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Lack of apps isn't a problem that a Windows user has to endure. In fact, there are so many apps in the ecosystem, we might not be able to search for and find the right app that fits our requirement perfectly. For every task one could imagine, there are plenty of alternatives of varying shapes and sizes are available.
Coming up with a finite number of apps that are worthwhile is no easy task. But, we tried. After the break let us take look at one hundred extremely useful, highly productive apps that might end up making your Windows PC better than ever. Hop on!


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Astronomy | GXR · GR · RX100 M1 · RX100 M4 · RX10 M3/4 · TZ202 · X Vario · M240 · General | Photos | Conf. Places | Calendars | Art
General: Calculating Hyperfocal Distance and Depth of Field
Introduction | Considerations Before You Do Any Calculations | Calculating the Hyperfocal Distance | Calculating the Depth of Field | Why Do I Get/Find Different Values from the Ones Published on this Site? | Conclusions | Alternative: Merklinger's Approach | References
On this page, I present how the hyperfocal distance (HFD) and depth of field (DOF) can be calculated based on formulae that I found on the DOFMaster Website. I am using Microsoft Excel for performing the actual calculations.
On other pages, I present the results my calculations of the hyperfocal distance for the Sony RX100 M1, the Ricoh GR and the Leica X Vario as well as for depth of field for the Ricoh GR and the Leica X Vario in various tabular formats.
See the notes on page A Small Glossary of Photography Terms regarding the validity of depth of field and hyperfocal distance calculations as well as of the circle of confusion, on which these calculations are based.
The DOFMaster Website not only offers a depth of field (DOF) calculator but also lists formulae for calculating depth of field tables on your own. Below, I list the formulae for DOF and hyperfocal distances that I use for my own calculations that are presented as tables in various places on this site.
Such calculations are, however, tedious, and error prone process. Therefore, please take the tables presented on this site and elsewhere with a grain of salt. Moreover, particularly for zoom lenses, such tables are not too useful and practical...
The Circle of Confusion (CoC)
... might as well been regarded as a source of confusion...
The original definition of the circle of confusion was based o the resolving power of the human eye, which was assumed to be no smaller than one quarter of a millimeter in diameter on a piece of 8 x 10 paper 250 millimeters from the eye. Merklinger writes:
The human eye is said to be capable of resolving a spot no smaller than one quarter of a millimeter in diameter on a piece of paper 250 millimeters from the eye. If this spot were on an 8 by 10 inch photograph made from a 35 mm negative, the enlargement factor used in making the print would have been about eight. Thus if spots smaller than one-quarter millimeter are unimportant in the print, then spots smaller than one-thirty-second of a millimeter in diameter are unimportant in the negative. The usual standard used in depth-of-field calculations is to permit a circle-of-confusion on the negative no larger than one-thirtieth of a millimeter in diameter. (From Merklinger)
As a result, most lenses show a DOF scale, provided they have one, that is based on a CoC of 1/30 mm (0.03 to 0.035 mm). Since this is based on a full-format film format, the CoC size has been adapted to different sensor sizes (based on the magnification factor that is much higher than 8, or on the sensor size).
Note: I hit on a discusion in the l-camera-forum debating that the DOF is different for digital and for analog (film) cameras, but for digital cameras still the same calculation is used as for film cameras: It is uses a circle of confusion (coc) that is based on the sensor size (or film size for analog cameras). The argument put forth in an article, entitled Profondeur de champ et capteurs numériques (English version: Depth of field and digital sensors), that was cited there is that not sensor size but photosite size should be the criterion for calculting the coc. According to this article, the coc is simply the photosite size multiplied by a factor of 1.5 (this factor 1.5 can be adapted to specific needs). All in all, this leads to a much smaller coc and consequently also to a considerably smaller DOF.
For the APS-C format (23.6 x 15.8 mm) and an image size of 4928 × 3264 pixels, we calculate the coc as follows:
23.6/4928 = 0.0048 mm => 0.0072 mm (15.8/3264 => 0.0073 mm)
Thus, for the DOF tables that I calculated, I should have used a coc of 0.0072 mm instead of 0.019 or 0.02 mm.
In the above-mentioned thread, FlashGordonPhotography wrote:
"... DOF is directly related to the circle of confusion. On digital you need nine pixels to create a circle. There are some visual differences because of this."
Nine pixels for representing a circle means three pixels in one dimension. Thus, we would have to use the size of three photosites x 1.5 to calculate the circle of confusion. This way, we would arrive at a coc of about 0.022 mm, that is, at about the middle between Leica's 0.02 mm and the usual 0.025 mm for APS-C sensors. Or should we use just the factor 3 instead of 1.5? I do not know at the moment...
In short, using the second argument, we would arrive at where we already were at the beginning, and I'll therefore leave everything as it is for the moment... So, before I create new tables, I will first wait how this issue is further discussed in the above-mentioned thread...
Considerations Before You Do Any Calculations
Before you do any calculations, you have to consider which focal length and aperture values are to be used in the calculations.
Please note that for focal length, you have to use the exact focal length, not the equivalent length. For example, use 18 mm instead of 28 mm, which is the "equivalent" focal length for 18 mm for an APS-C camera.
Exact Aperture Values
Aperture values are a bit more tricky. When I compared my initial results wit those of DOFMaster, there were differences for some focal lengths. I found out that there were differences, when the nominal f-numbers were rounded and did not correspond to the "exact" values, which are powers of roots of 2. DOFMaster points out: f-number is calculated by the definition N = 2i/2, where i = 1, 2, 3, ... for f/1.4, f/2, f/2.8, ... - which is true for full f-numbers only... For one-half or one-third aperture steps, it gets even more complicated:
Full f-numbers: 2 power 1/2 = sqrt(2) = 1.414213562
One-half f-numbers: 2 power 1/4 = fourth root of 2 = 1.189207115
One-third f-numbers: 2 power 1/6 = sixth root of 2 = 1.122462048
Here is a table of rounded "exact" apertures in full, one-half, and one-third steps:
Step Full One-Half One-Third
11 -- 6.73 3.56
14 -- 11.31 5.04
20 -- 32.00 10.08
21 -- -- 11.31
Table: Exact aperture values in full, one-half, and one-third steps rounded to two decimals
You get correct values for the hyperfocal distance (HFD) and depth of field (DOF) only if you use the exact f-numbers. In my tables (see elsewhere), I list both the rounded exact and the "nominal" f-numbers for your convenience.
Note: I noticed that some hyperfocal distance and depth of field calculators use "standard" aperture values. A a consequence, these deliver values that differ from my calculations, which are based on "exact" aperture values.
Calculating the Hyperfocal Distance
According to the DOFMaster Website and Wikipedia (definition 1 of the hyperfocal distance), hyperfocal distance H is calculated using to the following formula:
H = f*f/(N*c) + f
where f = focal length [mm], N = f-number, c = circle of confusion [mm]; H will also be in mm and has to be divided by 1,000 to deliver results in meters.
This formula can be approximated to:
H = f*f/(N*c)
The approximation corresponds to definition 2 of the hyperfocal distance on Wikipedia (it is also mentioned on the DOFMaster Website).
See also my glossary of terms for the two different definitions of the hyperfocal distance. In the following, I use the first formula (or definition 1) for calculating the depth of field.
Calculating the Depth of Field
The DOFMaster Website bases its formulae for the depth of field (DOF) limits on the hyperfocal distance H and calculates the near and the far DOF limits (near limit Dn, far limit Df) using the following formulae:
Dn = s*(H-f)/(H+s-2f)
Df = s*(H-f)/(H-s)
where H = f*f/(N*c) + f = hyperfocal distance, according to definition 1 in Wikipedia; f = focal length [mm], N = f-number, c = circle of confusion [mm], s = distance set at the lens [mm]; Dn/f values will be in mm and have to be divided by 1,000 to be in meters.
You can calculate the hyperfocal distance according to one of the two formulae above and then enter the value into the DOF formulae above. The DOF formulae based on the hyperfocal distance H are also useful for calculating the near and far limits (= the DOF) for the extreme case that distance is set to infinity. This is helpful when adopting Merklinger's approach to estimating depth-of-field in landscape photography. See below for the derivation of the results.
As with the hyperfocal distance, the circle of confusion plays (CoC) an important role in the DOF calculations. However, I transformed the formulae so that both, the formula for the near limit and the one for the far limit look, very much the same*. This similarity helped me when using Excel for calculating the DOF tables, particularly when searching for errors.
However, I prefer to arrive at formulae, in which the near and far limits depend only focal length, f-number, circle of confusion, and distance. Therefore, the hyperfocal distance needs to be substituted by its definition.
Substituting the hyperfocal distance H in the near/far limit formulae with its definition leads to:
Dn = s*f*f/(N*c*(f*f/N*c)-f+s)
Df = s*f*f/(N*c*(F*F+f-s)
After some transformations, I arrive as the following formulae for the near limit Dn and the far limit Df:
Dn = s/(1+(s-f)*N*c/(f*f))
Df = s/(1-(s-f)*N*c/(f*f))
In these formulae, the near and far limits Df/n depend only on three parameters (just like the hyperfocal distance...) plus the distance s set at the lens:
f-number N (aperture),
focal length f, and
circle of confusion c (which can be regarded as an indicator of the sensor size)
distance s set at the lens.
By the way, using the approximation for H (or definition 2), actually leads to more complex formulae and minor (or major) differences when the different calculations are compared.
Note: Like for the hyperfocal distance, exact f-numbers and real focal lengths have to be used in the calculations.
Approximation (Wikipedia)
Wikipedia uses approximations of the formulae for DOF and hyperfocal distance to calculate Dn and Df:
Dn = s*H/(H+s)
Df = s*H/(H-s) for s<H
For H, it uses the approximation:
Substituting H leads to the following approximate formulae:
Dn = f*f*N*c*s/(f*f+N*c*s)
Df = f*f*N*c*s/(f*f-N*c*s)
The above or these formulae lead to minor (or major) differences when the different calculations are compared.
Special Case: Lens Focused at Infinity
The DOFMaster formulae for the near and the far depth of field limits Dn and Df are useful for inspecting a special case, namely, distance set to infinity:
Dn = s*(H-f)/(H+s-2f) - approximation (from Merklinger): s*H/(H+s)
Df = s*(H-f)/(H-s) - approximation (from Merklinger): s*H/(H-s)
where f = focal length [mm], H = hyperfocal distance [mm], s = distance set at the lens [mm]; Dn/f values will be in mm and have to be divided by 1,000 to be in meters. Now we let s go towards infinity:
Dn = s*H/(H+s-2f) - s*f/(H+s-2f) = H/(H/s+1-2f/s) - f/(H/s+1-2f/s) => s=>inf => Dn = H/(0+1-0) - f/(0+1-0) = H - f = H
Df = s*H/(H-s) - s*f/(H-s) = H/(H/s-1) - f/(H/s-1) => s=>inf =>Df = H/(0-1) - f/(0-1) = -H + f = -H
The approximations lead to just Dn = H, Df = -H. A negative HFD means a distance beyond infinity, that is, sharpness is at infinity.
Thus, as Merklinger does (and Boone as well), we can state that, when we focus any lens at infinity, the near limit (based on the CoC criterion!) is the hyperfocal distance and the far limit is infinity.
If you do not believe my calculations, you can simply look at the photos below:
Set the distance to infinity and read the near distance or hyperfocal distance from the "near" mark - here f/16
Move the infinity mark to the "far" marker for the chosen f-number - here f/16 - to set the hyperfocal distance
Set the distance to infinity and read the near distance or hyperfocal distance from the "near" mark - here f/8
Move the infinity mark to the "far" marker for the chosen f-number - here f/8 - to set the hyperfocal distance
Photos: When distance is set to infinity, the "near limit" is just the hyperfocal distance, as the photos in the right column prove...
Why Do I Get/Find Different Values from the Ones Published on this Site?
You may have found a Website that offers a DOF/hyper focal distance calculator, or you bought an app that performs these and other calculations. Then you stumble across this Website to find out that the DOF and hyper focal distance values published here differ from the ones that you calculate or read. This is, of course, confusing, and you may rightfully ask who is wrong. In the following, I would like to propose a few answers to this puzzle:
Hyperfocal distance can be calculated according to two formulae/definitions (see Willie). These differ in only one term - the focal length. Thus, the difference between both variants is small, but it exists (it's just the focal length).
When using formulae for DOF, you can calculate the hyperfocal distance first and then enter this value into the respective formulae for the near and far limit (DOF). Depending on which of the two formulae you use, whether you round the value before entering it into the formulae for the near and far limits, you can arrive at slightly different values.
Wikipedia lists simplified, approximate formulae for calculating DOF. If you use these you will also get slightly different DOF values…
DOFMaster points out that you not only have to use the actual focal length but also the exact f-values in the calculations, which is a power of 2 (the exponent depends on the size of the steps). I found a number of sites/apps that use the "nominal" f-numbers (those that are written on the lenses) for the calculations (you may nevertheless specify the nominal values…). For f-numbers that are not plain powers of 2 (these are f/2, f/4, f/8, f/16, f/32), you get values that differ from the DOFMaster values. Therefore, when I find that a calculator more less replicated the results of the DOFMaster formulae, I check this not only for an aperture value of f/4, but also for f/2.8 (which is 2*sqrt(2) = 2.828…).
All these differences are minor, but they exist and they can puzzle you. They can also add up…
In my opinion, every application or Website that wants to be trusted should disclose the formulae according to which it calculates its values. This allows its users/visitors to check the validity of the results and to understand why there are differences. Actually, after fiddling around a lot with hyperfocal distance and DOF data, I feel a bit as in the saying "trust only those statistical data that you faked yourself" (or so…). After looking at so many DOF/hyperfocal distance apps/sites, I tend to trust only my own calculations — and those that they are based on, that is, the DOFMaster Website formulae and calculations/calculator.
ExifTool lists "Composite" tags at the end of the Exif data that it supplies (the same does the long-time Mac imaging tool GraphicConverter), among others, the hyperfocal distance (HFD). I therefore assumed that such a thing as a "composite Exif tag" does exist and that some cameras write the hyperfocal distance into the Exif data. I was, however, wrong, as I found out on the ExifTool Website. Author Phil Harvey writes:
The values of the composite tags are Derived From the values of other tags. These are convenience tags which are calculated after all other information is extracted.
For calculating the hyperfocal distance, Harvey uses the FocalLength, Aperture, and CircleOfConfusion tags in the Exif data. This may explain, why I detected differences between the value in the composite HFD tag and my own calculations based on the DOFMaster formulae. I assume, that Harvey does not use the exact aperture value, which is based on powers of two, but directly the one given in the Exif data. Since the deviations can be in either direction, the calculated values may be sometimes too short and sometimes too wide (they should not be taken too strictly anyway...). I checked my assumption but did not arrive at a conclusion yet...
The formulae for the near and far distance that I have derived may look even more complex to you than the original ones, but they offer the advantage that they differ only in one sign, which is very helpful when using Excel. The formulae based on the approximations presented in Wikipedia do not look much simpler either, after the hyperfocal distance was substituted by its definition...
Note that you can also calculate the hyperfocal distance first (either according to definition 1 or 2) and then enter this value into the DOF formulae (the ones given here from DOFMaster or the approximations listed in Wikipedia). I prepared a HFD/DOF calculator ins Excel using all these approaches in order to compare the approximations with the formulae that I use. Overall, the differences are minor...
Alternative: Merklinger's Approach
In his article Hyperfocal distances and Merklinger's method in landscape photography, Kevin Boone discusses hyperfocal distance versus Harold M. Merklinger's approach to estimating depth-of-field in landscape photography. He also discusses simpler approaches, such as using f/8 and setting distance to infinity.
I prepared a page, entitled Merklinger's Approach to Estimating Depth of Field, that covers Merklinger's approach in more detail. In addition, I calculated tables for using a special and simple case of the method for most of my cameras. You will find these pages in the respective sections.
Hyperfocal Distance, DOF
DOFMaster Website
Hyperfocal Distance (Wikipedia)
Profondeur de champ et capteurs numériques (English version: Depth of field and digital sensors)
Profondeur de champ (DOF calculator, French), version 1.6
ExifTool: www.sno.phy.queensu.ca/~phil/exiftool
Download links are provided on the page; as they include the version number, they would soon break if provided here...
ExifTool - Composite Tags: www.sno.phy.queensu.ca/~phil/exiftool/TagNames/Composite.html
Merklinger
Kevin Boone: Hyperfocal distances and Merklinger's method in landscape photography (www.kevinboone.net/hyperfocal.html)
Harold M. Merklinger: The INs and OUTs of Focus - An Alternative Way to Estimate Depth-of-Field and Sharpness in the Photographic Image (Internet edition; www.trenholm.org/hmmerk/TIAOOFe.pdf)

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I just reloaded Win98se on this TP 600E (downloaded drivers from IBM) and everything works fine except I have this conflict with the Intel 82371ab/eb pci bus master IDE controller. Tried to inst. new intel inf (ver. 6.3) from Intel, but didn't helped.
TP 770X, 98SE, IRQ conflict ???
I have no idea what this inf is or what it relates to, but you should not have to install anything from Intel, just use the files supplied by IBM and everything should work great.
Does anyone know anything about the 60 pin IDE cable that was used on the Dock II (3546)?


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In Dec 2018, a roadside explosive hit a tourist bus in Cairo. The bus was carrying 14 Vietnamese nationals and sadly 3 plus their Egyptian tour guide have been killed. The incident took place on a narrow side street (called El Lebany street) off El-Maryouteya street, a 10 minutes' drive from the Pyramids. For clarification - the incident did not take place at the Pyramids of Giza but in a suburb near the Pyramids. There would be no reason for us to ever use this small side street.
This is the first attack against foreign tourists in Egypt in more than 2 years. The FCO (UK), Smart Traveller AU and other national security agencies have updated their websites to include the incident, but have not changed their overall level of advice for visiting Egypt.
All On The Go travellers in Egypt are safe and well and have not been affected in any way by the incident.
Should you wish to read more travel advice offered by the FCO for Egypt including advice on health, money, Safety and Security and entry requirements, you can do so here.
Travellers should familiarise themselves with the latest travel advice for the country they are visiting and make a personal assessment as to whether the level of safety is satisfactory to them, prior to booking.
Many of our group tours start in Cairo and end in Cairo. Currently there are no travel restrictions in place for Cairo and our tours have been running as scheduled for more than 2 years now, visiting the Egyptian Museum and its many treasures which is located close to Tahrir Square. Although Tahrir Square was the scene of demonstrations and protests, this is now well in the past.


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A 1982 Basquiat Is Expected to Fetch Over $30 Million at Christie's Hong Kong, Setting a Record for a Western Artist in Asia
As auction houses prepare to enter another season with most of the world in lockdown, they are seeking ways to make sure their sales still feel like events. To that end, Christie's is holding a single-lot sale in Hong Kong dedicated to a pricey painting by Jean-Michel Basquiat on March 23.
The painting, titled Warrior, is from 1982, Basquiat's most coveted year, and is estimated to fetch between HK$240 million and HK$320 million ($31 million to $41 million). Christie's co-head of postwar and contemporary art, Cristian Albu, tells Midnight Publishing Group News that the work, which carries a third-party guarantee, is expected to become the most expensive by a Western artist ever to be sold in Asia.
The Asian market's appetite for Western art has been steadily increasing in recent years, and Albu says the auction house was particularly encouraged by last year's results, which saw a wide net of Asian buyers bidding on work spanning the 20th century, as well as a new world record set for George Condo in Hong Kong in July.
"Collectors are increasingly making links between traditional artists and Western art history," Albu says. "I think it's so important to broaden that idea of building the collection and understanding that Sanyu also gets inspired by Matisse, or that Zao Wou-Ki gets inspired by Soulages and the artists in Paris in the 1950s and 1960s."
Warrior depicts a full-length figure, sword in hand. It last sold at Sotheby's London in 2012 for $8.7 million and has been in the same collection ever since. Before that, it had an active decade on the market, having traded hands three times in seven years. During that time, its price climbed some 450 percent.
The single-lot sale in Hong Kong will kick off for a five-hour marathon day of sales that continues in London with Christie's 20th-century art evening sale and surrealist art evening sale.
The live auctions will be digitally streamed from salesrooms in Hong Kong, London, and New York, a continuation of the global strategy Christie's began experimenting with in July 2020 with its four-location relay sale, "ONE."
The sale will begin at 2 p.m. London time (10 p.m. in Hong Kong, 9 a.m. in New York), an unusually early start for an "evening" sale, in an effort to tempt Asian buyers to stay awake and active throughout the evening while still being late enough for US bidders to have had time for a quick espresso.
It certainly doesn't hurt matters that Hong Kong's market seems to be recovering from the impact of the pandemic more quickly than Europe and the US. At Christie's December 2 sale in Hong Kong and New York, some 17 records were broken for modern and contemporary artists from around the world, including Dana Schutz and Amoako Boafo; it marked the house's best result in Asia yet.
Hong Kong sales tend to draw a whole gamut of Asian collectors, according to Albu. "I was on the ground for that sale, and the whole web of collectors goes from Taiwan to China, to Hong Kong, to South Korea, to Japan, to Malaysia, Indonesia, to Singapore," he says.
Basquiat's Warrior will be on view at Christie's showroom at Rockefeller Center in New York beginning next week, before it is flown to Hong Kong to be shown at Alexandra House until the sale.
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This entry was posted in Auctions, MPG News and tagged artist, artnet news, asia, basquiat, christie's, Expected, Fetch, Hong, hong kong, jean-michel basquait, Kong, london sales, Million, Record, Setting, spring auctions, Western on February 12, 2021 by melanie.
This Rare Color Tintin Drawing Just Sold for €3.2 Million, Setting a New World Record for an Original Comic Strip
A picture by the Belgian cartoonist Hergé (1907–1983) has set a new record for the most expensive work of comic book art, selling for €3.2 million ($3.8 million) on January 14 at an auction at Artcurial in Paris.
The 1936 gouache painting was originally intended as the cover image for The Blue Lotus, the fifth volume about boy reporter Tintin, recounting his travels in China during the Japanese invasion of 1931—an usual setting for the time.
The artwork was ultimately too costly for publisher Casterman to reproduce with the four-color printing technique.
The work is actually one of only five direct-color drawings by Hergé, who struggled to execute his vision of color comics due to the high costs of the technical procedures involved. For the The Blue Lotus, the artist produced a simplified design and gave the rejected version to his publisher's young son, Jean-Paul Casterman. It had remained with the family ever since.
"Owing to its uniqueness, this masterpiece of comic art deserves its world record and confirms that the comic-strip market is in excellent health," Eric Leroy, the auction house's comic expert, said in a statement.
A drawing by Hergé. Courtesy Artcurial.
The Tintin series in particular has proven to be popular among collectors in recent years, with multiple high-profile sales over the $1 million mark, including the €2.5 million ($2.9 million) cover of Tintin and the Shooting Star in 2015, and the $1.1 million cover for Tintin in the Land of the Soviets in May of 2019.
The most recent auction exceeded the top pre-sale estimate of €2.8 million ($3.4 million). Three bidders battling by phone drove up the price to record levels, eclipsing the existing €2.5 million ($3.4 million) comic art record.
That work, a two-page spread used as the comic's front pages that featured numerous scenes of Tintin and his dog, Snowy, on their adventures, was auctioned in 2014, also at Artcurial, which is responsible for eight of the top 10 prices fetched for Hergé's works, according to the Midnight Publishing Group Price Database.
This entry was posted in Auctions, MPG News and tagged artcurial, Color, Comic, drawing, Hergé artcurial, Hergé auction, Hergé auction record, Hergé the blue lotus, Hergé tintin, Million, Original, Rare, Record, Setting, Sold, Strip, tintin, tintin auction, tintin the blue lotus, World on January 14, 2021 by melanie.


The Revista de Investigacion, Desarrollo e Innovacion, is the science communication journal of the Universidad Pedagógica y Tecnológica de Colombia, UPTC, in Duitama. The journal has a multidisciplinary character and it publishes original dissertations related to these subjects: Design and Engineering, Education and Management. Furthermore, it publishes original research papers, reflection and revision articles, written either in Spanish or in English. The magazine is addressed to students, professors and researchers of the regional, national and international academic community interested in the topics mentioned before.


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Two New Studies Show Telephonic Disease Management Works - Medpedia
When skeptics think about 'disease management' (DM), they think about distant and nurse-filled cubicle farms that put unsuspecting patients through a speed dial version of education-lite. Plumbing the depths of these telephonic knockoffs, critics have made it abundantly clear that don't like what they see: a pseudoscience that confounds patients and antagonizes physicians. They're fed up with the lack of financial provider incentives, lagging technology and ineffective leadership support. It's so bad, 'how to' articles like this have become necessary to help address the physicians' loss of prestige, influence over patient care and income. Policy makers, academics and organized medicine groups have all agreed that the outrageous vendor fees could be better used for other stuff. Like vaccinating upper-class suburban tots. Or paying for motorized wheelchair scooters for affluent octagenarians. Or increasing primary care physicians' fees.
A pox on disease management you say? Stone them?
Think again. Two important publications in the mainstream peer-reviewed medical literature suggest that traditional telephonic disease management is quite effective.
http://www.medpedia.com/news_analysis/13-The-Disease-Management-Care-Blog/entries/10896-Two-New-Studies-Show-Telephonic-Disease-Management-Works
The Overmedicated Myth - The Daily Beast
Are doctors and parents trying to "perfect" children through various cocktails of medications? That's what Judith Warner assumed, until she began researching her new book—and found that we are not, after all, a Ritalin nation.
Aren't all kids on some kind of medication? Isn't everyone diagnosed with something these days? Isn't ADD as common as the sniffles?
Not really, says Judith Warner, author of the new book We've Got Issues: Children and Parents in the Age of Medication. Warner is best known for outing the culture of overparenting in her first book, Perfect Madness: Motherhood in the Age of Anxiety, and her Domestic Disturbances column on The New York Times Web site, and now she's decided to quiet the cacophony of misconceptions about children, medication, overdiagnosing, and overmedicating in one confident hush.
How does Warner do it? She starts by challenging her own beliefs.
When she began writing her book, almost five years ago, she came to it thinking the narratives the media had spun about children and medication were true: Parents were trying to "perfect" their children through various cocktails of medications; doctors were going prescription-happy; and kids who occasionally got sad were being labeled "depressed."
"Those assumptions, however, weren't borne out by clinicians, parents, children, or statistics," says Warner, who did lots of research to support her thesis.
Here's what the numbers teach us:
About 5 percent of kids take psychiatric medication and, depending on how one reads the data, anywhere between 5 and 20 percent of kids today have mental-health issues. We are not a Ritalin nation. According to The National Institute of Mental Health, attention deficit disorder occurs in about 3 to 5 percent of school-age children.
The overmedicated and overdiagnosed child, Warner argues, is a media embellishment. And it's become an obsession and storyline that eclipses the realities.
http://www.thedailybeast.com/blogs-and-stories/2010-03-02/the-overmedicated-myth/
Top 30 Inspirational Cancer Survivor Blogs - MRI Tech's Health Blog
http://www.mritechnicianschools.org/top-30-inspirational-cancer-survivor-blogs/
50 Best Blogs for Neurology Students - Radiology Technician Schools
http://radiologytechnicianschools.net/50-best-blogs-for-neurology-students/
Top 50 Radiology and Sonography Technician Blogs - Radiology Technician Schools
Deciding on a career path is a journey. By choosing to become a radiologist or sonographer, you're launching yourself into a lucrative and rewarding career field. Or are you? These blogs by radiologists, sonographers and industry professionals reveal the ups, downs and nitty gritty details that you would want to read before making a huge decision such as a career path. Check out these top 50 blogs and see if diagnostic imaging is in your future.
http://radiologytechnicianschools.net/top-50-radiology-and-sonography-technician-blogs/
The Health Policy 100: The 100 Best Health Care Policy Blogs - Radiology Technician Schools
Health care has become the most salient political issue over the last few years. It is particularly interesting for political junkies because there are so many different facets, from ethics to workman's comp, to legal reform to delve into. To help you educate yourself on the myriad health care policy issues we've selected what we consider to be the 100 best blogs at explaining news, viewpoints, facts and opinion relating to health care policy.
http://radiologytechnicianschools.net/health-policy-100-the-100-best-health-care-policy-blogs/
Desperately Seeking Cures - Newsweek.com
From 1996 to 1999, the U.S. food and Drug Administration approved 157 new drugs. In the comparable period a decade later—that is, from 2006 to 2009—the agency approved 74. Not among them were any cures, or even meaningfully effective treatments, for Alzheimer's disease, lung or pancreatic cancer, Parkinson's disease, Huntington's disease, or a host of other afflictions that destroy lives.
Also not among the new drugs approved was A5G27, or whatever more mellifluous name a drug company might give it. In 2004 Hynda Kleinman and her colleagues at the National Institutes of Health discovered that this molecule, called a peptide, blocks the metastasis of melanoma to the lungs and other organs, at least in lab animals. The peptide also blocks angiogenesis, the creation of blood vessels that sustain metastatic tumors, they reported six years ago in the journal Cancer Research. Unfortunately, A5G27 has not been developed beyond that discovery. Kleinman was working at NIH's dental-research institute, and, she says, "there was not a lot of support for work in cancer there at the time. They weren't interested." She did not have the expertise to develop the peptide herself. "I continued doing cancer research on it, but I couldn't take it to the next level because I'm not a cancer specialist," she says. "I was trained as a chemist."
No one is saying A5G27 would have cured metastatic cancers, which account for some 90 percent of all cancer deaths; the chance of FDA approval for a newly discovered molecule, targeting a newly discovered disease mechanism, is a dismal 0.6 percent. Diseases are complicated, and nature fights every human attempt to mess with what she has wrought. But frustration is growing with how few seemingly promising discoveries in basic biomedical science lead to something that helps patients, especially in what is supposed to be a golden age of genetics, neuroscience, and biomedical research in general.
From 1998 to 2003, the budget of the NIH—which supports such research at universities and medical centers as well as within its own labs in Bethesda, Md.—doubled, to $27 billion, and is now $31 billion. There is very little downside, for a president or Congress, in appeasing patient-advocacy groups as well as voters by supporting biomedical research. But judging by the only criterion that matters to patients and taxpayers—not how many interesting discoveries about cells or genes or synapses have been made, but how many treatments for diseases the money has bought—the return on investment to the American taxpayer has been approximately as satisfying as the AIG bailout. "Basic research is healthy in America," says John Adler, a Stanford University professor who invented the CyberKnife, a robotic device that treats cancer with precise, high doses of radiation. "But patients aren't benefiting. Our understanding of diseases is greater than ever. But academics think, 'We had three papers in Science or Nature, so that must have been [NIH] money well spent.'?"
More and more policymakers and patients are therefore asking, where are the cures? The answer is that potential cures, or at least treatments, are stuck in the chasm between a scientific discovery and the doctor's office: what's been called the valley of death.
The barriers to exploiting fundamental discoveries begin with science labs themselves. In academia and the NIH, the system of honors, grants, and tenure rewards basic discoveries (a gene for Parkinson's! a molecule that halts metastasis!), not the grunt work that turns such breakthroughs into drugs. "Colleagues tell me they're very successful getting NIH grants because their experiments are elegant and likely to yield fundamental discoveries, even if they have no prospect of producing something that helps human diseases," says cancer biologist Raymond Hohl of the University of Iowa. In 2000, for instance, scientists at four separate labs discovered a gene called ABCC6, which, when mutated, causes PXE (pseudoxanthoma elasticum), a rare genetic disease in which the skin, eyes, heart, and other soft tissue become calcified—rock hard. By 2005, scientists had genetically engineered lab mice to develop the disease. The next step would be what's called screening, in which scientists would laboriously test one molecule after another to see which had any effect on ABCC6. But "academic scientists aren't capable of creating assays [test systems] to do that," says Sharon Terry, CEO of the Genetic Alliance, which supports research on rare genetic diseases (her children have PXE). "It's time-consuming drudgery and takes an expertise that hasn't trickled down to the typical academic scientist." Ten years later, there is still no cure for PXE.
Should a lab be so fortunate as to discover a molecule that cures a disease in a lab rat, the next step is to test its toxicity and efficacy in more lab animals. Without that, no company—for companies, not academic scientists, actually develop drugs—will consider buying the rights to it. "A company wants to know, how specific and toxic is the molecule?" says Kenneth Chahine, an expert in patent law at the University of Utah. "It might work great in a mouse, but will it make a rat keel over? Doing this less fun research is not something an academic lab is interested in. The incentive driving academic labs is grants for creative, innovative research, and you're not going to get one to learn how much of a compound kills a rat."
http://www.newsweek.com/id/238078/output/print
The Missing Piece in Health Care Reform: Health Care Delivery Science - U.S. Politics Today
Dartmouth College has received a $35 million commitment to establish The Dartmouth Center for Health Care Delivery Science, PresidentJim Yong Kim announced today. The anonymous gift will advance a new field of study, harnessing the knowledge and expertise of faculty across multiple disciplines from the arts and sciences as well as from the medical, business and engineering schools.
Kim said the gift will speed Dartmouth's work on the next stage of needed health care reform: "The passage of health reform was a historic event that will result in millions of Americans having access to our health care system. Health Care Delivery Science is about ensuring that the care they receive is the best it can be."
"We know – and this has been documented by the Dartmouth Atlas of Health Care – that there are glaring variations in how medical resources are used in the U.S. More care and more expensive care do not guarantee high quality care," Kim said. "What we need is a new field that brings the best minds – from management, systems engineering, anthropology, sociology, the medical humanities, environmental science, economics, health services research, and medicine – to focus on how we deliver the best quality care, in the best way, to patients nationally and globally. Those people are here at Dartmouth."
Senators Judd Gregg, R-NH, and Jeanne Shaheen, D-NH, applauded the new Center:
Senator Gregg noted that studies from The Dartmouth Institute for Health Policy and Clinical Practice "are constantly turned to by policymakers in Washington, especially as they relate to getting better health care at a more affordable cost. The establishment of this new Center will put the findings ofDartmouth researchers into practice and will further the Institute's efforts to advance health care innovation, rein in health care costs, and provide quality care for people throughout the country."
Said Senator Shaheen: "The formation of the Center for Health Care Delivery Science is great news. This will help Dartmouth remain on the cutting-edge of studying our health system and developing new practices to make health care delivery more efficient and cost effective. I look forward to working with and supporting President Kim and the Center in their efforts, especially as we implement new laws that will provide affordable health coverage to millions more Americans."
In addition to integrating across the Arts and Sciences (undergraduate and graduate), the Tuck School of Business, the Thayer School of Engineering, Dartmouth Medical School, and The Dartmouth Institute for Health Policy and Clinical Practice, Health Care Delivery Science creates a unique partnership between the College and Dartmouth-Hitchcock, its affiliated academic health system. Dartmouth-Hitchcock will provide the base for innovation and implementation in clinical practice, said Co-Presidents James N. Weinstein and Nancy Formella.
"In the past decade, Dartmouth-Hitchcock has created a number of innovative models in clinical care, including the Spine Center, the first-in-the-nation Center for Shared Decision-Making, and the Comprehensive Breast Program," Weinstein said. "This is a fantastic opportunity to build new partnerships within the College, and take advantage of President Kim's experience in tackling the challenge of health care delivery in some of the most difficult settings in the world."
One of the first initiatives will be a new Master's program in Health Care Delivery Science, offered jointly by The Dartmouth Institute and the Tuck School of Business. Traditional health care management courses have been built around general "best business" practices from a wide range of professions. The Dartmouth curriculum will be unique in its singular focus on discovery and analysis of innovations and real-time implementation in health care. Executive education and distance learning will be incorporated into the new degree program, scheduled to enroll its first class in July 2011. Undergraduate offerings in this field will be developed as well, Kim said.
Dartmouth Provost Carol L. Folt said: "Health care is now one-sixth of the U.S. economy, and arguably as important as any issue we face today. Our undergraduate students, whatever their career path, will be affected by its impact on our economy, national discourse, and of course, will experience health care first-hand as patients or family members of patients. We know that teaching political science, economics, sociology, philosophy, etc. to our students is critical to their liberal arts education. The opportunity to study health care and its impact on society – in its broadest form – will only enhance our ability to produce enlightened graduates and leaders."
Jeff Immelt, Chairman and CEO of General Electric and a Dartmouth trustee said: "As an employer of 300,000 people around the world and with $3 billion of our resources going into health care for our people each year, there are few issues more important to me and to GE than the quality and cost of health care. I'm proud of Dartmouth for taking this on, for applying expertise from across the College to the challenges, and for partnering so effectively with the Dartmouth-Hitchcock health system."
The Dartmouth Center for Health Care Delivery Science will focus on five areas with a goal of improving the quality, effectiveness, and value of health care for patients, their families, providers, and populations.
http://uspolitics.einnews.com/article.php?nid=861412
Neuroscience and psychology tricks to find out what's going on inside your brain.
http://www.mindhacks.com/
Clinical Psychology and Psychiatry: A Closer Look
Psychiatric medications, science, marketing, psychiatry in general, and occasionally clinical psychology. Questioning the role of key opinion leaders and the use of "science" to promote commercial ends rather than the needs of people with mental health concerns.
http://clinpsyc.blogspot.com/
This is NOT The Carlat Psychiatry Report. It is "The Carlat Psychiatry Blog." Here are the differences: The Report is a peer-reviewed, non-industry biased, CME publication. The Blog is notpeer-reviewed, is not ACCME-accredited, and is definitely verybiased. My opinion, formed as a result of participating in many CME activities, is that allowing pharmaceutical companies to sponsor accredited medical education leads to many bad things, including biased education, corrupt physicians, and, ultimately, harm to our patients. So, if you arrived here for straightforward psychiatric information, click here instead. If you are interested in the tangled politics and economics of CME, read on!
http://carlatpsychiatry.blogspot.com/
Pipes: Medicine News
Updated medical news from:
sciencedaily.com
sciencenews.org
http://pipes.yahoo.com/pipes/pipe.info?_id=ee5a2b73f6f5cad13fce1b4473068e75
Two New Studies Show Telephonic Disease Management...
Top 30 Inspirational Cancer Survivor Blogs - MRI T...
50 Best Blogs for Neurology Students - Radiology T...
Top 50 Radiology and Sonography Technician Blogs -...
The Health Policy 100: The 100 Best Health Care Po...
The Missing Piece in Health Care Reform: Health Ca...


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Brazilian Carnival - Festivals From Around The World
Marking the beginning of the piety of Lent is the extravagance of Carnival, which has made Brazil so famous among party-goers from around the globe.
Women dance in the streets of Rio de Janeiro wearing colorful costumes during Carnival.
The Carnival of Brazil is an annual event held at the South American country of Brazil that is well known for its spectacular and colorful parades, lively music, and dance and large-scale participation by people from all parts of the world, transcending all cultural boundaries. The week-long festivities are held during the days prior to Lent, ending before Ash Wednesday at noon. The carnival is celebrated in distinct styles in different cities and towns of the country. The Brazilian Carnival celebrations at Rio de Janeiro, Vitória, Salvador, Recife, and São Paulo are among the most famous of these carnival events that attracts thousands of international tourists to these cities during the carnival period.
The Brazilian Carnival is inspired by the Portuguese tradition of celebrating life prior to the beginning of the solemn period of Lent which involves abstinence from the luxuries of life and strict adherence to spiritual and religious principles involving prayers, penance, charity, and repentance. The carnival celebrations thus date back to the early 19th Century when the Portuguese settlers in the country would indulge in food, drinks, dancing, singing, and parading before Lent. By the late 19th Century, the celebrations became more widespread and large-scale street performances and parades began to be arranged, drawing large crowds to enjoy the festivities. Since then, there has been no looking back and today the Brazilian Carnival earns the country huge income from tourist revenue.
Carnival Variances Across Brazil
The Brazilian Carnival offer unique flavors at the different regions where it is celebrated. The most popular celebrations are held at the famous port city of Rio de Janeiro. Over 100 block parades are the major attraction of the festival. These parades are primarily organised by the city's Samba schools, their staff, and students. Every neighborhood in the city has its own parade involving participants dressed up in vibrant costumes, themed Samba music and dance, floats and props, all with an excellent visual appeal. Competitions are held between these parading groups and at the end, winners are rewarded. In Bahai, the carnival is heavily influenced by African culture and incorporates traditional African music like reggae with Brazilian samba. In Pernambuco, the Carnival is again associated with an African influence. The carnival at Pernambuco's capital of Recife is considered to be one of the biggest carnival parades in the world. In Sao Paolo, samba schools compete against each other in the carnival and present different themes related to the history, culture, and politics of the region. Other places in Brazil like Vitória, Minas Gerais, Manaus, and Uruguaiana also celebrate the Carnival in their own unique ways.
Festivities of Carnival
Samba music is an integral part of the Brazilian Carnival. This style of music originated in Bahia and evolved in Rio. The first samba school in the country was established in the 1930's. Soon, more such schools cropped up and started transforming samba into the drum parade form that is the primary attraction of the Carnival parades today. Since the 1930's, the samba underwent many transformations into distinct styles like the bossa nova, disco, Brazilian rock, pagode, and others. All such styles were displayed at some point of time in the Brazilian Carnival events. Freco is another musical style that is a part of the Brazilian Carnival. Freco developed in Recife and Olinda in the 19th Century and soon became popular throughout the nation. The first display of the fresco style in the Carnival was initiated by Brazilian Army bands who paraded in the festival. Another important part of the Carnival event is the elaborate and spectacular costumes worn by the parade participants. The vibrant costumes and unique styles are eye-catchy and heavily photographed by the tourists at the festival. The floats and props used in the Carnival parade are also another attraction of the parade. The floats and adornments pertain to the theme of the parade and are one of the categories on the basis of which the best parades in the Rio Carnival are judged. Carnival Balls are also held across the cities hosting the Brazil Carnival to allow the tourists and public to participate in the festivities.
Over the years, the Brazilian Carnival has been highly popularized and currently draws crowds from all corners of the globe to Brazil each year. The greatest volume of crowd arrives at Rio de Janeiro, also known as the "Carnival Capital of the World". Every year, an average of around 500,000 international tourists arrive at Rio to participate and witness its colorful Carnival celebrations. Other parts of Brazil celebrating the carnival also receives a huge volume of tourists. In 2015, the number of tourists attending the Rio De Janeiro Carnival skyrocketed to 977,000 and earned the city a revenue of $782 million USD. Sao Paolo also hosted nearly a million visitors during its carnival period in 2015. Other sites in Brazil hosting the Brazil Carnival also receive significant tourist footfall during the carnival days accompanied with huge income from tourist revenue.
What is Carnival?
The Carnival of Brazil is an annual event held at the South American country of Brazil that is well known for its spectacular and colorful parades, lively music, and dance and large-scale participation by people from all parts of the world, transcending all cultural boundaries. The week-long festivities are held during the days prior to Lent, ending before Ash Wednesday at noon.
Oishimaya Sen Nag
Writer / Editor
Oishimaya is an Indian native, currently residing in Kolkata. She has earned her Ph.D. degree and is presently engaged in full-time freelance writing and editing. She is an avid reader and travel enthusiast and is sensitively aware of her surroundings, both locally and globally. She loves mingling with people of eclectic cultures and also participates in activities concerning wildlife conservation.
By Oishimaya Sen Nag
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"Lucio Fontana: On the Threshold"...
Abstract, Conceptual art, Featured, Italy, Museum shows, New York, Reviews, Reviews and Photo Stories, Sculpture
"Lucio Fontana: On the Threshold" at the Metropolitan Museum of Art, the Met Breuer, and El Museo del Barrio
02/19/2019 by Jonathan Goodman
Lucio Fontana is best known for his radicalized, radicalizing penetration of space behind the canvas–a conceptual innovation achieved by cutting holes or (with a Stanley knife) slits into the material facing the viewer. As an act of intrepid formal courage, the violation is nothing short of remarkable. Fontana first began these attacks on the seemingly impenetrable surface of paintings in 1949; called "Spatial Concepts," they stand as a brilliant, even inspired vision in which the space behind the exterior facing the work's audience was opened up and revealed. Given that much of modernism was founded on demonstrating the formal ambiguity, even falsehood, of perspective, Fontana's slashed canvases radiate a truthfulness about the physical construct of the painting–the space behind it is as alive–and filled with meaning–as the thin piece of linen hiding that interior from the person looking at the work. Again, this is what Fontana is known for, but he is more than that; his early work is highly developed figurative art (his father was a commemorative sculptor) that shows no sign of moving into the visionary insights of the Spatial Concepts, in the exact middle of the twentieth century, that galvanized the contemporary art world of the time.
The jump from the earlier style to the later one was enormous, likely made possible, at least in part, by a strong academic training. Fontana was born in 1899 in Santé Fe, Argentina, to Italian parents. His parents returned to Italy shortly after his birth but then moved back to Argentina, where Fontaine followed his father, who was an active sculptor. In the mid-1920s, Fontana established himself in Milan, focusing on his art education. He studied with noted sculptor Adolf Wildt, who taught him how to work with gilt plaster and gave him lessons in sculptural formalism. In 1928, he took classes at the Accademia di Brera, also in Milan. He would stay in Milan–his first genuine exhibition took place there in 1930–until 1939 when he relocated to Argentina in light of the Second World War's beginning.
Lucio Fontana, Italian, 1899–1968, Olympic Champion (Waiting Athlete) (Campione Olimpionico [Atleta in Attesa] )
1932, painted plaster, 47 5/8 × 36 1/4 × 27 9/16 in. (121 × 92 × 70 cm.)
Collezione d'Arte e di Storia della Fondazione Cassa di Risparmio, Bologna, Italy.
The work made during the time before his move to South America is figurative and highly skilled: Olympic Champion (Waiting Athlete) (1932) is a strong presentation of a handsome, athletic young man, presented in slate blue ceramic, who sits with one leg crossed beneath him, one folded leg in front of him, on a rock. The figure radiates the quiet confidence of a great athlete as he looks out at his audience from under a shock of hair cutting across his forehead.
Lucio Fontana, Italian, 1899–1968, Portrait of Teresita (Ritratto di Teresita), 1940, mosaic 13 3/8 × 13 × 5 7/8 in. (34 × 33 × 15 cm) Fondazione Lucio Fontana, Milan.
As an academic study, Olympic Champion is superb. But it is not notably experimental or innovative in any way; it would take more than a decade and a half before Fontana quite literally cut his way into a new manner of seeing. Still, as a conventional artwork, the figure is admirable. We must remember that sculpture began as memorial art, and even a piece such as this, which holds no ties to images of the grave, finds its precedent in tomb figures of a century before. A later piece, titled Portrait of Teresita (1940), a mosaic bust of a young woman with red hair and eyebrows, light blue eyes, lipstick, and a black collar, calls back even further to earlier Italian mosaic art–think of the Christian narratives played out in mosaics in Ravenna, created close to 1500 years before Fontana's time. The image is direct but not particularly subtle; even so, it gives us a sense of how deeply Fontana took to heart his lessons in figuration and Italian sculptural history. Thus, these two works summarize more than a millennium of art history; they do not move beyond the past, however. Instead, like the other ceramic works on view in the show, they accurately indicate the limits of a style linked to realism, in which verisimilitude was the chosen goal. Not until cubism and the various abstractions, biomorphic and geometric primarily, that issued out of Picasso's and Braque's efforts early in the twentieth century, does an atmosphere of experiment in art take over.
Lucio Fontana, Italian, 1899–1968, Spatial Concept, The Bread (Concetto Spaziale, Il Pane), 1950, terracota, 16 9/16 × 13 × 1 3/8 in. (42 × 33 × 3.5 cm), Fondazione Lucio Fontana, Milan.
But the ambiance was not highly conceptual; it was still linked to a legacy of painting and sculpture that the cubist experimentalism of the time did not completely break away from. Fontana's slashes were a complete re-envisioning–and reworking–of space, turning the inside out; in the works in the show from the Spatial Concepts series, shadows from the cuts could be seen on the gallery walls behind the work of art. This was something genuinely new. And, as has been pointed out often, the merger of painting with sculpture was Fontana's contribution, formally and conceptually, to a new understanding of art. The openings might occur in ceramic works or, more regularly, in canvas as punctures or linear slits. The circular openings often were produced in small groups, forming patterns; only rarely does a single slit occur. They did two things: not only were they indicative of a visual design intrinsic to themselves, they also, has been noted, devised a way of reaching what is, quite literally, an interior space that had been hiding for centuries behind the realism imposed on a two-dimensional surface. There is a terracotta work, done in 1959-60, that is a medium-size sphere, olive-brown in color; it has an opening along the edge of its circumference, with small ridges rising from the surface. This linear cut into the depths of the sphere opens up an interior space we would not have had access to otherwise. Another terracotta work, Spatial Concept, The Bread (1950), looks quite a lot like a piece of bread, with a thin line mimicking its edges and corralling scores of punctures that occur randomly within its enclosure.
Lucio Fontana, Italian, 1899–1968, Spatial Concept, Expectations (Concetto Spaziale, Attese), 1959, oil on canvas, 35 3/4 × 35 3/4 in. (90.8 × 90.8 cm). Olnick Spanu Collection, New York.
These pieces are intellectually challenging, as well as formally compelling. But they do not possess the elegance of the linear slit pieces, which function both as a record of literally incisive action and as a conduit to a vacancy only such an act would disclose. In the long run, it looks like the emphasis on the slit pieces Fontana created makes sense–primarily because they are so elegant in formal terms. It also must be said that they are a considerable distance from the highly considered, nearly baroque sculptures of his early career. If we consider the slit pieces as a body of work, they soon start to display heavy reiteration–a problem with much art that is driven by a single idea. But the repetition of the act, which is not so much an act of abuse as an incursion into the unknown, starts to make sense as a statement of contemporary autonomy in face of a history nearly too long, and too developed, to shoulder. We need, indeed now we always want, something new. And Fontana's knife cuts did that exactly during the time he was active as an artist. The 1959 painting called Spatial Concept, Expectations is a medium-size red artwork with three vertical slashes more or less equidistant from each other; the openings of each slash are close to nonexistent (the slash on the right is the longest and has the greatest opening). As a design, the painting is beautiful, but it is also more than that–it is a work of measure and restraint, as well as a demonstration of invasive violence. By this point, Fontana had long given up on history, seeking instead a point of departure that based on piercing the surface, almost cruel in its material attack.
Lucio Fontana, Italian, 1899–1968, Neon Structure for the Ninth Milan Triennial (Struttura al Neon per la IX Triennale di Milano), 1951/2019, glass tube and neon, 98 7/16 in. × 32 ft. 9 11/16 in. × 26 ft. 2 15/16 in. (250 × 1000 × 800 cm), dimensions variable overall reconstruction authorized by Fondazione Lucio Fontana, Milan.
In the main Met building, in the twentieth-century wing, curators set up a marvelous glass tube and neon sculpture: Neon Structure for the Ninth Milan Triennial (1951/2019). A very large, randomly curved neon sculpture, the piece is more than prescient in regard to Dan Flavin's straightly linear neon works, which almost seem tame in light of Fontana's inspired semi-wildness, which predated Flavin by a generation. The Structure is an inspired work of art, moving in accordance with its own rhythms, so that we find ourselves addressing a three-dimensional drawing hanging high and without constraints in the upper reaches of the gallery. The piece seems contemporary, even now; certainly, it was way ahead of its time. Fontana successfully moved from traditional ceramic sculpture to conceptual assaults on the flat surface of historical painting to an advanced neon light sculpture and, finally, rooms cut into small partitions and lit by colored light–a nod to installational art, which would follow some thirty-five years later. In the last piece to be discussed, called Spatial Environment. "Utopias" (1964/2019), a long, narrow room with a horizontal alignment nearly forty feet wide faces the viewer, who enters through a doorless threshold. Walking in, the viewer sees two rows of long, green neon hyphens, gently curving upward and downward; the two rows exist in symmetric conversation with each other, but the real attraction of this marvelous piece is its astonishing foresight in light of later developments in installational art, as well as its advanced use of materials–the colored neon stands out electrically within the darkened space. Once again, Fontana was ahead of his time.
Lucio Fontana, Italian, 1899–1968, Spatial Concept, Expectation (Concetto Spaziale, Attesa), 1968, canvas with slash, 24 3/16 × 19 13/16 in. (61.4 × 50.3 cm), Vitart, Switzerland.
To sum up, Fontana was an artist of extreme technical gifts, both in a traditional and exploratory sense. He began by mastering the three-dimensional language his father was gifted in but moved on to become a leader in innovational art. In all cases, he produced bodies of work that stood as standout art in its own right, no matter whether he was looking backward or ahead. This is the first major retrospective of his in America for a long time, and without doubt, he deserves the extended study the various sites this broad show provides. As good as the early work is, it seems to me that Fontana will be known for his challenging experimentations–the punctured and slit canvases, the neon sculpture, and the room environments. With these works, he was on the cutting edge, causing us to see him as a conceptual artist before the term came into common use. One can only wonder at the energetic change he brought into his own art and indeed into the dialogue of art during the period he worked in. Much of what he has done since 1950 remains new in feeling, arguing for an integrity based on true creativity rather than gestures that now fail us but seemed sharp at the time. His body of work will last, not only in a historical sense but as a way of looking into the future.
Tags: art blog, art magazine, art reivew, arte fuse, El Museo del Barrio, jonathan goodman, Lucio Fontana, museum review, On the Threshold, the Met Breuer, The Metropolitan Museum of Art
Jonathan Goodman is an art writer based in New York. For more than thirty years he has written about contemporary art–for such publications as Art in America, the Brooklyn Rail, Whitehot Magazine, Sculpture, and fronterad (an Internet publication based in Madrid). He currently teaches contemporary art writing and thesis essay writing at Pratt Institute in Brooklyn.
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Home 1939 to 1958 Champion The Champion Start-up
Source Information:
The information presented on this page comes from combing through information found on the internet, especially the Classic Car Database, How Stuff Works, Concept Carz, and Wikipedia. I also used hard copy, Turning Wheels, Studebaker the Complete Story, and Crestline's Studebaker Cars. When I had "Studebaker" information I used those sources first. Any errors in the translation of the information I used is solely mine. Some opinions, rather then fact, most likely crept into some of the commentary.
The Studebaker Champion is born:
When the 1935 model year ends, Studebaker holds 1.4 percent of the U.S. auto market, 50,000 cars. Studebaker President Paul G. Hoffman would tell the board that Studebaker needs at least a four percent market share (roughly125,000 vehicles per year) to survive and that he did not believe real market share increases could be had within Studebaker's current product line. Studebaker will need some share of the low-price market.
In early 1935, Hoffman gathered the engineering staff. Most had been involved in someway with Studebaker's previous two ventures into the low-price market. To avoid the mistakes of the Erskine and Rockne failures, Hoffman commissions a survey by marketing research firm "Facts, Inc.," to identify what people did and did not want in their automobile. Over 5,000 respondents, preferred a full-size car, with a minimum of six cylinders, a comfortable ride, operating economy, and at a cost of $600 to $800. Near everyone surveyed said fuel economy was their greatest concern and the most disappointing feature of their current automobile. No wonder, the average automobile of the time was achieving only 13.6 mpg. Hoffman, knew the low-priced-three were sharing designs and components with their medium-priced lines. That meant large and heavy engines, a chassis to match, and a reduction in operating efficiency. With a smaller, lighter engine in a light weight car, maybe Studebaker maybe could carve a niche in the low-price market.
So Hoffman tapped chief engineer Roy E. Cole for the engine design. Cole hand-picked engineers1 and moved the design group to Detroit, into the old EMF building, to avoid distractions from anyone not directly involved in the project. The team was given "clean sheet of paper" opportunity, free from designing an engine with room to grow. Cole's engine team, was headed by Eugene Hardig. They created a flathead six, (164.3 cid) that only weighed 455 pounds, including transmission, 155 pounds lighter than a comparable "Big Three" engine, yielding only six less horsepower. Bore and stroke measured 3.00 x 3 7/8 inches. Compression ratio was set at 6.25:1. The crankshaft had integral balance weights, running in four main bearings of 2.29-inch diameter, 10-42 percent more bearing surface area per cubic inch than competitive engines. Crank rigidity eliminates the need for weighty vibration dampers and all main and connecting-rod bearings were interchangeable steel-back Babbitt-lined types. In fact, this engine would persist in South Bend with only minor variations through the 1960 model year, after which Studebaker gave it an overhead-valve cylinder head. (See Studebaker Engine History on this site for more information).
With the engine designed, Studebaker could build an automobile around it. Step one would be to purchase eight low-priced cars, four US and four Europe. They were disassembled, the parts weighted , and the designs studied to determine where weight reductions and strength adds could be had. The result, a new chassis, with straight cross members, in the usual "X," and fully boxed at the center, unusually deep at 7.9 inches. Stiffer and stronger (per pound) than any previous frame design, and 30-percent lighter than the competitors. Wheelbase is 110 inches, just two inches less than the 1939 Ford and Chevy. Front suspension, an improved lighter version of the "Planar" independent system, introduced with Studebaker's 1935 models. Transverse semi-elliptic spring with 11 leaves clamped to the box section of the front frame cross member. Shocks, medaille double-action hydraulic units front and rear. Steering, Ross twin-lever gear with variable ratio (19.5 to 24:1). A 17-inch steering wheel enhanced handling ease, as did needle bearing in the knuckle pins. A lighter engine, allows 46 pounds to be trimmed from the suspension, wheels, and steering. The frame weighed 68 pounds less than the competition and the rear axle assembly was lighter by 33 pounds. In all, 357 pounds reduction on the rolling chassis and drive line, including some 80 pounds in unsprung weight. Supposedly, every pound of unsprung weight equals five pounds of sprung weight, so that 80-pound reduction actually amounted to about 400 pounds so far as ride was concerned.
Studebaker had started to use the services of Loewy and Associates in 1936 and they are selected for the Champion body design. Loewy, tended to function more as a "front man" with Studebaker and is often credited with work not solely his own. Most of the actual work was done by talented subordinates. The Champion would be penned by Clare Hodgman. Being the firm's first Studebaker commission, Hodgman would work from New York. The success of this project would led Loewy to eventually set up a special studio in South Bend. Chassis and engine work is nearly complete when Hodgman gets the assignment, so he has all the information he needs. Studebaker wants a conservative, "lightweight" design. Hodgman creates an attractive, contemporary body, with several features not found on other low-priced cars. He omitted running boards (first low-priced car with this feature) and used concealed door and trunk hinges. The interior was designed for installation of the "Climatizer," that unit puts the heating unit below the driver's seat, so as to not to reduce leg room. The complete body, including fenders and all hardware, ends up 125 pounds lighter than the competition's, yet looked just as substantial.
To build the new car, Studebaker installed more than $3 million worth of new equipment and tooling during 1938. Engineers were testing four prototypes built with older-model Studebaker bodies. Each was driven over 100,000 miles at the proving grounds and on highways before being disassembled and checked for wear and damage. This search for "bugs" took time, combine that with plant retooling and the new car's introduction moves from fall 1938 to April 1939. However, that actually worked in Studebaker's favor, as dealer used-car inventories were now exceptionally low and the new model would not have to share the spotlight with earlier 1939 Studebaker's.
Initially, the car remained nameless, referred to inside the company as the "X-model." We do know that the name "Champion" wasn't decided upon until mid-January of 1939. Champion had been seen in Studebaker advertising since 1928. The 1935 catalog was titled "Studebaker Champions." However the last-minute selection left no time to register "Champion" as a trademark and name wouldn't appear on the cars themselves until the 1941. Three Champions were assembled on January 30,1939, followed by a single car on February 8th, 23 on the 9th, and finally 24 on the 10th. All were four-door sedans painted Morocco Gray. The production line was then shut down and everyone in engineering was given a car to drive at least 10,000 miles. Among them was Ray Sharp, Ray recalled driving his Champ to Omaha, Nebraska, and returning in a blizzard (which likely explains why he still remembers how well the Climatizer worked). Sharp and other staff had nothing but praise for the new car. With this one last seal of approval, chief engineer Cole gave the go-ahead for full production.
Footnote1 In addition to Cole and Hardig, the following engineering staff was involved. William S. James (Chief Engineer), S. W. Sparrow (Research Engineer), and J. R. Hughes (Body Engineer). Source: Studebaker The Complete Story (Cannon & Fox).


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Substituent effects on OH bond strength and hyperfine properties of phenol, as model for modified tyrosyl radicals in proteins
Himo, Fahmi
Eriksson, L. A.
Blomberg, M. R. A.
Siegbahn, P. E. M.
2000 (English)In: International Journal of Quantum Chemistry, ISSN 0020-7608, E-ISSN 1097-461X, Vol. 76, no 6, p. 714-723Article in journal (Refereed) Published
Density functional theory is used to investigate the effects of a variety of substituents (CH3, OH, OCH3, SH, SCH3, NH2, NMe2, NO2, F, Cl, CN, and imidazole) on the phenol O-H bond dissociation energy (BDE) and phenoxyl radical hyperfine properties. Substitutions are made at the ortho position to model modified tyrosine residues found in enzymes. The calculations show that besides the electronic effects of the substituents, intramolecular hydrogen bonds between OH and the substituents will contribute considerably to stabilize the parent species. Substituent effects on anisole O-Me bond strengths can thus not correctly describe the effects on ortho-substituted phenol O-H bond strengths, as previously proposed. This fact is supported by a series of calculations on o-substituted anisoles. The odd-alternant spin pattern of the phenoxyl radical is conserved for most of the substitutions. In particular, it is predicted that the cysteine crosslink to tyrosine, present in the radical enzyme galactose oxidase, and the histidine crosslink, present in cytochrome-c oxidase, will only have minor effects on the BDE and the radical hyperfine coupling constants and spin distribution of the tyrosyl radical.
2000. Vol. 76, no 6, p. 714-723
phenol, substituent effects, radical, density functional theory, bond dissociation energy, cytochrome-c-oxidase, ribonucleotide reductase, galactose-oxidase, electron-transfer, photosystem-ii, density, dissociation, exchange, anisoles, energy
URN: urn:nbn:se:kth:diva-19499ISI: 000084950800004OAI: oai:DiVA.org:kth-19499DiVA, id: diva2:338191
International Journal of Quantum Chemistry


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New Freedom Farm reunites two army veteran brothers
By Ashley Boles
Published: Jul. 18, 2019 at 5:46 PM EDT
"Easy, easy, easy, good boy," said Andrew Kintgen to a nine-year-old Mustang named Ghost.
Ghost will chomp on grass as long as he is allowed.
He's not hungry.
But it keeps him calm while Andrew brushes him, attempting to earn his trust.
"You have to bond with them before you can even do anything with them in the first place," said Kintgen.
The bond horse and man share is like the one brothers share - both platoon and biological.
"So uh yeah, my brother flew out here from California," said Kintgen.
Andrew and Steven Spurrel have the same mom, the same hometown of Lynchburg, and the same dream.
A dream to serve their country.
A dream that in many ways, they're still recovering from.
"I've done three tours to Iraq, he's done two. And the last two that we did, we did them together in the same battalion, so we saw each other everyday," said Kintgen.
Once home, Andrew found New Freedom Farm. It's a place that's dedicated to Andrew, Steven, veterans of any rank, any branch, any length of time.
This past Saturday, folks gathered to remember a long time visitor, Carlos Showalter. His remembrance ceremony is the reason Steven flew in.
"And when veterans get together, it's easier to sit and talk through what we've been through," said Kintgen.
Since their medical releases in 2015 and 2016 life hasn't been easy for Andrew and Steven. Places like New Freedom Farm help.
"Lots of help, lots of many different directions," said Kintgen.
For now, Ghost goes back behind the gate.
Steven flies home to California Saturday.
The farm stays put, ready to help as many veterans that need it's therapy.


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For the first time at the Opera: Le Corsaire
A kalóz I Le Corsaire
Photo gallery of Le Corsaire
For the first time in the programme of the Hungarian State Opera, Le corsaire hits the stage of the Budapest Opera House. Internationally acclaimed choreographer Anna-Marie Holmes Has joined forces with ballet director Tamás Solymosi to create a new version for the Hungarian National Ballet.
This ballet's plot is inspired by The Corsair, a famous verse written in 1814 by Lord Byron, who towered over an entire generation of English Romantic poets. The protagonist of the verse is Conrad, the "fateful man", whose face is handsome, but contains dark expressions, it is attractive and repulsive at the same time. When he enters a place, people fall silent in surprise. The thrilling story, full of adventure, also leaves plenty of room for love, betrayal, life-threatening danger, a shipwreck, and ultimately, escape. Byron's work was so successful that ballet masters were staging it as early as the 1820s, soon after it appeared. The 1856 Paris production caused a sensation with the stagecraft used in it to depict the shipwreck.
Anna-Marie Holmes choreographed her own version for the Boston Ballet in 1997, which is now being shown to the Budapest audience for the first time in a new version created in collaboration with ballet director Tamás Solymosi and performed by the artists of the Hungarian National Ballet in three different casts.
Conductor: András Déri, Valery Ovsyanikov
Choreographer: Anna-Marie Holmes & Tamás Solymosi
Set designer: István Rózsa
Costume designer: Nóra Rományi
Lighting designer: Kirk Bookman
Cast: Aliya Tanykpayeva (Étoile of the 2013/14 season) / Minjung Kim / Elizaveta Cheprasova / as Medora;Karina Sarkissova / Cristina Balaban / Lili Felméry (Étoile of the 2015/16 season) as Gulnare; Gergely Leblanc (Étoile of the 2016/17 season) / Gergő Ármin Balázsi / Zoltán Oláh (Étoile of the 2012/13 and 2014/15 seasons) as Conrad
Premiere: 21 April 2017 | Opera House
Further dates: 22, 23, 27, 29, 30 April 2017
Score: editions Anna-Marie Holmes. Music edited, arranged, re-orchestrated by Kevin Galiè
For full cast and creative CLICK HERE.