to them whilst in deep meditative states, they have been described as apaurusheya, i.e., not created by any human agency.
These Vedas are four: Rigveda, Yajurveda, Samaveda and Atharvaveda. Out of these the Rigveda is the most ancient work at approximately 8000 years old.
The Rigveda is primarily a collection of 1017 prayer hymns to many forms of God. The Samaveda has set to music a selected number of hymns from the Rigveda. Incidentally, Hindu classical music originates from the Samaveda. The Yajurveda deals mainly with sacrificial rites and rituals. The Atharvaveda is mostly a compendium of ethical principles and also some branches of science like Ayurveda. The Atharvaveda also has hymns for controlling the weather, subduing enemies and curing diseases.
Traditionally, each of the four Vedas has been divided into four parts: Mantra or Samhita, Brahmana, Aranyaka and Upanishad. The Samhitas are collections of prayers addressed to various Vedic deities like Indra, Varuna, and Vishnu. The Brahmanas describe how Vedic rituals should be performed. The Aranyakas describe various meditations based on the sacrificial rites. The Upanishads are philosophical prose dealing with such topics as the Truth behind the universe, the true nature of human beings, the goal of life and the means of achieving it. There are 108 parts to the Upanishads.
The Mahabharata concerns an epic war fought at Kuruksetra. The Good guys are the Pandavas and the bad guys the Kauravas. The war pits family members against other family members. As the battle is about to begin so begins a portion of the book called the Bhagavad-Gita (Geeta).
The Bhagavad-Gita or 'song of God' is about a conversation between Lord Krishna and Arjuna. It consists of 18 chapters. It is the most popular Hindu religious scripture. It is often memorised word for word. It begins with Arjuna's confusion and doubt about the upcoming battle. Lord Krishna assures Arjuna that the battle is not one family member against another but a fight of good against evil and that he should fight because it is the right thing to do. During Arjuna's lengthy conversation with Krishna he realises that he is speaking to God and asks that he reveal himself as God. Lord Krishna does so and Arjuna sees within Krishna the lives of all living things simultaneously. Understandably his senses are overwhelmed and Lord Krishna again takes on human form. Lord Krishna asks Arjuna to surrender himself to him in return for Lord Krishna's protection and love. Oh, and the good guys win, obviously.
The Ramayana is a Hindu epic of biblical length. It tells of Lord Rama and his Family in South India It includes the famous story of Lord Rama's rescue mission for his wife Sita after the demon king Ravanna kidnapped her.
The 19 major Puranas detail the major Hindu gods and their worldly activities. They are sometimes known as the 5th Veda, and whilst the 1st four Vedas were reserved for certain castes the Puranas were for everyone. Amongst the information contained within the Puranas are such concepts as the formation of the universe, the multibillion year creation- destruction cycles, the kinds of humans on earth and the important Hindu rulers through history. The Puranas are often revised but the oldest ones predate the Vedas. The Puranas also tell us that we humans are descendants of Manu, a survivor of the great flood (yes Hinduism has a great flood story too!). From Manu we get the words Man, Mankind, and manners.


A car is engulfed in flames, set on fire by anti-government demonstrations during clashes with National Guards in Caracas, Venezuela, Thursday, July 20, 2017.
Demonstrators walk amid tear gas fired by Bolivarian National Guards during clashes in the El Hatillo neighborhood on the outskirts of Caracas, Venezuela, Thursday, July 20, 2017.
National Guard soldiers clear a road block set up by anti-government protesters in Caracas, Venezuela, Thursday, July 20, 2017.
A nationwide strike against plans to rewrite the constitution shut down much of Venezuelan's capital Thursday before erupting into sporadic violence that left at least two young men dead.
President Nicolas Maduro pledged to forge ahead with reshaping Venezuela's government despite the protests and a US threat to levy economic sanctions if he continued.
A coalition of opposition groups called what it described as a "great march" for Saturday, returning to a strategy of direct confrontation with the government after a week of alternate tactics, like organising a nationwide protest vote against the constitutional rewrite.
In New York, a senior diplomat resigned from the Venezuelan delegation to the UN in what he called a protest of the Maduro's administration's widespread human rights violations.


I wholeheartedly believe that there won't be any more HIV positive orphans to advocate for within my lifetime.
Until that time, I will advocate for parental care until the time comes when my advocacy efforts are no longer needed.
The solution, of course, is in preventing mother to child transmission of HIV/AIDS (PMTCT). Preventing a birthmother from transmitting the virus to her newborn is only a matter of having access to medication.
In 2006, about 530,000 children became newly infected. In 2008, around 430,000 children became infected. As time goes on, fewer babies are being born with HIV/AIDS due to PMTCT. At the rate of 100,000 fewer per year, we're only a few years away!
In 2004, only 10% of pregnant women with HIV were receiving ARVs in low and middle income countries. In 2008, that figure was up to 45%. Elizabeth Glaser Pediatric AIDS Foundation reports 53% of pregnant women worldwide are currently receiving ARVs (June 2010). [Kaiser reported 51% in July 2010.] This percentage is increasing every year and I feel it is feasible to get to nearly 100% PMTCT rates in the foreseeable future.
In high income countries, mother to child transmission has been virtually eliminated and I have every reason to believe that this will be true worldwide as access to treatment becomes more commonplace. As an example, less than 200 babies are born HIV positive in the United States every year because pregnant women in this country have access to the meds. Out of those children who do end up positive, the vast majority stay with their biological families and only a couple of children per year end up in need of foster or adoptive parents.
So why do I advocate for HIV positive orphans? I choose to advocate because I feel orphans with HIV are among the most underprivileged people in society. Their need for healthcare is a life or death matter and their need for a family is paramount to become a productive member of society. These children have few people speaking out for them and they truly do not have the means to speak out for themselves. Being a child without parents must be an immensely difficult position to be in. I can't imagine how it might be for a helpless sick child without a parent who loves them, cares for them, protects them and provides for their daily needs. Statistics regarding the future prospects of children who emancipate from orphanages, the foster-care system, or who grow up as street children are profoundly bleak: prostitution, homelessness, substance abuse, incarceration and suicide affect the vast majority of those children who grow up as orphans and never find permanent, loving homes. In my opinion, orphans with HIV and other diagnoses which ostracize them, are the most disadvantaged people on the planet and I cannot think of a group in greater need of a voice.
Until there is universal access to prevention of mother to child transmission of HIV, I will continue to bring awareness, educate families and find homes for these precious children. There are TOO MANY – at least 200 children (that I know of) are eligible for international adoption RIGHT NOW. If you would like to join me in advocating, please be in touch. We need at least 200 families and I can't find them alone – people need to see these precious faces and learn the facts about pediatric HIV. If you are not in a position to adopt, please consider sponsoring a child so they may stay in a permanent loving family, contributing to the adoption fund of family trying to bring an HIV+ child home, or advocate on behalf of a child so that a family can find them.


text:
Group 65Go to Jobble
Jobbler Resources
How to contact my hiring manager?
There are two ways you can reach out to your manager. Here's how!
Written by Andrew Phong
Updated this week
You can only contact your manager once you've been hired for a job. Once you've been hired, there are two ways you can contact your hiring manager:
Jobble Chat (recommended) - Once you've been hired for a job, you'll be added to a Jobble Group Chat with your hiring manager and fellow hired Jobblers.
2. Direct Contact Info - Once you've been hired for a job, you'll be sent an acceptance email titled: "You're Hired! Your Application Has Been Accepted." In that email, you can find the direct contact information of your hiring manager (typically full name, email and phone number).


"Today we remember Dr. Martin Luther King and his lasting legacy. In the midst of a time of unrest, racial divide, confusion, anger, dismay, despair and apathy, I still hold strong to his, no, our 'Dream' that we will not be judged by the color of our skin nor persecuted nor discriminated against. I have faith and believe that good will overcome evil." Gloria Young, Community and Business Leader, San Francisco, California.
"At the time, Doctor King embodied hope. The contrast between my life in California and my cousin's in Arkansas was stark. I prayed every night his dream would come true for us as African Americans." Jimi Calhoun, Pastor, Musician, Author of A Story of Rhythm and Grace: What the Church Can Learn from Rock and Roll about Healing the Racial Divide, Austin, Texas.
"The words and work of Reverend King still ring prophetic, guiding efforts of reconciliation world-wide. As a mixed race daughter of America, I share in his daily bridge-building work. Not only did he call for change in the heart of the individual, but also he called for deconstructing the long-standing systems of oppression–specifically those systems that make it impossible to be judged on the content of one's character due to the prejudgment based on the color of one's skin. Dr. King's work is far from over and his dream is still a distant dream. Nonetheless, we march in his footsteps, as he marched the roads paved in the hope of our ancestors. We march for changing hearts and deconstructing systems that limit the expression of the Kingdom of God. The sermon of his life continues to spur awakening, linking us to the wide-eyed reality that change is needed and change is coming. May his dream continue to cause us to wake up!" Rev. Jessica Lynn Taylor, Ph.D., Vice-President of Diversity and Inclusion, Multnomah University, Portland, Oregon.
"I fell in love with Dr. King when I was in fourth grade. I heard that he had died trying to help America see that black people were equal and should be treated so under the law. Forty-five years ago in rural California that wasn't the case and my friend, Carolyn, could not go alone to the girls' bathroom because of the taunts and the attacks she received. Dr. King helped change that, and for that I am so grateful." Seda Mansour, International Education Specialist.
"A beloved prophet of the Beloved community. Through his life and beyond his death, Dr. King has taught me that true justice is rooted in the giving away of our lives for others. We must me bold in advocating for justice for all, and at the same time, we must guard ourselves against acts of violence, lest we who have been oppressed also become oppressors. Dr. King's clarion call for non-violence echoes from the past into the present; even in his death his voice guides us towards the anticipated kingdom of Christ." Tony Huynh, Master of Divinity student, Multnomah Biblical Seminary; Associate Pastor of English Ministry, Aloha Vietnamese Baptist Church, Aloha, Oregon.
"As a preacher and a trainer of other preachers, Dr. King inspires me to make language sing for the glory of God. Dr. King teaches me that a sermon must not only be faithful to the Bible, that the preacher should not only speak to the mind, but that a sermon brimming with beauty, can also spark the imagination, challenge the conscience, delight the heart, and move the will to action." Matt Woodley, Editor of PreachingToday.com; Missions Pastor at Church of the Resurrection, Wheaton, Illinois.
"As a 54 yr old Black Minister, business owner, academician, husband and father, as well as a missional church planter, I often wrestle with the afterglow of Reverend Dr. Martin L. King. He has become contemporarily an object of unrealistic aspirations, which most White Americans hold as an icon in time which allows them to pay homage to those one-dimensional ideals, which are merely a sliver of his life's efforts, while simultaneously disassociating their duplicitous policies of classism, materialism and a competitive education system that maintains segregation. I think it odd, how too often the attempt to revere his mission to bring an inclusive justice has – unintendedly – done more to maintain and promote an apathy among even the Blacks of the South who remain chained, like their White counterparts, to an unattainable imagery of community without accountability. In my personal reflections and estimation, there are far more frequently misplaced, overlooked, undervalued, and courageous people of color who are making significant headway in representing the principles of Rev. King, and yet are muted at best and disavowed at worst. In short, I find it sad that his life has become a moniker for 'walk humbly,' but empty of the dynamic power and strategies which encompasses 'do justice' in the prophetic book of Amos. The end result is the renunciation of a heavenly vision and initiative, robbing it of its source of relevance and the true obeisance to glorify God in all of our relationships. " A. David Griffin lives and serves the community of Orangeburg, South Carolina, home of the Orangeburg Massacre circa February 6, 1968.
"Dr. King uniquely understood that the biblical prophets gave liberating words that emancipate the church from acquiescence to oppressive social orders and constructions of reality that stand in opposition to the freedom that is the good news of Jesus. I am grateful for the way King saw in the dehumanization and redemptive suffering of Isaiah's suffering servant a redemptive social ethic that shaped the Civil Rights movement and transformed the world. King's visionary understanding of the Prophets has inspired my spiritual formation through the Prophets and my research into the enduring social value of these scriptures." Daniel Somboonsiri, Ph.D. Student, Wheaton College, Wheaton, Illinois.
"Dr. King is a believer who was so rooted in the gospel that he knew love was the only way to truly live out our redemption through Christ. He taught and modeled how to practice reconciliation with God and with one another. His dream of freedom for all humans, united in worship, praising God—that's our dream of the new creation. Dr. King was in full partnership with Christ in bringing heaven to earth through calling out and fighting injustice." Insil Kang, Director of Communications, Village Baptist Church, Beaverton, Oregon.
"One of the things I most appreciate about Dr. King is the way his life and work reminds me that social circumstances don't have to remain as they are. They can be changed for the better and we are the means by which this can occur as a tangible witness to the Kingdom of God proclaimed by Jesus." John R. Franke, Theologian in Residence, Second Presbyterian Church, Indianapolis, Indiana.
"For me, the enduring legacy comes from the way MLK refused to stop loving even those who opposed him and demonized him most virulently, and the way he refused to stop holding out hope that even those who hated the most would someday come around to the way of love. The parallels to Jesus are conspicuous and striking. To my mind, MLK is the closest thing to Jesus that we've seen in our national life." Tom Krattenmaker, Author of Confessions of a Secular Jesus Follower: Finding Answers in Jesus for Those Who Don't Believe; Journalist, Member of USA Today's Editorial Board of Contributors; Member of Board of Directors, Yale Humanist Community, New Haven, Connecticut.
"The activist and advocacy work that I do and have spent my entire adult life doing to cultivate better understanding between people of different ethnic heritages, and build community, and the ministry message that I carry as an African American Faith leader, were inspired by Dr. Martin Luther King, Jr. He consistently demonstrated the love of Christ in the face of hate and adversity, and proved that love and non-violence are more powerful than hate and bigotry." Pastor/Superintendent Clifford O. Chappell, BSCE, MDiv., a lifelong advocate/activist for love, peace, equality and justice, Portland, Oregon.
"The life and legacy of Dr. Martin Luther King, Jr., continues to inspire my own efforts in pursuit of the dream (John 17:20-23), as well as to inform my understanding of the fact that personal lament, corporate repentance, reconciliation, and justice are not things peripheral, but intrinsic, to the gospel. Certainly no one in my lifetime has more passionately, clearly, succinctly, wisely, and sacrificially called the diverse people of this nation to walk, work, and honor (if not worship) God together as one beyond the distinctions of this world that so often and otherwise divide. May we all so then live – in prayerful purpose and patient persistence – as peacemakers, motivated by his example and following in the footsteps of Dr. King, for the sake of the eternal King, our Lord and Savior, Jesus Christ." Dr. Mark DeYmaz, Founding Pastor, Mosaic Church of Central Arkansas; President, Mosaix Global Network; Author, Disruption: Repurposing the Church to Redeem the Community; Little Rock Arkansas.
MLK and "How Friendly Is the Universe You Inhabit?"
January 24, 2019 Do You Belong to a Significant Church?


Hard to pinpoint what didn't work for me here. I think it was that, unlike his previous novels, there wasn't a singular driving moral being discussed. There were lots of elements I liked: the irreverent tone, the concept of ice-nine, the honestly-bankrupt religion, etc. But the plot meanders without ever wrapping up all of its travel in a satisfying way, and the comedy prevents you treating it seriously as any kind of analysis of an Armageddon. You have to treat it like a farce, then, but the humour is just not outrageous enough to carry it off.
Speedily digestible, and written well enough not to be offensive or dull, but not something I would suggest as an introduction to Vonnegut.


Around political maps and linguistic manipulations, a game of Dominoes was played to satisfaction. The Colombo Encounter, the fifth in the series of poetry workshops for Poets Translating Poets, faced a tackle or two.
Under a tree canopy a stone-topped table strewn with poems and possibilities ties together, three poets and three translators. German poet Barbara Köhler is furiously drawing Domino tiles on a white board, while explaining the rules of the game to her two counterparts – Sri Lankan poets – Ariyawansa 'Ari' Ranaweera and Somasundarapillai 'Sopa' Pathmanathan – while the interlinear translators Prof. Asoka de Zoysa, Nimka Udapola and Fr. Francis Jeyasegaram chip in with their inputs. They are translating Barabara's poem, die dominospieler/ The Domino Players.
An enormous task, translation is also often a lonely and frustrating process. Dictionaries abound, the struggles with the language and grammar, of bringing forth the original author's experiments – what theorist José Ortega Y Gasset calls the author's "radical courage" – while being enslaved in the "controlling apparatus, composed of grammar and common usage" 1, are well documented. But this lone wolf experience is done away with when you bring 48 poets from 19 languages together over a year's worth of translation workshops. Here, one's singular struggle to translate and the pitfalls of being the master of it all, is transformed into a collective experience.
Hands flail in gestures that substitute linguistic understanding. Eyes sparkle brightly as the original meaning is beholden to the translator who decodes. Slowly, each poet negotiates with the other, constructs meanings in bits. From the process to the finish, from the parts to its sum, each poetry translation encounter of the mammoth Poets Translating Poets (PTP) project comes armed with its charms and chores.
Barbara Köhler's poetry is steeped in linguistic manipulations of the German language and was rather challenging to translate. She consistently uses lower case and avoids capital letters for nouns and at the start of sentences – a regular feature of written German. Devoid of punctuation marks, her poems can be read in multiple ways with words emerging in a different relation to each other as they are added on, combining into phrases and sentences. It's ambiguous and multi-hued.
Prof Asoka explains: "it could mean this or that." As he wrote in an e-mail accompanying his pre-workshop interlinear translations of Barbara's poems: '... her ideas may not be exact, they may be chaotic. But it's beautiful within the chaos. We don't exactly know how to translate some of her lines. Her metaphors and ideas are all rolled into one.' In interlinear translations, where one must translate word by word with multiple meanings for each word, Barbara's interlinear translations are bereft of the sheer virtuosity of her writing.
Interestingly, Barbara agrees with the accusation. She is conscious of the "difficult project" tag, but she can't help it. In her words, "she loves dealing inside of the language and with the language". She uses Gertrude Stein to explain, "I like the feeling of words doing what they want to do and as they have to do when they live as they have to live that is where they have come to live which of course they do do."
Fr Francis revealed his own challenges and discoveries, "As translator I faced some difficulties in finding Tamil idioms, literary forms and even certain language patterns transforming into corresponding German language. But through the process I could get into the cream or message of the poem; the soul of German way of thinking and living." He also hoped that he was able offer the Germans a glimpse into the Tamils' way of thinking and acting.
For her part, Barbara revelled in her own discoveries and choices within the process. She particularly enjoyed playing with the traditional structures and cadence of Ari's poems. In some of Sopa's poems, she chose to play with the original contexts and words such as murunga tree and raga. "It needn't be that everyone understands the poem. Using words from the original language gives a sense of place and somehow makes the poem less neutral."
This process uncovered newer challenges for the poets who were translating her poems. Painstakingly, each word, phrase, line, image, idea was sketched and uncovered. Questions were furiously exchanged, as the game continued.
She faced other challenges during the process – of understanding her own perspective of the culture she was about to decode. Words like xenophobia, gender differences, culture clash were bandied about not with potent accusation, but with genuine concern for her own baggage that she may be bringing to the table.
The Sri Lankan poets, on the other hand, took numerous sharp intakes of breath at the language structures with which the German poet was playing and bold existential questions she posed – so very different from the poets of the late 20th century they had read such as Rilke and Brecht. Compared to their own poems pregnant with emotion and passion, they found her poems to be rather cerebral and emerging from an intense power play with thought.
… both Asoka and Ari asked about the switch to literal meanings in a poem that was dealing with conflict and the civil war through metaphors. Asoka explained that the word homeland has negative connotations in Germany and connected to Hitler, so perhaps that is not the best word to use. Sopa conceded and suggested that Barbara could replace the word 'homeland' with 'home'. Such negotiation, a common feature in other encounters, assumed a different, political, power dynamic in this situation, and was reflective of a larger political and social imbalance in the country.
Cultural theorist Gayatri Spivak once wrote that 'Language is not everything. It is only a vital clue to where the self loses its boundaries' 3. In a negotiated conversation that changed 'homeland' to 'home', the poem lost its boundaries. Power structures asserted themselves not just within the microstructures of negotiated dealings between the players, but also the macro structures of availability and penetration of the German language in Sri Lanka.
Nonetheless, power structures are not vacant inanimate constructions. They are very much built and broken down by people. And as some of the key active agents in this process, artists and writers have the power to influence power dynamics. At the Colombo PTP encounter, this was evidenced more than once. Both Ari and Sopa translated all of each others' poems that were brought to the workshop and promised to translate 50 more poems from Tamil to Sinhalese and Sinhalese to Tamil, over the course of the next year using the interlinear translation method. Dr Petra Raymond, Head of Goethe-Instiut Colombo, was quite excited by the possibility and offered to partner in the process and the project.
Perhaps an apt articulation of the experience can only come from a participant. While addressing the audience at the public reading of the poems on the fifth day of the workshop, Fr Francis explained, "From the five-day programme I learnt that all the poets through their poems are trying to break barriers and bring down walls to bring the human family as close as possible. What I felt, through this encounter that we must learn to celebrate differences. We must learn to enjoy differences which are embedded in nature and creation," he concluded. Amen to that!
José Ortega y Gasset, "The Misery and the Splendor of Translation" (1937), trans. Elizabeth Gamble Miller. In Rainer Schulte and John Biguenet (eds) Theories of Translation: An Anthology of Essays from Dryden to Derrida, Chicago: University of Chicago Press, 1992, pp. 93–112. Copyright © 1992 by The University of Chicago.
Gayatri Spivak, "The Politics of Translation." In Gayatri Spivak, Outside in the Teaching Machine, London and New York: Routledge, 1993.


text:
package alien4cloud.paas.wf;

import lombok.extern.slf4j.Slf4j;

import org.springframework.stereotype.Component;

import alien4cloud.model.components.IndexedRelationshipType;
import alien4cloud.model.topology.NodeTemplate;
import alien4cloud.model.topology.RelationshipTemplate;
import alien4cloud.paas.plan.ToscaNodeLifecycleConstants;
import alien4cloud.paas.wf.WorkflowsBuilderService.TopologyContext;
import alien4cloud.paas.wf.util.WorkflowUtils;
import alien4cloud.tosca.normative.NormativeRelationshipConstants;

@Component
@Slf4j
public class UninstallWorkflowBuilder extends StandardWorflowBuilder {

    @Override
    public void addNode(Workflow wf, String nodeId, TopologyContext toscaTypeFinder, boolean isCompute) {
        if (WorkflowUtils.isNativeOrSubstitutionNode(nodeId, toscaTypeFinder)) {
            // for a native node, we just add a subworkflow step
            WorkflowUtils.addDelegateWorkflowStep(wf, nodeId);
        } else {
            AbstractStep lastStep = null;
            // TODO: look for children ?
            lastStep = appendStateStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.STOPPING);
            lastStep = eventuallyAddStdOperationStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.STOP, toscaTypeFinder, false);
            lastStep = appendStateStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.STOPPED);
            lastStep = appendStateStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.DELETING);
            lastStep = eventuallyAddStdOperationStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.DELETE, toscaTypeFinder, false);
            lastStep = appendStateStep(wf, lastStep, nodeId, ToscaNodeLifecycleConstants.DELETED);
        }
    }

    @Override
    public void addRelationship(Workflow wf, String nodeId, NodeTemplate nodeTemplate, RelationshipTemplate relationshipTemplate,
            TopologyContext toscaTypeFinder) {
        IndexedRelationshipType indexedRelationshipType = toscaTypeFinder.findElement(IndexedRelationshipType.class, relationshipTemplate.getType());
        String targetId = relationshipTemplate.getTarget();
        boolean targetIsNative = WorkflowUtils.isNativeOrSubstitutionNode(targetId, toscaTypeFinder);
        if (targetIsNative || WorkflowUtils.isOfType(indexedRelationshipType, NormativeRelationshipConstants.HOSTED_ON)) {
            // now the node has a parent, let's sequence the deletion (children before parent)
            String parentId = WorkflowUtils.getParentId(wf, nodeId, toscaTypeFinder);
            NodeActivityStep deletedSourceStep = WorkflowUtils.getStateStepByNode(wf, nodeId, ToscaNodeLifecycleConstants.DELETED);
            AbstractStep targetStep = null;
            if (targetIsNative) {
                targetStep = WorkflowUtils.getDelegateWorkflowStepByNode(wf, targetId);
            } else {
                targetStep = WorkflowUtils.getStateStepByNode(wf, parentId, ToscaNodeLifecycleConstants.STOPPING);
            }
            WorkflowUtils.linkSteps(deletedSourceStep, targetStep);
        } /*
           * else if (WorkflowUtils.isOfType(indexedRelationshipType, NormativeRelationshipConstants.ATTACH_TO)) {
           * // in case of "Volume attached to Compute", we need to delete the compute before eventually delete the volume
           * String volumeId = nodeId;
           * String computeId = relationshipTemplate.getTarget();
           * NodeActivityStep deletedComputeStep = WorkflowUtils.getStateStepByNode(wf, computeId, ToscaNodeLifecycleConstants.DELETED);
           * NodeActivityStep stoppingVolumeStep = WorkflowUtils.getStateStepByNode(wf, volumeId, ToscaNodeLifecycleConstants.STOPPING);
           * WorkflowUtils.linkSteps(deletedComputeStep, stoppingVolumeStep);
           * }
           */
    }

}

redpajama_set_name: RedPajamaGithub


Yesterday, I spoke at the CanWrite! Conference in Edmonton, Alberta, on the Hot Trends, Hot Markets panel. I had a great time and I hope that attendees left with a better understanding of how they can market themselves online through the use of social networks.
Today, I want to talk about one of the three main categories of social networking--'book collection or catalog networks'. These are social networks that invite users/members to catalog their personal book collection, recommend books to fellow members/friends, discuss books and authors with others, and to send notes and virtually "meet" people from all over the world who love books.
The first thing to do if you're an aspiring or published author is to sign up on these sites. If you're a published author, you'll want to sign up as an "author", which will give you some extra perks. If you don't see how to do this, just email the site's contact. They can get you set up as an author very quickly.
In general, these sites are set up to bring people together. However, most people don't want a hard sales pitch, especially one by an over-exuberant author. So be careful when you approach others on these networks. Find a common interest and get to know your friends here first. Chat about where they live, their family, their own book recommendations and reviews. But be real!
I genuinely love meeting people, and I also love to promote my books. It's tough for an author to hold back sometimes, but it is worth it to do so when you first start checking into the social network market. There is a fine line that I don't want to cross, and what I've learned is this: if you're patient and take the time to get to know people, they'll start asking questions. And the great thing is, you'll know their interest is genuine too.
It may seem obvious that the benefits are more exposure, but I've met a lot of authors who just don't get this. Think of that old shampoo commercial--"and they tell two friends, and so on, and so on, and..." This is a form of "viral marketing"--a way of promoting to one person or group that will create a chain reaction of word-of-mouth referrals.
Once you sign up on GoodReads, for instance, thousands and thousands of people will have access to your author profile. Every time you post some writing, add a book, review a book, discuss something in a group, the homepage shows your activity. This is updated instantly, and brings new visitors to your profile and activity pages.
You can contact libraries and bookstores and introduce them to your book(s). Offer to send them bookmarks or your publisher's catalog--or one book to sample.
And of course, you'll meet lots of wonderful people. You will connect with housewives, teens, entrepreneurs, business owners, teachers, librarians, other authors, but above all--readers.
Personally, through these three sites I have met some wonderful people, some fabulous authors and many terrific reviewers. It's like going to a huge party, or a multi-author book launch, where all the talk is about BOOKS. And for an author, is there anything better than that?


Ubisoft's confirmed that Ghost Recon: Future Soldier's servers are going down for maintenance this morning. They're going to be offline from 6.00am EST/10.00am GMT/11.00am BST/12.00am CET for two hours. That's right now, so prepare to go dark.


text:
Home VG Approved Gear Marshall Handwired Series 2245THW Head and 1960AHW Cabinet
Marshall Handwired Series 2245THW Head and 1960AHW Cabinet
Bluesbreaker Redux
By Zac Childs
2245THW Prices: $4,800 (list); $3,299.99 (street); 1960AHW Prices: $2,180 (list); $1,399.99 (street)
Contact: www.marshallamps.com
Marshall Amplification needs no introduction. The company's iconic heads and 4×12 cabs have been blowing out eardrums since the mid-1960s. At the turn of the century, Marshall began reviving the tagboard construction of their glorious past with the Handwired Series. The latest of their "true" reissues is the 2245THW that's based on the JTM45 head with tremolo and just happens to be identical to the circuit of the much-ballyhooed 1962HW "Bluesbreaker" combo.
The 30-watt 2245THW is powered by two KT66 valves with the preamp utilizing four 12AX7s. Rectification is handled by a GZ34 tube. Besides its old-school construction, the amp features Drake transformers that are as close to vintage as modern safety standards allow. Each channel, normal and trem, has its own Volume control and shares the EQ section, which consists of Treble, Middle, Bass, and Presence controls. Last but not least on the knob front are the tremolo Speed and Intensity, along with four inputs that allow for normal or padded inputs for both channels. The amp's back panel features a single speaker output, an impedance selector (8/16 ohms), a mains selector (100/120/230 volts), and a jack to connect the supplied on/off footswitch for the tremolo.
The 2245THW was tested with a 1967 Telecaster and 1959 reissue Les Paul through Marshall's 1960 AHW cabinet. This large 4×12 cab, with its basket-weave grille, contains hand-wired Celestion G12H30s that are both period-correct (and happen to be one of the finest replacement speakers around). Plugged into the normal channel and with everything turned up to 10 to see what the 2245THW was capable of, it became apparent that, despite its diminutive 30-watt rating, this amp can certainly rattle windows, get your ears ringing, and presumably keep up with your loud drummer. Even with everything pegged at 10, the bass lowered, and the Presence knob set to taste, it was quite simple to dial in that hard-nosed bright-but-full Marshall tone via the normal input. If desired, though, the well-voiced EQ can be made warmer and less obtrusive.
Turning to the tremolo section, we were met with a much darker tone than normal, even with the shared tone controls set quite bright. The tremolo effect, though not usually associated with the Marshall sound, was a welcome addition for either clean or distorted settings, offering a wide variance of speeds and an intensity that could be set for anything from subtle to pulsating. When performing the time-honored bridging of inputs, the darker trem input could be mixed in to soften the inherent attack and brightness of the normal input, but as with the 2245's vintage forefathers, the patch cable could be dropped and the volume of the unused channel simply raised for a more subtle version of the bridging effect. The unused channel can also be turned up all the way for more dirt.
Of course, the 2245THW took pedals well. It was particularly fun to run a dirty boost pedal in front of it for gritty tones at a lower volume level. As well as the pedals worked, though, the favorite setup was Les Paul, cord, and amp on 10, using the guitar's Volume and Tone knobs to summon everything from bright to dark shades and the entire spectrum of clean to hard-edged dirty tones.
At close to 82 pounds for the cab and 33 for the head, moving this rig may require assistance, but what it offers in tone and visceral presence well exceeds the burden of its physical weight. The 2245THW is another fine high-end piece in the Handwired Series, offering Marshall's classic intimidating'60s style, along with its classic muscular and gritty plexi tone.
This article originally appeared in VG October 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
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Located in the heart of Cornish village Trelights is Glendale, a refreshingly simple property providing clean and comfortable accommodation at a sensible price! Trelights itself is a short drive to visitor hotspots such as Port Isaac 1.9 miles, Polzeath 3.6 miles and Wadebridge 6.7 miles. In Trelights is the Longcross Hotel and Restaurant with stunning views serving great food and drink throughout the daytime and evening (open April to October, non residents welcome). Less than a mile from Trelights is the popular farm shop and restaurant, Trevathan, at St Endellion where you can purchase locally produced meats, vegetables, cheeses and other great Cornish products as well as sitting down to a hearty Cornish breakfast, Sunday lunch or cream tea. The picturesque coastal hamlet of Port Quin is under two miles away with Lundy Bay 3 miles and Port Gaverne with its lovely hotel and pub less than 4 miles by car.
A traditional semi-detached Cornish cottage with some of its original charm and character retained. Entered via a handy outside porch with original slate flooring, the spacious cottage has a living room with ample easy seating to the right and separate large dining/breakfast room with kitchen and shower room WC off to the left. A small rear lobby separates the kitchen from the shower room and has a back door leading out into the lawn garden to the side and rear of the property. The shower room WC has a large shower cubicle with mixer shower and wash hand basin. A steep staircase with hand rail leads up to the two spacious bedrooms. Up two steps to the left is the triple bedroom with three full size single beds. Up two steps to the right is the spacious double bedroom with 4'6 bed and plenty of room for a cot. Both bedrooms are carpeted and have ample hanging and drawer space between them.
The property is heated via oil fired central heating (available out of main season).
As well as the lawn garden to the side and rear of the property, an additional garden belonging to Glendale is located across the road and provides extra outside space to enjoy as well as off road parking (on grass) for a maximum of two cars.


text:
Q: UIBarButtonItem size displays wrong I have custom UINavigationBar(for JSQMessagesViewController) with some items. But I have some problems with leftBarButtonItem
func setNavigationBar() {
    let screenSize: CGRect = UIScreen.main.bounds
    let navBar = UINavigationBar(frame: CGRect(x: 0, y: 28, width: screenSize.width, height: 78))
    let navItem = UINavigationItem(title: chatName ?? "chat")
    let menuBtn = UIButton(type: .custom)
    menuBtn.frame = CGRect(x: 0.0, y: 0.0, width: 78, height: 78)
    menuBtn.setImage(UIImage(named: "backButton"), for: .normal)
    menuBtn.addTarget(self, action: #selector(back), for: UIControl.Event.touchUpInside)

    let menuBarItem = UIBarButtonItem(customView: menuBtn)
    let currWidth = menuBarItem.customView?.widthAnchor.constraint(equalToConstant: 78)
    currWidth?.isActive = true
    let currHeight = menuBarItem.customView?.heightAnchor.constraint(equalToConstant: 78)
    currHeight?.isActive = true
    navItem.leftBarButtonItem = menuBarItem

    navBar.titleTextAttributes = [.font : UIFont(name: "Acrom-Bold", size: 26)!, .foregroundColor : UIColor.white]
    navBar.setItems([navItem], animated: false)
    navBar.setBackgroundImage(UIImage(), for: .default)
    navBar.shadowImage = UIImage()
    navBar.backgroundColor = UIColor(displayP3Red: 0, green: 0, blue: 0, alpha: 0.3)
    navBar.isTranslucent = true

    self.view.addSubview(navBar)
}

But my BackButton looks wrong.
What is the problem with the height of the button?

A: If a bar button item has a custom view, you must size the width of the custom view using internal autolayout constraints.
But you must not size the height larger than the runtime likes, as you are doing. Delete these lines:
let currHeight = menuBarItem.customView?.heightAnchor.constraint(equalToConstant: 78)
currHeight?.isActive = true

redpajama_set_name: RedPajamaStackExchange


text:
South Quay is a Docklands Light Railway (DLR) station on the Isle of Dogs, East London, England. The station is between Crossharbour and Heron Quays stations and is in Travelcard Zone 2. South Quay is in Millwall and is located on the southern shore of the South Dock of the West India Docks; the current station platforms sit astride the channel connecting Millwall Dock to the West India Docks.

History
The original South Quay station opened in 1987 in Millwall and was a standard DLR phase 1 elevated station, subsequently extended to permit the use of 2 unit trains.

In 1996, near the station, the Docklands bombing killed 2 people and injured over 30. The IRA had claimed responsibility for it. A memorial plaque at the station was unveiled in December 2009, commemorating the victims of the 1996 bombing.

Relocation
The station was constrained by sharp curves at both ends and could not, therefore, be further extended on its former site. The DLR's plan to operate 3 unit trains on this line therefore included the relocation of this station to a new site over Millwall Dock some distance to the east, resulting in the relocated station partly being in Cubitt Town.

In October 2004, Transport for London announced plans to close and replace South Quay station with a station at a new location because of increased use of the Docklands Light Railway. The reason for the move was that the platforms could only accommodate two-unit trains. They would need to be lengthened by thirty metres for three-unit trains but the curves either side of the station precluded extension work.

The new station, on a straight section of track  to the east, opened on Monday 26 October 2009 with the old station closing on Friday 23 October.

Connections
London Buses route D8  serves the station.

Surrounding area
South Quay is surrounded by commercial offices and residential developments and their for the residential, commercial and entertainment development in this part of Millwall. The highrise Pan Peninsula Towers is immediately adjacent to the station. A small shopping centre, South Quay Plaza, is across the road from the station. The Hilton London Canary Wharf hotel is also close to the station. Further afield, the southern shore of the South Dock of the West India Docks to the west of the station is lined with restaurants. The South Quay Footbridge provides a connection to the Canary Wharf private estate.

References

External links

 South Quay station on Docklands Light Railway's website

Docklands Light Railway stations in the London Borough of Tower Hamlets
Railway stations in Great Britain opened in 1987
Millwall

redpajama_set_name: RedPajamaWikipedia


text:
Q: calculate the period of an hypotrochoid I'm curious how to find out the period of an hypotrochoid.
x = (a-b) * cos(t) + h * cos( ((a-b)/b) * t )
y = (a-b) * sin(t) - h * sin( ((a-b)/b) * t )

I know that for a single cos(x) function to find the period you divide 2π by the multiplier of the x, but i have no idea with more tri function like cos(x) + cos(x1) + m1

A: The period of $\cos t$ and $\sin t$ is $2\pi$.
For any positive constant $k$, the period of $\cos kt$ and $\sin kt$ is $2\pi/k$.
(Because $\cos (k(t+p)) = \cos (kt +kp)$ so $kp$ has to be the period $2\pi$ of $\cos t$.)
So, now each of the two coordinates is a sum of a function with period $2\pi$ and a function with period $2\pi k = 2\pi \frac nd$ if we set $\frac{a-b}{b}=\frac dn$ as your book does (unless $h=0$ or $a=b$ and the function is actually simpler).
If the two function do not have the same period (i.e. $d\not=n$) we now have to find the first time when both periods have been completed an integral number of times, so we need simultaneously a multiple of $2\pi$ and a multiple of $2\pi\frac nd$.
But this happens first at $2\pi n$.

A: find it out in an old math book (but i don't understand exactly the reason).
hypotrochoid function:
x = (a-b) * cos(t) + h * cos( ((a-b)/b) * t )
y = (a-b) * sin(t) - h * sin( ((a-b)/b) * t )

let say b/(a-b) = n/d, and n,d positive integer without common divisor, so period is n2π.


text:
Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition
J. B. Suck, J. H. Perepezko, I. E. Anderson, C. A. Angell
Measurements of the dynamic structure factor at Q0, the momentum transfer of the first maximum of S(Q,0), have been made for droplet samples of Sn and Sn + Pb liquid alloys into the supercooled region. It is shown that half-width variations with temperature are inconsistent with expectations from instability theories for the liquid-solid phase transition, but correlate well with changes in atomic diffusivities with alloy composition.
https://doi.org/10.1103/PhysRevLett.47.424
10.1103/PhysRevLett.47.424
Dive into the research topics of 'Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition'. Together they form a unique fingerprint.
liquid alloys Physics & Astronomy 100%
momentum transfer Physics & Astronomy 80%
solid phases Physics & Astronomy 77%
diffusivity Physics & Astronomy 76%
temperature dependence Physics & Astronomy 53%
liquids Physics & Astronomy 43%
temperature Physics & Astronomy 24%
Suck, J. B., Perepezko, J. H., Anderson, I. E., & Angell, C. A. (1981). Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition. Physical Review Letters, 47(6), 424-427. https://doi.org/10.1103/PhysRevLett.47.424
Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys : A test of instability theories for the liquid-solid phase transition. / Suck, J. B.; Perepezko, J. H.; Anderson, I. E.; Angell, C. A.
In: Physical Review Letters, Vol. 47, No. 6, 01.01.1981, p. 424-427.
Suck, JB, Perepezko, JH, Anderson, IE & Angell, CA 1981, 'Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition', Physical Review Letters, vol. 47, no. 6, pp. 424-427. https://doi.org/10.1103/PhysRevLett.47.424
Suck JB, Perepezko JH, Anderson IE, Angell CA. Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition. Physical Review Letters. 1981 Jan 1;47(6):424-427. https://doi.org/10.1103/PhysRevLett.47.424
Suck, J. B. ; Perepezko, J. H. ; Anderson, I. E. ; Angell, C. A. / Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys : A test of instability theories for the liquid-solid phase transition. In: Physical Review Letters. 1981 ; Vol. 47, No. 6. pp. 424-427.
@article{d4f95af5e2214b319ee504603db1f9dd,
title = "Temperature dependence of the dynamic structure factor for supercooled Sn1-xPbx alloys: A test of instability theories for the liquid-solid phase transition",
abstract = "Measurements of the dynamic structure factor at Q0, the momentum transfer of the first maximum of S(Q,0), have been made for droplet samples of Sn and Sn + Pb liquid alloys into the supercooled region. It is shown that half-width variations with temperature are inconsistent with expectations from instability theories for the liquid-solid phase transition, but correlate well with changes in atomic diffusivities with alloy composition.",
author = "Suck, {J. B.} and Perepezko, {J. H.} and Anderson, {I. E.} and Angell, {C. A.}",
doi = "10.1103/PhysRevLett.47.424",
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T2 - A test of instability theories for the liquid-solid phase transition
AU - Suck, J. B.
AU - Perepezko, J. H.
AU - Anderson, I. E.
AU - Angell, C. A.
N2 - Measurements of the dynamic structure factor at Q0, the momentum transfer of the first maximum of S(Q,0), have been made for droplet samples of Sn and Sn + Pb liquid alloys into the supercooled region. It is shown that half-width variations with temperature are inconsistent with expectations from instability theories for the liquid-solid phase transition, but correlate well with changes in atomic diffusivities with alloy composition.
AB - Measurements of the dynamic structure factor at Q0, the momentum transfer of the first maximum of S(Q,0), have been made for droplet samples of Sn and Sn + Pb liquid alloys into the supercooled region. It is shown that half-width variations with temperature are inconsistent with expectations from instability theories for the liquid-solid phase transition, but correlate well with changes in atomic diffusivities with alloy composition.
U2 - 10.1103/PhysRevLett.47.424
DO - 10.1103/PhysRevLett.47.424
JO - Physical Review Letters
JF - Physical Review Letters