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Q: Consistency of the size of the least real-valued measurable cardinal, vis-a-vis the continuum A well-known result of Solovay states that $ZFC$ + "the continuum is real-valued measurable" is equiconsistent with $ZFC$ + "there is a measurable cardinal", over $ZFC$. That the continuum is mentioned here is no coincidence. A theorem of Ulam back in 1930 gave evidence that the continuum is some sort of a dividing line: any real-valued measurable cardinal above the continuum must be measurable. On the other hand, cardinals at or below the continuum cannot be measurable (or even strongly inaccessible), and in general are a lot more tame.
A natural question to follow-up would be, where can the least real-valued measurable cardinal lie, using the continuum as a benchmark? In particular, I would like to ask if each of the following is known to be consistent with $ZFC$ in conjunction with any large cardinal axiom:

*

*the least real-valued measurable cardinal $< \mathfrak{c}$.

*the least real-valued measurable cardinal $= \mathfrak{c}$.

*the least real-valued measurable cardinal $> \mathfrak{c}$.

Solovay's result means that either 1. or 2. is consistent, but I cannot find any hint as to which of the two holds in his model.

A: All of them are equiconsistent with the existence of a measurable cardinal. I find that a nice reference for this stuff, in addition to Solovay's article, is Jech's Set Theory: Third Millennium Edition.
I will discuss 3 first. Any measurable cardinal is real-valued measurable (it just happens not to use any of the values between 0 and 1). Solovay proved that if $\kappa$ is real-valued measurable, $\mu$ is a normal measure on it with $I$ the ideal of null sets, then in $L[I]$ the cardinal $\kappa$ is measurable. Section 3.6 of his paper has a reference to a paper by Kunen proving that the generalized continuum hypothesis holds in $L[I]$, so $\mathfrak{c} = \aleph_1$ is not real-valued measurable in $L[I]$ (nor is any smaller cardinal).
Case 2 is what occurs if we do Solovay's construction of adding $\kappa$ random reals, where $\kappa$ is a measurable cardinal (which becomes an atomlessly real-valued measurable in the forcing extension).
Case 1 happens if we take a $\lambda > \kappa$ where $\lambda$ has uncountable cofinality (this is automatic if $\kappa = \lambda$ itself because it is regular, but the extra assumption is needed here), and force $\lambda$ random reals. In the forcing extension, $\mathfrak{c} = \lambda$ and $\kappa$ is atomlessly real-valued measurable, and $\kappa < \lambda$ is unchanged. This, and case 2, are explained in section 4 of Solovay's paper, and also in Chapter 2 of Jech's book, around page 415.


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Demas
R N Frost June 11, 2012 June 11, 2012 0
This post is co-published with the Cor Deo website. I encourage you to go there by clicking here
What happened to Demas?
Demas is mentioned by Paul in both Colossians and Philemon. Along with Demas we find Aristarchus, Luke, and John Mark cited as a support team with Paul during the apostle's house arrest in Rome. We can guess that Demas, like the other men, was a young convert whose response to the message of Christ's love set him apart as a potential leader in the growing church.
That promise later evaporated. "Make every effort to come to me soon," Paul wrote to Timothy in his final letter before martyrdom, "for Demas deserted me, since he loved the present world, and he went to Thessalonica" (2 Timothy 4:9-10).
What happened to Demas? Why his change of heart?
Paul's cryptic comment is all we have to work with but let's reflect. Did Demas originally come from Thessalonica—so his desertion was about his being homesick? Or maybe he was frightened by Nero's new ambition to discover, then burn or crucify believers after he blamed Christians for the burning of Rome in 64 AD?
We can only guess. But what jumps out in Paul's comment is the erstwhile disciple's lost love. We then ask, had Demas ever shared a bond of selfless devotion with Paul? Had he ever responded to the Father's love in Christ? Had the Spirit's invitation to live in the outflow of God's love been spurned? Or had Demas always loved the world? Is it possible that after Paul's death Demas eventually returned to Christ as his first love? Or was the world always his first love?
Heaven knows. We don't.
Earlier in his letter Paul warned Timothy of the problem of those in the church who, despite having the "form of godliness" were actually "lovers of self" and "lovers of pleasure rather than lovers of God" (3:2&4). Was this the spiritual DNA of Demas?
What we can say is that Demas fits somewhere in the spectrum Jesus set out in his parable of the soils. Many people have at first responded to the word sown in their souls but only a limited portion of the sown seed is ultimately fruitful. So Demas was apparently among the many whose response to the word was choked off by love for the world.
He had company. Even Peter once stepped into a satanic role—opposing Christ's calling to the cross—and, later, he denied Jesus three times. Yet Peter's love for Christ defined his ultimate trajectory and he, like Paul, later died for that love.
We can take some things away from our question about Demas. For one, what we love most will define us. And that love displays itself in the ways we finally invest our lives.
We can also learn from the grief we feel in Paul's words about Demas. Jesus felt this himself as in his words to the church in Ephesus: "But I have this against you, that you have discarded your first love" (Revelation 2:4). We can be sure it continues for him.
So here are the twin questions Demas really raises for us: what in the world was so attractive that he abandoned an eternal life with Christ to pursue it? And what is it about Jesus that he failed to grasp?
For Paul Christ's love was and always will be compelling. It's what we were all made for. Given the specter of Demas' desertion let's not settle for less than the best ourselves, even at the cost of the cross.
Categories The Spiritual Life
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The Neapolitan folk art of nativity-scene making originated in the depiction of the Holy Family at the end of the 15th century. The Bourbon King Charles III was responsible for the heyday of Mediterranean nativity-scene making. His passion for the art form was passed on to well-to-do citizens, monasteries and churches.
Our exhibits on the 3rd floor of the Museum were created by the Neapolitan nativity-scene artist Mario Capuano in many months of meticulous craftsmanship. He created a scene covering some 15 m2 whose buildings, figures and more than a hundred accessory items represent an authentic depiction of everyday life in 18th-century Naples. Nativity-scene making has been a passion of the Capuano family since 1840. Among their recent important works are nativity scenes for the pilgrimage church in San Giovanni Rotondo and for King Juan Carlos of Spain.


I was thinking today about the origin of many super heroes. I've been spending the past few weeks going through the Public Domain Super Heroes site, culling it for bits and pieces that can go into the sample campaign setting I'm creating for Mystery Men! – little things like the names of newspapers, or other imaginary cities / countries / etc. I think I'm going to refer to the overarching setting as Wonderworld.
Now, I've been planning to do a series of posts on many of these public domain heroes, including the ones that are going to be included in MM!, and one theme keeps coming up – people who should have been killed injecting themselves with serums, bathing themselves in radiation, falling into dynamos, instead pop up with super powers and fight crime in a largely imaginary world. NOD is based on a world of dreams, created from the fabric of tales told by writers ancient and modern. Maybe Wonderworld is a strange afterlife, visited by those who died in the real world with a deep-seated desire to do good. In this afterlife, Wonderworld, these lost souls find a way to live out their dreams. Perhaps people who have witnessed a loved one brutally murdered and crawled inside their own heads also roam freely in Wonderworld, meeting out vengeance. Of course, dreamers would be welcome as well. Wonderworld becomes a super-heroic version of NOD.
With that in mind, here's an A, B and C of people who should rightly be dead, but instead are fighting crime with powers far beyond those of mortal men.
When Grand University astronomy professor Archibald Manning is bathed in radiation in an accident, he gains amazing powers and becomes a costumed crusader – the American Crusader, in fact. He pretends to be a meek pushover in real life to keep his secretary Jane Peters from discovering his secret identity.
Newspaper cannot stop the fury of the Black Hood!
Police officer Kip Burland of Northville, Canada is framed for a crime by the Skull. He is relieved from duty but pursues the Skull in an attempt to clear his name. Unfortunately, he is too successful in his investigations and is shot eight times by the Skull and his thugs and left for dead in the woods. The hermit of the woods finds Kip and not only saves him, but trains him to become a crime fighter. He takes on the guise of the Black Hood and manages to bring the Skull to justice and clear his name. Rejoining the police, he decides to continue to fight crime as the Black Hood.
Gamma rays and infrared rays do not mix – important safety tip!
Andrew Bryant is a young research scientist working for Pacific Electrical Corporation. In an experiment, he crosses gamma rays and infrared rays and causes an explosion that grants him super powers. Taking the identity of Captain Future, he works with detective Grace Adams of the Agatha Detective Agency to fight crime in the Golden State.
Cool! I really like the stat block design.


QuickTime has a neat little trick that some may not know about, it can record your screen.
Use it to record a how-to video how to navigate System Preferences, or how to use Final Cut Pro, or record a MacDevOps:YVR talk.
The first two MacDevOps:YVR conferences needed to be converted to a suitable format for YouTube and using QuickTime screen recording + Soundflower is the way I chose to do it.
Note: Soundflower is needed to redirect the audio to QuickTime. Screenrecording with QuickTime does not capture the audio without Soundflower.
I own Rogue Amoeba's excellent Audio Hijack application and have used this app for audio capture (podcast interviews, etc), but I couldn't get it to work in this case. It might have also required their Rogue Amoeba's Loopback app which I did not own. Since I've used Soundflower previously I used it here in this case.
Move over El Capitan, hello Yosemite!
With all this talk about El Capitan, Apple's as of yet unreleased version 10.11 of OS X, and its wondrous new features in Xsan, I think it might be time to upgrade to last year's breakthrough version of OS X, Yosemite. Sure, you might be excited by the press releases for the built-in DLC in El Capitan but seriously sane folks stay 1-year behind the bleeding nose upgrades provided by Apple. So if OS X 10.11 is all the rage before its released it must be time to seriously consider upgrading that working Xsan running OS X 10.8 or OS X 10.9.
In my case, I upgraded a working Xsan running on Mac Minis and OS X 10.8.5. Here are some screenshots from the process. As always think worked better than I could have expected, and it is a much easier process that one expects. But stay sharp kids, danger lurks when you wake the dreamer…. Upgrading a SAN is serious business and doing anything like this without proper backups is taking your life in your own hands. In my case, full disk backups on Promise Pegasus RAIDs and full tape backups using Archiware P5.
Download the Yosemite installer form the App Store. Install. Download the new Server.app from the App Store. Install. Now upgrade your Xsan. That's it. You're done. No surprises, aren't you happy? Ha ha. I'm kidding. The fun is just getting started.
If you're actually following along, this isn't a step by step recipe. Go to Apple's site and read this Kbase and check out the migration guide.
Step 1 is to launch the new Server.app, find Xsan Admin. Just kidding, it isn't there. Enable Xsan, and choose to Restore a previous SAN configuration. That wasn't hard. High five! Actually, we're not done yet. Set up OD now. Go!
Step 2. Set up your Xsan controller as an Open Directory (OD) master. Does't matter if it's joined to another domain, Xsan keeps itself organized in OD, so you need it.
Step 4. Where did my Xsan admin go? Where do I add clients? Where are my clients? Huh? What? Why did I upgrade a perfectly working SAN to this version? Ha ha.
Click on the "Save configuration profile" button and download the profile somewhere. Use this to set up the SAN on your clients. Distribute via Profile Manager or install it manually. Up to you. I haven't gotten it to work with Munki quite yet. Installing it requires the admin password for the Xsan controller. How convenient.
Step 5. Set up a backup Xsan controller. You have one of those, right? In my case, I had a client which I wanted to promote to be a controller. But first what to do about its status a client of the Xsan?
Open Server.app, enable Xsan, join current Xsan as a backup controller and set up a replica OD. Confirm, confirm, confirm. Think about what you're doing, then do it!
Apple wizards are the best wizards, uh, i mean Setup Assistants. No wizards here…. So, you've setup a backup Xsan controller, and OD replica, and now look in Server.app. How amazing is that… wait, what? Where'd my Xsan volumes go? Huh? Where are the controllers? Weird. Very strange. Not comforting at all.
The Xsan window eventually shows the volumes and controllers, bur geez, almost gave me a heart attack. It's not like I never seen Xsan go bad before. Xsan 1 nightmare still haunt me. They do. Backups. Need more backups. Archiware P5 Backups, do it now!
OK, you've survived the uncertainty of Xsan upgrades…. But wait more minute… cat the fsnameservers (no, it's not the name of a band, it's a command). Check it out. Holy smokes, batman. Xsan 4 by default will set your metatadata network to the public LAN, something that'd would be laughed at years ago, but they do it now by default. Of course, upgrading our SAN kept out metadata network the same. But strangely the Xsan backup controller is set to use the public for metadata when the primary controller is not. WTF.
Change your metadata network. Read the Kbase, and once again wield xsanctl like a boss.


Now I need to make this to happen somehow automatically and to properly detect when both signals are exactly aligned. I want to stay with 80's design, but if an arduino solves the issue - I think it's worth, right?
@iss: Well, no matter what we do, it's not going to be an "out of the box" Oric, that will require additional components to connect the machines, sync them, and merge the output.
If an arduino solves this issue, sure, go for it. Now my question is: If you go with an Arduino based solution, do we also get some more additional free ports and whatnots that can be used for helping communication between the machines, or maybe implement some of the video merging logic as well?
So, I played a little bit more with Oricutron, wasted some time trying to have it use SDL 2 - it's totally broken, broken sound, broken window management... - ended up having to recompile my own version of SDL 1, ... anyway.
I added a keyboard selection to ACTIVATE a specific machine, and then an additional renderer that merges the result of the multiple outputs.
You can certainly get a good number of colors with little attribute clash.
As before the top right one is the result of ORING the values, but now we also have another one under that simulates 4 bits per component.
I thought about something much simpler, three Orics, each connected to an RGB component. Displaying b/w pics which is very easy, you can have 8 colors with no color clash at all. The fourth one could serve to produce two levels of brightness, so 16 colors and very easy to manage. Even with animations.
Then, if instead of b/w colors are used, I wonder if it could be used to tweak the brightness of each channel, so 8 possible levels of Red, Green and Blue.
I thought about something much simpler, three Orics, each connected to an RGB component. Displaying b/w pics which is very easy, you can have 8 colors with no color clash at all.
You mean: http://forum.defence-force.org/viewtopi ... =30#p16669 ?
As someone with a small fleet of Atmos' sitting in their boxes, I'd personally love it if the result of this project would be some sort of PCB that could be used to connect real machines into a "Mega-Oric" .. taking into account that it would also be great to have an onboard mixer for the synth engines too .. maybe even put MIDI in the mix somewhere .. so that the Mega-Oric is not just for great and crazy graphics schemes, but sound as well. Does this sound feasible? I know this is all very hacky/experimental, but just thought I'd put it out there - imagine we can plug in 4 Atmos and together get merged sound and video .. that would be a composition system worth serious attention, at least from me personally anyway.
Merged audio is a given, it's just trivial to do.
My idea was relatively basic, you can mix together all the audio outputs to just get more channels, but you could also easily use the additional machines to do some stereo (like for example center + left + right).
Adding MIDI inputs has already been done, it's not very complicated.
Ultimately it all depends on how easy and fast we can communicate between the various machines.
With 4 Orics you can also have 2 levels of brightness, so 16 colors in bitplanes, and many mad things can be easily done this way. I guess all the tricks done in other computers which supported bitplanes, like scrolling bitplanes (or parts of them) individually, or using one channel to draw sprites without the need of updating the background.
So, I was doing some computations.
That's 9 cycles per byte, so for 8000 bytes it's a total of 72000 cycles.
Unfortunately our poor 1mhz 6502 can only achieve about 20000 cycles per frame, which means it takes 3.6 frames at 50hz to fully copy the HIRES screen.
As you may have noticed, 3.6 is smaller than 4, which means that technically if you have four orics, each one treating one quarter of the screen, you can achieve this mythical 50fps smooth HIRES scrolling on the machine.
So the problem I have at the moment, is that for some effects we absolutely want the ability to have each machine display a fully complete Oric bitmap graphics so we can speedup things by parallelizing, but in some other cases, you want them to cooperate by overlaying the various bit patterns to get more colors.
After many tries with different feedback circuits I was unable to achieve something really working.
Now I think to try something else - to create a circuit which can drop exactly one pulse from the 12MHz clock. Below is the picture and HERE you can try it in simulator - click and hold the switch on left with your mouse .
I'll build it asap and will post the result.
What are these DR/Q_Q boxes?
GLUE has internally a 2Mhz clock (period equivalent to one NOP) for the video state machine. Plus another 4Mhz clock to round robin grant bus access to the CPU or to the SHIFTER.
The two clocks are in perfect phase. This means that the active edge of the 2Mhz clock coincides with the 4Mhz one. The 2Mhz clock toggles an internal flip-flop. But the initial state of the flip-flop is not deterministic at power up.
Then, in one wakeup mode, the CPU is granted access concurrently with the 2Mhz period. In the other, it is the SHIFTER.
This are D-type flip-flops, R is asynchronous reset in real world they are TTL 7474 chips.
The idea here is to drop pulses util both pictures are perfect aligned. There will be one button for every slave Oric.
And 6 presses on the button should move the slave picture with one visual pixel . Yes, I imagine how many presses will be needed in the worst case...but if it works I can add 6x button or 'whole-line' adjustment.


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Home1 / HLP2 / News3 / Ghweiran: Homes and Shops Destroyed After ISIS Attack on Prison4
Ghweiran: Homes and Shops Destroyed After ISIS Attack on Prison
08-02-2022 /in HLP, News /by Rand Shamaa
Military clashes in recent days between the majority-Kurdish Syrian Democratic Forces (SDF) and extremist Islamic State (IS) group in the northeastern city of Hassakeh led to the destruction and razing of homes and shops.
ISIS launched an attack on January 20 on the Al-Sinaa Prison in the Ghweiran neighbourhood in the southern part of Hassakeh city, where the SDF is holding thousands of ISIS prisoners. Subsequent fighting in and around the prison caused thousands of residents to flee the neighbourhood.
The battles hit Ghweiran as well as the nearby Al-Zuhour neighbourhood, the largest Arab-majority neighbourhood in Hassakeh. Helicopters and warplanes belonging to the international anti-ISIS coalition forces bombed houses where ISIS members were thought to be hiding. The SDF also combed the southern neighbourhoods of the city, where they destroyed and bulldozed a number of homes and businesses.
The SDF said in a press conference on January 31 that it had eradicated the last pockets of ISIS control in Al-Sinaa Prison. According to the SDF's count, 121 SDF fighters, 374 ISIS fighters and seven civilians were killed in the fighting. Displaced residents were permitted to return to their neighbourhoods after the SDF finished its combing operations.
Most of the destroyed homes were an informally built residential neighbourhood near a cemetery and the Al-Sinaa Prison. Human rights sources told The Syria Report that more than 20 homes faced damage, some of them completely, in addition to a number of businesses, including a pharmacy.
One homeowner told The Syria Report that the SDF destroyed and then bulldozed his house and three surrounding homes on Al-Asfanj Street following suspicions that ISIS fighters who had escaped the prison were hiding in one of the homes as residents fled the area. The homeowner accused the SDF of destroying and razing homes as well as the surrounding area when it suspects ISIS members of hiding in them.
Another resident said that his house and the 12 houses surrounding it had been razed with heavy machinery after their owners had fled the neighbourhood. The resident said that there were no signs of bombing or ground fighting in the area where the houses had stood.
Ghweiran is among the largest and most densely populated neighbourhoods in Hassakeh, and sits to the city's southeast. The neighbourhood is home to a number of vital government institutions and some faculties of Al-Furat University, as well as the Central Prison and Al-Sinaa Prison, which is a series of civilian buildings that the SDF converted into a prison for ISIS members.
Source: The Syria Report
https://hlp.syria-report.com/wp-content/uploads/2022/07/Logo-300x81.png 0 0 Rand Shamaa https://hlp.syria-report.com/wp-content/uploads/2022/07/Logo-300x81.png Rand Shamaa2022-02-08 13:09:342022-02-08 13:09:34Ghweiran: Homes and Shops Destroyed After ISIS Attack on Prison
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تغييّر القيم التخمينية لمشاريع السكن الا... غويران: تدمير وتفجير منازل ومحال تجارية


LG is set to launch its next smartphone on May 2nd, but pictures of the upcoming LG G7 ThinQ have been hitting the web for a while, including images that make it clear the phone will have a notch (the display wraps around a camera cut-out) as well as software that hides the notch by placing black bars next to it.
Now Evan Blass has posted an image that show the phone from every side, and give us the best look yet at the awkwardly-named successor to last year's LG G6.
You can get higher-res views of each angle in the gallery below.
As expected, the phone has a camera cut-out at the top, a bit of a "chin" bezel at the bottom, and relatively thin borders around the left and right sides. There's a dual camera system on the back of the phone, with a fingerprint sensor placed below the cameras.
And in addition to the power and volume buttons on the sides of the phone, there's an extra button, which may be a dedicated button for launching Google Assistant, or other software.
LG has started slapping the "ThinQ" brand on its products to indicate that they have artificial intelligence features. Earlier this year the company unveiled the LG V30S ThinQ smartphone which includes Vision AI (for scene recognition in the camera app as well as image recognition features) and Voice AI (with some exclusive Google Assistant actions that are only available on LG devices.
We'll probably find out more about specs including the phone's processor, display, memory, camera, and battery next week.


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Night to Shine is a Christian prom night experience for people with special needs ages 14 and older. The event is sponsored by the Tim Tebow Foundation, and is one of the Foundation's 7 main areas of outreach. The event is worldwide, with 655 churches in the United States alone hosting Night to Shine events. Night to Shine is held in a total of 24 countries. It involves over 200,000 volunteers and gives more than 100,000 special needs guests a unique experience that they will never forget.
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Arsenal 0-1 Manchester City Sergio Aguero Goal Video Highlight Goal! Sergio Aguero (Manchester City) coolly slots the ball home after a brilliant team effort.


Une fois la suite de quêtes terminées un courrier vous est envoyé dans votre boîte aux lettres avec l'objet "Têtard oracle curieux"
Summons Oracle orphan quest giver.
Apparently, little Roo grows up to be a High Oracle among his people (one of his quests is similar to the time-travel ones in Dragonblight).
Here's a question - I missed finishing up the achievements for the Children's Week meta a couple of months ago (rough luck in PvP) and am curious as to whether it might be possible to complete the achievements for the meta since this will be a "children's week".
He has several good pieces of dialogue when you talk to him, but my favorite is "I can has aged yolk?" which will amuse anyone who has been trying to get a green proto drake.
I like how he talks in third person, like Gollum.
"Why you think puppy-man hatchlings keep asking us if we pity Lafoo? Lafoo talks a lot, but he's our friend."
"We can has aged yolk?"
Where do the children get this kind of money?
Soo-, maybe you give us whistle for when we need to call you. Oki?
Maybe we be a tauren when we grow up. Think so?
Why you think puppy-man hatchlings keep asking if we pity Lafoo? Lafoo talks a lot but he's our friend.
I was hoping for a pet for completing the chain.
I can confirm that the children's week achievements are completable with the Oracle and Frenzyheart orhpans, but I've only tried it during children's week.
Both Dalaran orphan quests are glitched, in that when you return to the Orphan Matron in Dalaran to finish the series ... she gives you a reward, she won't talk to you any more ... but you still have the orphan's whistle. And you still have the Orphan Companion!
That damned Wolvar Orphan followed around one of my characters forever, and now I have an Oracle Orphan following this character! I guess I'll try throwing away the whistle; maybe that'll rid me of the little bugger.


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Watch Out Cisco, SalesCrunch Is Coming After Your Multi Billion Dollar WebEx Business
Dylan Love
Photo: First Round Capital
SalesCrunch, the startup that makes web presentations easier, will turn on its payment system starting next Monday.It had been in a private beta allowing customers to use it without paying since November. Customers can still use a light version of the product, but for more advanced features they'll have to pay up.
SalesCrunch is streamlining the webinar business. The industry leader in the space is WebEx, which Cisco acquired in 2007 for $3.2 billion.
With SalesCrunch, there's nothing to download and install, which makes it easier to use than WebEx. SalesCrunch is strictly web-based and everything happens through a customised URL. On one end, users follow along with slides as a salesperson talks to them over the phone. On the other end, the salesperson controls the slideshow and has access to a few extra tools.
One of our favourite features is the red outline that appears around a user's picture when s/he goes idle for two minutes. SalesCrunch founder Sean Black says it's a way to measure engagement: "I can literally tell if I'm putting people to sleep or not."
presentations sai-us sales startups web


The Welcome Group Uolala Canterbury is created for all the people registered in Canterbury have a meeting point to start to interact with other users in the community, answer questions and start making new friends.
I want meet british people, I like the music from this country. I am mexican and I hope visit your country to know the history and culture. I would like to drive a bike in the landscapes in United Kindom. Sorry for my grammar but i do my best to keep learning your lenguage.
hi erika , how are you?


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Retro & Arcade Gaming
ArcadeCraft
By Madjock, April 2, 2013 in Retro & Arcade Gaming
Madjock
Not seen a topic on this, thought I would post my impressions since it has stolen a good few hours from me.
Xbox Live Indie
Fun little management game, think Theme Hospital in an Arcade. Quite limited in scope, you start with a $13,500,000 loan which has to be paid back in two years of the game (about an hour). The first time I played I was a bit reserved with my money and therefore didn't make much of a profit, was forced to sell all my machines and ended up with an empty room.
Restarting, I went hell for leather to spend as much as I could and ended up doing so much better. Now it's 1983 and I have maxed out my arcade with 30 machines, trying to made the decision on which to sell and what to keep.
For the price, it's quite fun. Basically becomes a rush around the machines, emptying coin drawers, fixing machine and tinkering with prices and difficulty settings.
http://marketplace.xbox.com/en-GB/Product/Arcadecraft/66acd000-77fe-1000-9115-d80258550c9b
Mentazm
Reminds me of Game Dev Story! I'm in!
It's really good, but it gets to a point too quickly where you end up with way too much money and there's no more challenge to it. It's certainly fun while it lasts, particularly if you try and plan your arcade around the popular games of the time.
t's really good, but it gets to a point too quickly where you end up with way too much money and there's no more challenge to it. It's certainly fun while it lasts, particularly if you try and plan your arcade around the popular games of the time.
Yep that's where I am now, money has poured in, can buy any new cabinet that is released but cannot use the remaining floor space as I'm limited to 30 machines. It's now a case of selling older machines whilst trying to figure out what will be a good classic worth keeping.
I found their Roadmap and they plan to continue adding to the game, shall see what materialises.
klargon
Picked this up the other day, but haven't tried it yet. It's hit the magic price point of 80msp.
Highly recommended for that price, even if you only play through it once or twice.
Yeah it does get a little easy, but it's very enjoyable and obviously lovingly put together.
The cabinets are actually really nicely designed and I do like some of the not so-subtle clones of real games
Protectian
Qualify Lap
Lunar Crescent
Angry Star
or the randomness of stuff like Cheese Police!


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DEBUSSY - RAMEAU
Debussy - Rameau came out on March 27, 2020 on Deutsche Grammophon (DG); it is however no earlier than a month after its release that I decided to start writing about Víkingur Ólafsson's latest album. Enchanted by the Scandinavian musician when I first discovered him in 2018 (with Johann Sebastian Bach), I have come to realise that with him, time was necessary in order to absorb and understand fully the musical intentions behind a project. This reflection period has given opportunities for performance reviews to be written, and an opportunity for me to absorb Ólafsson's philosophy of music. Since the pianist signed with the German label, his creatives choices and interpretations have always been of exquisite taste.
In effect, Ólafsson's musical selections often surprise at first, until logic is understood. During the last couple of years, he has elegantly demonstrated the relationship between minimalism (Glass) and baroque (Bach), and it is now a new historical musical bond that he puts forward; the connection between impressionism (Debussy) and baroque (Rameau). The obvious is here avoided by not selecting other baroque composers such as Bach, Scarlatti or Couperin (that are all often favored to Rameau). Ólafsson's selection is different; and it all makes perfect sense. The pianist demonstrates it beautifully. With the album structure, where Debussy embraces Rameau, he presents us with some of his own arrangements (Debussy's "La Damoiselle élue", originally a cantata, and The Hours and the Arts, an arrangement taken from Rameau's tragedy Les Boréades) and a selection of keyboard works from the two French composers: Children's Corner, Preludes, Images (including the "Hommage à Rameau" — Debussy was fascinated by the composer, and in his turn Ólafsson pays homage to both) and selected pieces from Pièces de clavecin.
Ólafsson's interpretation is remarkable. Of course there is the technical performance (the articulation — the bouncing of the notes…) But to me what shines the most, is the talent of the pianist at bringing a modern quality to the music of composers that are so far from each other (and from us) — and who wrote on such different instruments (Rameau's percussive harpsichord and Debussy's liquid pedaled piano) —, and uniformising their music, erasing the boundaries of time. There is no baroque, there is no impressionism; there is just music. It is also known that Ólafsson has been recording all of his latest DG releases at the same location; The Harpa concert hall in Reykjavik, and that results in a sort of signature piano sound for the pianist.
The musician brings out the imitative and impressionistic characters of the music of each composer. Whether in Rameau's, with the descriptive elements of pastoral life or Debussy's that has — somehow to his regret — been qualified as impressionist (or at times, symbolist); qualifications that although not pleasing to the composer, describe with precision the illustrative and evocative traits of his music.
Ólafsson has both absolute pitch — the ability to identify a given note without a reference tone — and synesthesia — the association of sound with colors — and it reflects in his creative output. With Debussy - Rameau, the pianist extracts the images and colours of the composer's works; he brings out the impressionism in Rameau ("Les Tourbillons", "Le Rappel des oiseaux") and the baroque in Debussy ("Jardins sous la pluie"); and to both contemporarism. From this musical combination, Ólafsson proves that the categorisation of music — whether stylistic or temporal — is an invention that, although brings order and understanding, benefits from disappearing from time to time in order to understand the greater sense of art.
[Anecdotally, I once read that the first review of Ólafsson's debut album did not deem it successful. Might its author be Ólafsson's own Dick Rowe*?]
*Dick Rowe, one of Decca's senior A&R, supposedly and infamously turned down The Beatles.


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SPI Solar to Develop 2 Megawatt Utility-Scale Solar Energy Facility in Evros, Greece
Visit http://www.spisolar.com for further information
Second large-scale Greek project for SPI Solar in six months
01/17/12, 08:42 AM | Solar & Wind
ROSEVILLE, Calif.--SPI Solar ("SPI") (OTCBB: SOPW), a leading vertically integrated photovoltaic ("PV") solar developer and engineering, procurement and construction ("EPC") services provider, announced today that it has successfully completed the acquisition of the necessary contracts and permits to serve as developer of a 2 megawatt fixed-ground-mount solar energy facility (SEF) which will be located in Evros, a North Eastern region of Greece. This is SPI's second major solar development in Greece. The first project, announced in August, was a 4.4 megawatt SEF also located in the Evros region.
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"The projects we are executing and pursuing in Greece are perfectly suited to our experience and skill set"
SPI acquired a limited liability corporation to gain interest in the Evros development to become the developer of record for the project, which was fully permitted and ready to be built. The SEF will be a fixed-tilt ground-mount utility-scale facility. The electricity generated by the SEF will be purchased by the Greek Public Power Corporation ("PPC") through a 20-year Power Purchase Agreement (PPA). Construction is scheduled to begin in the first quarter of 2012. It is SPI's intention to sell the project during the construction phase or upon commissioning.
SPI worked with Global Energy Services Ltd. ("GESL") to identify the build-ready project and to perform on-site technical due diligence in order to qualify the project for development. GESL will work closely with SPI to also provide project oversight during the construction of the SEF. Once completed, SPI intends to perform operations and maintenance of the facility over the term of the PPA. The SEF will use LDK's high-performance solar modules.
"This is our second major project in Evros in less than a year and we are very pleased with the direction our efforts are taking us in Greece," said Stephen Kircher, CEO of SPI. "The projects we are executing and pursuing in Greece are perfectly suited to our experience and skill set," Mr. Kircher stated. "It's a real plus to be able to make a positive economic contribution through the jobs we will be creating and the low-cost, sustainable electricity our facilities will be producing. We look forward to more projects in Greece and elsewhere in Europe," Mr. Kircher concluded.
About SPI Solar (OTCBB: SOPW):
SPI Solar ("SPI") (Solar Power, Inc.) is a vertically integrated photovoltaic solar developer offering its own brand of high-quality, low-cost distributed generation and utility-scale solar energy facility development services. Through the Company's close relationship with LDK Solar, SPI extends the reach of its vertical integration from silicon to system. From project development, to project financing and to post-construction asset management, SPI delivers turnkey world-class photovoltaic solar energy facilities to its business, government and utility customers. For additional information visit: www.spisolar.com.
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B-CC HS Digital Media Studies
Of all the arts, films and TV shows are the ones that look most like life. Characters on screen court and marry, pick quarrels and fight, fall sick, and die. In short, they seem to live, albeit in a compressed way. They portray, as Alfred Hitchcock said, "life without the boring parts."
The truth of the matter is, of course, that digital and film-based media are not life any more than landscape painting is nature. Students in the Digital Media Studies at B-CC study films and videos as composite creations made possible through the creative efforts of numerous arts practitioners: writers, actors, directors, cinematographers, editors, and designers just to name a few. Because all courses are project-based, students also are encouraged to test their ideas and take creative risks with their work.
B-CC Film Students Collaborate with the White House
In 2016, B-CC film students were chosen as finalists in the White House Film Festival and had the honor of meeting President Obama and screening their film in the Executive Residence. As a result of this work, B-CC students were invited in 2017 to collaborate with the White Houses video production team on a very special project. Click the link below to see the result!
https://www.youube.com/watch?v=eDOo3v2ntHI
Digital Media Course Descriptions:
Introductory Digital Media Course Descriptions:
Production and Performance A/B (grades 9-12): Students in this course will learn everything they need to do to nurture short, scripted productions to fruition. Students will explore all of the phases of preproduction and production, from idea development to sound and music design. Special emphasis, however, will be placed on the relationship between the director and the actor so student directors can play more active roles in engaging their casts in the emotional events of the script, helping them harness innate impulses and feelings. This class fulfills the state required fine arts credit for graduation.
Advanced Course Descriptions:
Video Field Production A/B (grades 10-12): Students continue their work in production with an emphasis on non-scripted field work, including news gathering, documentary, and non-narrative forms. Emphasis is placed on pre-production planning and using industry-standard digital software such as the Avid DS System to create broadcast-quality television content. Students will plan program clocks and write and develop media content to broadcast. (prerequisite: Production and Performance)
IB Film 1 A/B (grade 11): Students in IB Film both study and create films in order to understand the "language of film" and explore assumptions about it. Since it is so familiar to us, film is often labeled "entertainment." We often assume that it is easier to understand than literature which is often regarded as "serious" or as "art". In fact, film really is entertaining, and it really is complex. It employs two channels--sound and image--and it is culturally ambiguous, blurring distinctions between art, entertainment, and mass communication. IB Film students will begin to develop the skills necessary to achieve creative and critical independence in their knowledge, use, and enjoyment of film.
Note: IB Film 1 requires NO previous filmmaking experience. It is less a film production class and more an introduction to film as art and artifact.
IB Film 2 A/B (grade 12): IB Film students will continue to develop an appreciation and understanding of the art of film making and its history, the ability to plan stories and ideas for their own film productions, film production skills, critical evaluation of their own and others film productions, and an awareness of international film-making. (prerequisite: IB Film 1)
Mission for Digital Media Studies at B-CC:
To provide student with the ability to understand and produce digital media-based content in a variety of forms.
To give students meaningful, project-based experiences in creating and using performance and media to entertain, inform, and persuade.
To provide students with critical thinking skills, which enable them to deconstruct and interpret messages and to develop independent judgments about media content and art.
To facilitate the students' ability to use a variety of digital platforms and tools to produce effective and responsible projects.
To encourage risk taking with digital forms ("Doubt kills more dreams than failure ever will." Suzy Kassem).
2019-2020 Agenda Book Policies and Procedures
AP IB Course List
B-CC Semester 1 Class Schedules and Calendar
B-CC Semester 1 Class Schedule and Calendar en Español
B-CC TV
B-CC YouTube Channel
Bus Schedule Arrivals 2019-2020
Bus Schedule Departure 2019-2020
Class of 2021 Information
Departments/Academics
Dual Enrollment/Early College Programs
IB Middle Years Program
Maryland Report Card
MCPS Policies
Parent and Student VUE
Pine Tree Yearbook
SIP/ Vision and Mission
Student Service Learning (SSL)
Summer Assignments 2020
Tattler School Newspaper


You know that image of the moody teenager curled up in her room, writing poetry about how life is meaningless, or that boy she likes doesn't notice her, or that nothing ever changes? Why do you think that's become a cliche? Is it that creative people feel more deeply? Or it is that strong feelings are released through creativity?
Picking up a pen when life gets you down doesn't have to be about losing yourself in your problems. You don't have to write depressing poetry, or moan about your life in a journal. You can, if you think it will help, but some people don't like to get too bogged down thinking about their issues, feeling like focusing on them will only make them feel more negative.
There's a place for this theory in writing for wellbeing. Yesterday, I woke up in a foul mood. The neighbours had been partying right through until I got up at 6am. I kept dropping things, losing things, and was pretty much a rain cloud for anyone I interacted with. And I didn't want to stay that way. So I sat down with a cup of tea, and I wrote a list of things that made me happy. True little details that gave me joy. Listening to Belle and Sebastian on sunny days, singing in the car, walking barefoot on wet grass. I filled two pages with these random little details that make me happy, and when I stopped, I was able to realise I'd fixed my own mood. Sure, that morning had pissed me off, but it was behind me now.
Writing acts as a perspective shift. Other ways of doing this are writing down your issue, then retelling it from a different person's position. Even writing in third person (he/she) instead of first (I/me) gives you distance. And that's what you want, in order to affect change, you need space. You need a moment to move away from what's been bugging you, and to switch your focus.
We'll be exploring more positive uses for writing in my Writing for Wellbeing Workshop in April, (April 26th 10am-4pm Barnet) more details HERE.
Previous postGuest Post from author Rebecca Raisin!


When we enter an art museum, we usually put ourselves in the same mood of browsing through a book divided in consecutive yet independently readable chapters. Artworks are divided into sections accordingly to the historical period or the artistic technique: from ancient Greek and Roman sculpture through neoclassical paintings and Renaissance frescos. The taxonomic method of archiving and displaying the pieces – that followed and replaced the approach existing in the 15th century Wunderkammer or cabinet of curiosities, where objects were arranged on the basis of imaginative and eccentric associations in order to marvel the viewer – is universally accepted and understandable, and is the same on which the Louvre Museum in Paris is structured. I remember the sensation of littleness I felt at every turn I had the chance to step in that place, and the consequent decision of visiting just a section at a time in order not to find myself visually overwhelmed or – on the contrary – anesthetized, knowing that the time at my disposal was limited if compared to the quantity of masterpieces.
The well-known photographer Nan Goldin experienced a completely different approach of the great Parisian temple of art, since in 2010 – in occasion of a project commissioned by the Museum itself – she was allowed access on Tuesdays, when the building is closed to the public. For eight months she photographed the highest paintings by Delacroix and Ingres, the sophisticated artworks by Bronzino, the marble statues by Canova and the Roman masters, collecting hundreds of pictures that could retrace, if put in a line, the history of occidental art. But Nan Goldin never moved in a linear way, thus – after overcoming an initial impasse given by the majesty of the assignment – she decided to change the game and to concentrate on the flash and soul of the artworks rather than on their importance or status. Just in the same way she's used to do in her real life, she focussed her camera on the body's details, bends and gestures she encountered in the Museum, and she then juxtaposed the result of this research to her personal archive comprising of both very famous and inedited shots.
The final outcome of this project is Scopophilia, an exhibition based on a 25-minute-long slide installation and a series of photographic tableaux; while the first was premiered at the Louvre in 2010, the whole show was displayed at the Matthew Marks Gallery in New York City in the following year and is now on-going at the Gagosian Gallery in Rome. The name comes from a Greek word that means "deriving pleasure from looking" and in reality – despite the fact it has already been seen on the web and on various newspapers and magazines – having all those sensuous and carnal images in front of the eyes is a totally different matter.
"Between them and me: telepathic exchanges, divination", she whispers in the slideshow, referring to the relationship she established with the artworks during her French affair; a tangible and vibrant sense of intimacy pervaded the dark room in which it was projected, although the space was packed with people that attended the opening. The video is without any doubt the medium that better responds to the private yet evoking nature of Goldin's work, beyond being the way she used to display her pictures since the beginning of her career; also in this case, it reveals to be the core of the entire exhibition, an immersive dive into the inner sensitiveness and the raw aesthetic touch that made her one of the most influent photographers of the last decades.
Last but not least, the decision of using her own archive in combination of one of the biggest museum's collection in the world is not a tentative, as someone may think, to polish her past, but on the contrary demonstrates an attitude towards the demythologising of the artistic making with an end to itself. Scopophilia is to be read more as a celebration of choosing than of showing, as to say: "Art is real: just go and live it".


I have a 2013 iMac with a fusion drive but it won't boot and kernal panics every time. I have tried booting to the Recovery partition (Cmd + R), Booting off another drive, (Option), booting into diagnostics mode (D) and booting into target mode (T). The only one that works is Target mode and it stayed on all night. This morning I decided to remove all RAM sticks except for one and see what happens. It kernal panicked again. Big surprise. I think its a bad logic board but would love a second opinion.... Any one???
Here is a picture of the screen when it dies. It reboots itself pretty quickly afterwards so I had to be fast on the shutter.
Kernel Panics can be caused by either hardware or software issues. So it's a process of elimination to find the problem. I would pull the drive, use either a external enclosure or universal adapter and start your other machine up from it to eliminate issues there.
Thanks Mayer, I am hesitant to pull the drive on this machine since it's a Late 2013 iMac, (tapered edge) with a 3TB fusion drive. I would have to break the adhesive seal and then would need some type of adapter for the SSD HDD, which is really the component that is my 2nd guess for Point of Failure. Since posting this, I tried connecting it in Target mode (which is 100% stable when sitting untouched) to my 2011 MBP with Thunderbolt and it shows up in Disk Util as a 3TB drive, but then shortly thereafter forces my MBP to reboot. Does this give you any clues? I have tried booting the iMac off another drive and it does the same kernal panic which points to the MLB for me. But, like I said, this thing has a fusion drive, so I am not sure how that plays into this, if it does anything different than a normal drive would do. Any ideas for me to try, or should I chalk it up as a bad logic board?
Really tough one. It does sound like a logic board, At this point I would back up what you can of the hard drive, take it to an Apple store or ASAP and request a "Flat Rate repair. The cost for this should be around $350.00.


The second issue of Young Justice picks up with our young heroes transported to Gemworld. The primary story here is Wonder Girl starring down the barrel of Jinny Hex's shotgun, and forming a shaky truce. Wonder Girl's recent past is also explored here a bit, including her run-in with Zeus and explaining a bit about why Cassie was slow to initially join the fight that led the teen heroes to Gemworld.
From what we see in Young Justice #2 it's apparent that this first arc of the relaunched Young Justice title is going to jump around quite a bit, filling in some back story while also bringing the heroes together in Gemworld and exploring their new surroundings.
Even though his appearance offered to the cliffhanger leading into this issue, we'll have to wait another month for more on Superboy. That said, this issue fleshes out Cassie fairly well and offers some fun moments between Wonder Girl and some of the new heroes (even if Teen Lantern gets less time than Jinny or Cassie). Worth a look.


DALLAS — A Texas couple is planning to construct a $12 million community for people with autism on nearly 29 acres of land that was formerly a polo ranch in the Denton County town of Cross Roads.
It will include 15 homes, a community center and access to a 'transitional academy' that is designed to help young adults with autism develop the skills needed to live and work independently.
Clay Heighten, a retired emergency doctor and founder of a real estate management company, and his wife Debra Caudy, a retired medical oncologist, are leading the project.
The inspiration is their 19-year old son, Jon, who is on the severe end of the autism spectrum and requires a high level of supportive care.
Both worry that people like Jon have little options as adults. "It's about offering a choice," explained Heighten.
"We're trying to create something that would provide an enriched quality of life, so that people like Jon eventually require less supervision," he said.
Dr. Patricia Evans, a pediatric neurologist and neurodevelopment specialist at the Children's Health Center for Autism and Developmental Disabilities in Dallas, and others say that as research and supportive services have proliferated for children, not enough emphasis has been put on the "oncoming onslaught of adults" especially those on the severe end of the spectrum, who are going to need help.
The CADD center at Children's Health recently formed a multi-disciplinary clinic to transition young adults from pediatric clinicians to adult-based primary, mental health and other specialists. The growing demographic has led to focus on needs beyond medical expenditures.
Residential care, supportive living accommodations and productivity loss account for some of the highest costs. "The employment and housing situation for people with autism lags way behind," said Michael Bernick, a fellow with The Milken Institute, an economic think tank.
About 87 percent of young adults with autism live with a parent at some point after high school, compared to about 21 percent of all young adults. Compared to young adults with other types of disabilities, fewer on the autism spectrum have a paying job between high school and their early 20s.
The founders of 29 Acres hope the community, situated on a plot of land just south of U.S. Highway 380 in Cross Roads, will fill in some of the gaps.
The town of Cross Roads is on the cusp of a suburban transformation and that was part of the appeal for Heighten and Caudy.
They wanted a location where the autism community could feel safe but also have access to the surrounding community and not feel isolated.
There are plans to build a bus stop near the property and make ride-sharing services like Uber and Lyft available so that residents can get to work, grocery shop and feel a part of the community.
A key feature of 29 Acres will be a transition program that could cost upwards of $50,000 per student. The hope is that scholarships will offset much of the cost. The academy is designed with the support of Jeff Ross, founder and director of a similar transition to independent living institutes in Arizona and California. This will be the third project he's assisted in building.
In fact, identifying best practices was a key priority of the Autism Cares Act, signed into law in 2014. It called for proposals on programs that would help transition young adults with autism from existing school-based services to adult services.
The local academy aims to work with nearby academic institutions to employ graduate students and fellows to participate in research that improves outcomes for young adults with autism.
Finally, the property may bring on businesses like Smile Biscotti, a bakery founded in Arizona in 2013 by a young adult with autism.
Jon Heighten has been baking, packaging and selling it from home after his parents launched Smile Biscotti DFW in November.
While promising, experts note that when it comes to autism there is no one-size-fits-all approach.
The range of what is considered success for someone with autism is just as diverse as the condition's wide-ranging spectrum. Trying to live alone or hold down a job may not be the best option for everyone.
"Just because they can live alone, doesn't mean it's a good thing," Evans said.
Depression and isolation are common issues for people with autism. Over one-quarter of adolescents on the spectrum also tend to wander, or impulsively leave a supervised situation, increasing the risk of getting lost.
Residents at 29 Acres will be screened to evaluate their level of need. They will be involved in the design of their own program and be able to make determinations about where they see themselves down the road.
Not everyone will be a good candidate for an independent-living program, but they will still be able to live on the property, with professional support for their unique needs.
Jon Heighten, for example, will never be able to live completely on his own, his mom explained. One can get a sense of the challenge some families face when they have children with autism while watching Jon go about his day.
He doesn't speak much, but sometimes repeats back what is said to him. "Happy birthday!" he excitedly responded to those wishing him well during his party in December.
He's thrilled about tackling projects and smiles brightly when someone praises his good work. It's not uncommon for him to stand and suddenly leave a room, wandering off with no clear destination.
Not surprisingly, parents are often the first to come up with creative solutions to manage. Evans is aware of other families who have children with autism in North Texas who have collectively purchased homes together. They share the space, like a co-op, working together to support one another.
There are many recent efforts to assist people with autism in finding work, according to Bernick. They include targeted hiring by large employers, the launch of autism-focused small businesses and internet-based creative programs.
"But we need a wider range of options," he said, noting that he too became involved in the autism community when his son was diagnosed in 1991. "All of us parents have the concern," he said.
Jon Heighten turned 19 last month, but his parents got the idea to start 29 Acres when he was in his early teens. That's when they began to look for housing and employment options diverse enough to meet his needs if they were no longer alive to take care of him.
Multimedia journalist Tommy Noel contributed to this report.


OpenWeigh have released a new corporate version of our class busting weighbridge software. Enterprise+ from openweigh is a enterprise class installation on clients own virtual servers. Where server security has to be managed in-house the new version of OpenWeigh can be supplied as a one off fee or an annual contract that includes technical support.


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President Reif to Class of 2021: "We are very lucky to have you!"
"MIT is a magnificent machine for inventing the future," Reif tells incoming freshmen.
David L. Chandler | MIT News Office
Karl-Lydie Jean-Baptiste
Email: kjeanbap@MIT.EDU
↓ Download Image
Caption: "I found that what mattered at MIT was not where you come from or who you know, but what you contribute: Good ideas, new perspectives, hard work, and creativity," said MIT President L. Rafael Reif at the 2017 Convocation. MIT, he said, "was the first place where I could stop feeling self-conscious, particularly about what interested me."
Credits: Photo: Jake Belcher
Caption: A new student arrives at Convocation. "Every one of you has what it takes to succeed here… And I hope you will join us in facing the challenge of building a better MIT, and building a better world," Reif said.
Caption: Professor Sara Seager spoke about the Aug 21 eclipse and her satellite pointing challenge to an MIT undergraduate class in Aero/Astro, work that later moved to NASA's Jet Propulsion Laboratory for implementation.
Caption: The MIT Chorallaries introduced the Class of 2021 to the School Song.
Caption: President and Mrs. Reif welcomed the families of the Class of 2021.
Caption: President Reif welcomed the Class of 2021 on August 28.
Caption: Chancellor Cynthia Barnhart and Vice Chancellor Ian Waitz greeted the members and families of the Class of 2021.
Caption: Who's got spirit? The families of the Class of 2021!
Caption: Family of the Class of 2021 after the President's Convocation.
Caption: Orientation leaders welcomed freshmen and families, assisting with photos after the President's Convocation.
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Images for download on the MIT News office website are made available to non-commercial entities, press and the general public under a Creative Commons Attribution Non-Commercial No Derivatives license. You may not alter the images provided, other than to crop them to size. A credit line must be used when reproducing images; if one is not provided below, credit the images to "MIT."
"I found that what mattered at MIT was not where you come from or who you know, but what you contribute: Good ideas, new perspectives, hard work, and creativity," said MIT President L. Rafael Reif at the 2017 Convocation. MIT, he said, "was the first place where I could stop feeling self-conscious, particularly about what interested me."
Photo: Jake Belcher
A new student arrives at Convocation. "Every one of you has what it takes to succeed here… And I hope you will join us in facing the challenge of building a better MIT, and building a better world," Reif said.
Professor Sara Seager spoke about the Aug 21 eclipse and her satellite pointing challenge to an MIT undergraduate class in Aero/Astro, work that later moved to NASA's Jet Propulsion Laboratory for implementation.
The MIT Chorallaries introduced the Class of 2021 to the School Song.
President and Mrs. Reif welcomed the families of the Class of 2021.
President Reif welcomed the Class of 2021.
Chancellor Cynthia Barnhart and Vice Chancellor Ian Waitz greeted the members and families of the Class of 2021.
Who's got spirit? The families of the Class of 2021!
Family of the Class of 2021 after the President's Convocation.
Orientation leaders welcomed freshmen and families, assisting with photos after the President's Convocation.
MIT greeted the incoming Class of 2021 with its annual Convocation in front of Kresge Auditorium, treating them and their parents to personal stories of what it was like to first arrive at MIT, as told by President L. Rafael Reif and three highly accomplished faculty members.
Reif described his own fears when he arrived at this campus, having grown up in Venezuela, not knowing anyone in the area. He worried, among other things, about whether he was good enough to succeed here, whether his English was good enough, and what it would be like to experience snow for the first time. But those fears were quickly erased: "Very soon, MIT became my academic home," he said, "and this community became my extended family. I hope that you will come to feel that way, too."
Those initial fears vanished, he said, when "I found that what mattered at MIT was not where you come from or who you know, but what you contribute: good ideas, new perspectives, hard work, and creativity." MIT, he said, "was the first place where I could stop feeling self-conscious, particularly about what interested me."
Those initial worries were echoed by three faculty members who described their own experiences upon arriving here. Kristala Prather, the Arthur D. Little Professor of Chemical Engineering, who earned her bachelor's degree at MIT, recalled thinking when she arrived on campus and heard of the amazing accomplishments of her fellow students, "how the heck did they let me in?" And, she added, she felt the same way 14 years later when she received her appointment to the MIT faculty.
To those in the incoming class who might feel the same way, she said, "I want to be sure you know, you are here on purpose. … You are ready to take on this place!"
"MIT is a unique crucible, where you will be faced with challenges you didn't quite expect, at an important time of your life," she said. "My advice here is quite simple: Embrace failure! If you haven't already, you'll soon realize that failures frequently, and I might say usually, allow you to learn far more than your successes." Failure, she said, "lets you know that your knowledge lacked depth, or your understanding was incomplete, or maybe your expectations were a little unrealistic. Filling in those gaps adds to your knowledge base, and how you go about recovering from those failures will teach you lifelong lessons."
Prather added that students should seek experiences outside their academic specialties. "You have to have balance, something that allows you to get away from the rigors of academics and enjoy life. … So my advice to you is to have fun, explore, try new things, go new places, meet new people, hang out with friends, just have fun … but not too much fun."
Martin Culpepper, a professor of mechanical engineering and MIT's "Maker Czar," regaled the students with his own experiences of early failure and having fun, such as the time he took apart his dad's carburetor and found that there were quite a few parts left over when he put it back together and it didn't work, or when he flooded the basement of his home while trying to fix the washing machine. He learned important lessons from that, he said, such as "what an insurance deductible is, compared to my allowance."
But these experiences, he explained, really did end up paving his path to MIT. And once he got here, "every day here as a student I got challenged, every day I got to see amazing things that people were doing in their research, and every day here as a student I got to work with my mind and my hands."
Culpepper added that "over the course of the next few years, you're going to have tough days." He gave the example from his first semester, when a professor found out he couldn't afford to go home for Thanksgiving, and invited him to spend it with his own family. He ended up having a wonderful experience there, having a great meal, driving bulldozers, and talking at length about differential equations. It was a day that could have been really sad for him, he said, but ended up being a fantastic experience.
Sara Seager, the Class of '41 Professor, a professor of planetary science and of physics, and a leading expert on planets outside the solar system, talked about seeing the total solar eclipse a week ago. She described how that event related to the kind of research she has been carrying out for many years, to detect planets around other stars by observing the dimming of light when a planet passes in from of its star — a kind of miniature eclipse. Seager is a leader of the team that designed TESS, a new NASA mission that will soon observe many nearby stars to watch for such eclipses — called transits — in order to learn much more about the characteristics of those distant planets.
She described how she posed a challenge to a class in the Department of Aeronautics and Astronautics to develop a system to control the accurancy of pointing for tiny satellites called cubesats so that they could be steady enough to carry out such observations. The students rose to the challenge, and after some further development, this system was launched two weeks ago by NASA to the International Space Station, where it will soon be deployed into space. That whole experience, she said, "captured the MIT spirit: This bold idea that no matter how crazy, if it's backed up by physics, it's worth developing." Where others might dismiss an idea as crazy, at MIT the attitude is "'Yes, let's give it a try,'" she said.
As Reif summarized to the incoming freshman class, "Every one of you has what it takes to succeed here. … And I hope you will join us in facing the challenge of building a better MIT, and building a better world. Humanity is facing no shortage of serious challenges: climate, energy, disease, poverty. And MIT is a magnificent human machine for inventing the future. But MIT invents the future thanks to its students."
Reif concluded by thanking the incoming students for the choice they made: "We are very lucky to have you. All of you had other options, and I am delighted and grateful that you chose MIT. You will receive a great education here, and all of us together will make a better world."
Class of 2021 Orientation
President L. Rafael Reif
Kristala Prather
Martin Culpepper
Sara Seager
President Reif to Class of 2020: "All of us together will make a better world"
"Every one of you has what it takes"
Class of 2018: Welcome to the family!


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There have been many very fine movies this year, but this is the only one that will have you floating on air.
Creating a sequel is never a simple task, especially for a truly beloved classic. But Rob Marshall, Lin-Manuel Miranda, Ben Whishaw, Emily Blunt and company have not just raised Mary Poppins' umbrella, they've raised the bar, jumped into the sky and, with technology and charm, delivered the happiest surprise.
Michael and Jane Banks are now all grown up and, sadly, they've got grown up problems. Of course, who doesn't, in 1930's Depression-era London? But Michael, now a widowed father, may lose the Banks' house, the one he and Jane grew up in and are now raising Michael's three motherless children. Jack (a lithe Miranda), the local lightkeep, tries to lighten the circumstances for the family, but it's not until guess who descends from wherever she's been we see the possibility of a brighter tomorrow.
Emily Blunt, the wonderful triple threat of an actress, makes Mary a Poppins for the 21st Century. Somewhat sly, as tough as a teacher on the first day of school, her Mary will stand for no nonsense. Unless it's nonsense of her own making, which bubbles up quickly, as she draws the children a bath. Then, the fun begins. But, as it all revolves around the family's sadness and the distinct possibility of losing their home to the bank (boo-hiss), there is a grounding here that not only recognizes the first film but also keeps us emotionally involved. As in, yes, I cried.
The cast is delightful, complete with cameos that left my audience cheering. And wait till you see the dance numbers, my favorite, the joyous updated Blunt and Miranda duet with animated co-stars. You'll want to see all of it again and again.


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NVP unveils flagship UHD and HDR-ready OB7 van
By Jo Ruddock
Tuesday, March 9, 2021 - 09:33
The OB7 features machine learning and artificial intelligence tools
Video Progetti has recently concluded a programme of advising on and supplying a range of UHD and HDR-ready production and broadcast technologies for NVP's newest van, OB7.
The collaborative project was headed by NVP's CEO Ivan Pintabona, with bodywork completed by Tommasini and Video Progetti recommending the technical setup. As Pintabona's intention was to make OB7 the flagship of the NVP fleet, the ability to deliver UHD and HDR productions was the central point of focus. But, in line with its wider philosophy of client engagement, Video Progetti also considered the wider business case of the organisation, the strategic contribution of each technological element and their interplay within the installation as a whole.
This resulted in the inclusion of both 5G public internet access and a flexible and powerful Sirius 800 hybrid router to facilitate direct connection with the final users, allowing them to interact with live content through the distribution system.
In addition to the Sirius 800 router, the van is also capable of accommodating up to 32 Grass Valley LDX86N cameras. The IP connectivity, 4K shooting capabilities, 6x slow motion functionality and the fact that they integrate Grass Valley's Creative Grading camera control solution were key reasons behind their inclusion.
A GV Kahuna switcher and KMX-3921 multiviewer also feature, along with five Telestream Prisms. These SDI/IP waveform monitors allow shaders and editors insight into – and control over – luminance and exposure, enhancing both the technical detail and creative composition of the broadcast.
A Telestream SPG provides accurate, stable and reliable signals in SDI/IP broadcast environments, while TV Logic Monitors offer image clarity and an accurate representation of the broadcast image.
The audio setup includes a Lawo mixer and Wohler audio monitor, which together provide versatility, flexibility and full control over the audio workflow.
Set to be deployed for both national and international productions, NVP's OB7 van has already completed its first major undertaking; live coverage of the Napoli vs Spezia Serie A football match on 6 January.
"We were delighted with how the van performed," said Pintabona. "The technologies deployed not only facilitated the creation of an exceptionally high quality broadcast, but they worked together seamlessly and were intuitive for the team to use. This kind of installation contributes to NVP's overall strategic position in the market. It achieves this firstly by cementing our reputation for quality broadcast and an ability to always meet the demands of clients, and ultimately, viewers. But more than this, it contributes to our operational efficiency and our organisational flexibility; with IP connectivity to the cloud and a decent set of wheels, we can go anywhere and undertake any kind of project. As usual, Video Progetti's expertise sits at the heart of our innovation and progress in the field of production."
Speaking on the nature of their working relationship with NVP, Video Progetti CEO Carlo Struzzi commented: "Working with NVP is always a pleasure. After a number of OB van projects undertaken together, we have a real understanding in terms of vision and purpose – particularly in relation to the idea that technology represents a tool for enhanced creativity, not an end in itself. It's a symbiotic relationship where we build on the expertise, knowledge and enthusiasm of each other."


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Q: Downloading latest files from remote server without downloading previous files I am trying to download the latest files uploaded to a server via SFTP. The file information is stored in a table after being downloaded, with information that includes a md5 checksum, timestamp, file name etc.
The script runs as a cron job and wakes up a few times a day to fetch new files from a set of servers. Usually, the number of files is small, so it is easy to just download everything, hash the contents, and compare the result with what exists in the database to determine if a file is new.
However, we now have a server being accessed that does not purge any content. So, downloading and hashing everything is far too costly. It seems the only option is to assess the file's metadata remotely and use this to determine if the file is new.
One solution I thought might work was to use the mtime or ctime of the remote files for comparison with the latest timestamp stored in the file table. The script would then only download files with an mtime or ctime greater than the latest recorded timestamp (sourced from the last download). However, mtime and ctime do not refer to the upload time. So, worse case, a file could be uploaded after the last cron run that has an mtime or ctime less than the most recently recorded timestamp.
The other solution I have considered is treating the file name and timestamp as sort of a composite key and comparing these two attributes to entries in the file table. I am not sure if this is a valid or safe idea. The file names are pretty unique, so maybe this would work. I am really looking for the safest bet in terms of avoiding missed files.
The script that actually does the accessing is written mostly using the phpseclib sftp library.
I do not have ssh access, so a remote checksum is not possible.
Any insight would be greatly appreciated.
Thanks

A: You answered your question yourself.
Collect file names, modification times and sizes of remote files. Store them in database. And the next time, collect the same metadata and compare against the previous run. That's the best thing you can do.
It's highly unlikely that a file contents changes, without changing file timestamp or size.

Of course except calculating a file checksum. But phpseclib does not support that. And most SFTP servers (OpenSSH particularly) do not either.
See How to perform checksums during a SFTP file transfer for data integrity?

redpajama_set_name: RedPajamaStackExchange


My girls love science, and they also love things that glow-in-the-dark!
This week I have been having fun combining the two for them! Today, I set up a glowing oil & water experiment, and the results were amazing! Rosie and Jewel didn't want to stop exploring, and even I was left in awe!
For all the best kids activities follow us on Pinterest & Facebook!
We had so much fun with this experiment! Your little scientists really must give this one a try. Are you ready to see how?
Begin by filling a dish or container with baby oil. Set this aside.
Add a teaspoon of glowing paint to a bowl, using one bowl for each color of glowing water that you wish to make.
Fill the bowls with very warm water and mix until the paints dissolve into the water.
You will now have a variety of glowing waters to use for this experiment!
Now, the experiment can begin!
Have children use a pipette or small straw to drop the colorful waters into their container of oil.
As kids drop the water into the oil the water will bead up and create beautiful effects!
No matter how much colored water is added the oil the oil and water will not mix! Isn't that cool science?
Rosie loved playing and exploring with the liquids and couldn't resist touching and chasing all the beautiful beads of color.
For older kids you can talk in detail about the densities of the two liquids and why they do not mix. I explained this to Rosie in light detail given her age, and we mostly just focused on having FUN!
Want more on the science?
Note: These are the glowing paints that we use in our activities. The blacklight flashlights that we use can be found on Amazon here.


Blessed. It's a word that often makes my skin crawl.
"I'm so blessed." I cringe at the statement, hoping no one else can see the involuntary shudder.
Blessed is a perfectly biblical word, so what's the big deal? Aren't you being cynical? Surely, you're just bitter because others have what you want.
Yes, sometimes it's hard to rejoice, but there's no cynicism here.
I cringe because "blessed" seems to be merely a trend, a cliche, another word hijacked of its rich meaning.
< Previous Fear. With the force of many waters.
Next > It's heaven because Jesus is there.
Ami, I love this. We all have the potential to be #blessed we just need to believe and have complete trust and faith. Thanks for the reminder and helping me start my morning off right.
Thanks Stacie. It's something I've been thinking about for awhile. And it's a lovely conclusion to realize that being blessed isn't based on my daily circumstances, but on the fact that Christ took God's wrath for me. Thanks for taking time to encourage!


I am having problems syncing iTunes U content to playlists on my iPhone. I have a playlist with podcasts, audiobooks and iTunes U content and when I sync only the books and podcasts are in the playlist, the iTunes U content is on the phone just not in the playlist and I can't add it on the phone.
I have ticked the box on the iTunes U tab in iTunes specifying to include the content in Playlist.
I have a new iPhone 4 and it seems to be a bug.
My workaround is to use iTunes to right click, Get Info, Edit (multiple items) and change Options -> Media Kind to Podcast. Then my iPhone syncs. Suddenly, when creating a new playlist and I choose More -> Podcasts, I can add the items with the + sign and they finally stay/save.
Not the answer you're looking for? Browse other questions tagged macos itunes iphone or ask your own question.


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Only show content I have access to (12)
Over 3 years (12)
Physics and Astronomy (10)
Proceedings of the International Astronomical Union (10)
Highlights of Astronomy (1)
Symposium - International Astronomical Union (1)
International Astronomical Union (12)
Maser Emission in G 339.884−1.259
V. Krishnan, L. Moscadelli, S. P. Ellingsen, H. E. Bignall, S. L. Breen, R. Dodson, L. J. Hyland, C. J. Phillips, C. Reynolds, J. Stevens
Journal: Proceedings of the International Astronomical Union / Volume 13 / Issue S336 / September 2017
Published online by Cambridge University Press: 16 July 2018, pp. 334-335
Print publication: September 2017
We present multi–epoch VLBI observations of the methanol and water masers in the high–mass star formation region G 339.884−1.259, made using the Australian Long Baseline Array (LBA). Our sub–milliarcsecond precision measurements trace the proper motions of individual maser features in the plane of the sky. When combined with the direct line–of–sight radial velocity (vlsr), these measure the 3 D gas kinematics of the associated high–mass star formation region, allowing us to probe the dynamical processes to within 1000 AU of the core.
3D velocity fields from methanol and water masers in an intermediate-mass protostar
C. Goddi, L. Moscadelli, A. Sanna
Journal: Proceedings of the International Astronomical Union / Volume 8 / Issue S287 / January 2012
Print publication: January 2012
We report multi-epoch VLBI observations of molecular masers towards the high-mass star forming region AFGL 5142, leading to the determination of the 3D velocity field of circumstellar molecular gas at radii <0.″23 (or 400 AU) from the protostar MM–1. Our observations of CH3OH maser emission enabled, for the first time, a direct measurement of infall of a molecular envelope on to an intermediate-mass protostar (radius of 300 AU, velocity of 5 km s−1, and infall rate of 6 × 10−4n8M⊙ yr−1, where n8 is the ambient volume density in units of 108 cm−3). In addition, our measurements of H2O maser (and radio continuum) emission revealed a collimated bipolar molecular outflow (and ionized jet) from MM–1. The evidence of simultaneous accretion and outflow at small spatial scales, makes AFGL 5142 an extremely compelling target for high-angular resolution studies of high-mass star formation.
Methanol Maser Parallaxes and Proper Motions
Y. Xu, M. J. Reid, L. Moscadelli, K. M. Menten, X. W. Zheng, A. Brunthaler, B. Zhang, K. L. J. Rygl, J. J. Li, A. Sanna
Due to their compactness, persistence and slow motion, Class II CH3OH masers are excellent targets for parallax and proper motion measurements for massive star-forming regions in the Galactic Disk. These measurements can be used to improve our understanding of the spiral structure and dynamics of the Milky Way. At the same time, Class II CH3OH masers can also be used to study gas kinematics close to the exciting star, tracing rotation, infall and/or outflow motions.
Massive star-formation toward G28.87+0.07
J. J. Li, L. Moscadelli, R. Cesaroni, R. S. Furuya, Y. Xu, T. Usuda, K. M. Menten, M. Pestalozzi, D. Eliav, E. Schisano
We investigated the high-mass star-forming region G28.87+0.07 by means of maser kinematics, including H2O, CH3OH, and OH, and radio to infrared, continuum observations. All observational evidence suggests that these masers are associated with the same young star of 20-30 M⊙, still in the main accretion phase and surrounded by a rich stellar cluster.
The distance to G59.7+0.1 and W3OH
Y. Xu, M. J. Reid, K. M. Menten, X. W. Zheng, A. Brunthaler, L. Moscadelli
Journal: Proceedings of the International Astronomical Union / Volume 3 / Issue S248 / October 2007
Published online by Cambridge University Press: 01 October 2007, pp. 214-216
Print publication: October 2007
We have measured the distance to the high-mass star-forming region G59.7+0.1 (IRAS 19410+2336) and W3OH. Their distances, 2.20 ± 0.11 kpc and 1.95 ± 0.04 kpc, respectively, were determined by triangulation using Very Long Baseline Array (VLBA) observations of 12.2 GHz methanol masers phase-referenced to compact extragalactic radio sources. In addition to the distances, we have also obtained their proper motions.
Massive star-formation in G24.78+0.08 studied by means of maser VLBI and thermal interferometric observations
L. Moscadelli, C. Goddi, R. Cesaroni, M. T. Beltràn
Journal: Proceedings of the International Astronomical Union / Volume 3 / Issue S242 / March 2007
Published online by Cambridge University Press: 01 March 2007, pp. 135-139
Print publication: March 2007
This work presents the results of VLBI observations of 6.7 GHz methanol and 22.2 GHz water masers towards the mm core A in the massive star-forming region G24.78+0.08. Comparing the maser with previous millimeter interferometric and recent continuum VLA observations, the physical properties and the gas kinematics of the G24 A core on linear scales from ~100 AU to ~0.1 pc are determined.
A 20-year H2O maser monitoring program with the Medicina 32-m telescope
J. Brand, M. Felli, R. Cesaroni, C. Codella, G. Comoretto, S. Di Franco, F. Massi, L. Moscadelli, R. Nesti, L. Olmi, F. Palagi, F. Palla, D. Panella, R. Valdettaro
The Arcetri/Bologna H2O maser group has been monitoring the 1.3-cm water maser emission from a sample of 43 star-forming regions (SFRs) and 22 late-type stars for about 20 years at a sampling rate of 4-5 observations each year, using the 32-m Medicina Radio Telescope (HPBW 1.′9 at 22 GHz). For the late-type stars we observe representative samples of OH/IR-stars, Mira's, semi-regular variables, and supergiants. The SFR-sample spans a large interval in FIR luminosity of the associated Young Stellar Object (YSO), from 20 L⊙ to 1.5 × 106 L⊙, and offers a unique data base for the study of the long-term (years) variability of the maser emission in regions of star formation.
This presentation concerns only the masers in SFRs. The information obtained from single-dish monitoring is complementary to what is extracted from higher-resolution (VLA and VLBI) observations, and can better explore the velocity domain and the long-term variability therein.
We characterize the variability of the sources in various ways and we study how it depends on the luminosity and other properties of the associated YSO and its environment.
The distance to G59.7+0.1
Y. Xu, M. J. Reid, K. M. Menten, A. Brunthaler, X. W. Zheng, L. Moscadelli
We have measured the distance to the high-mass star-forming region G59.7+0.1, which harbors the far-infra-red source IRAS 19410+2336. The distance is 2.20 ± 0.11 kpc and was determined by triangulation using Very Long Baseline Array (VLBA) observations of 12.2 GHz methanol masers phase-referenced to two compact extragalactic radio sources.
Masers and Galactic structure: Micro-arcsecond astrometry with the VLBA
M. J. Reid, A. Brunthaler, K. M. Menten, Xu Ye, Zheng Xing-Wu, L. Moscadelli
Astrometric observations with the VLBA with accuracies approaching ~ 10 μas are being conducted in order to better understand the Galaxy. The location of Sgr A* on infrared images can be determined with an accuracy of a few mas, using stars with SiO maser emission as a calibration grid for infrared images. The apparent proper motion of Sgr A*, which is dominated by the effects of the orbit of the Sun around the Galactic center, has been measured with high accuracy. This measurement strongly constrains Θ0R0 and offers a dynamical definition of the Galactic plane with Sgr A* at its origin. The intrinsic motion of Sgr A* is very small and comparable to that expected for a supermassive black hole. When combined with infrared results, this provides overwhelming evidence that Sgr A* is a supermassive black hole. Finally, we are engaged in a large project to map the spiral structure and kinematics of the Galaxy. Preliminary trigonometric parallaxes, obtained with the VLBA, to eight massive star forming regions are presented.
VLBI observations of H2O and CH3OH masers in two high-mass YSOs
C. Goddi, L. Moscadelli, A. Sanna, R. Cesaroni, V. Minier
We have conducted phase-reference VLBI observations of H2O and CH3OH masers toward two high-mass star forming regions, Sh 2-255 IR and AFGL 5142. In Sh 2-255 infrared water masers are aligned along a direction close to the orientation of a large scale H2 jet, tracing possibly shocked material in a precessing jet, or, alternatively, the disk-wind emerging from the disk atmosphere. In AFGL 5142 water masers trace expansion at the base of a protostellar jet, whilst methanol masers are more probably tracing infalling than outflowing gas. Our results suggest that water and methanol masers trace different kinematic structures in the circumstellar gas.
Newly detected H2O Masers in Seyfert and Starburst Galaxies
A. B. Peck, A. Tarchi, C. Henkel, N. M. Nagar, J. Braatz, L. Moscadelli
Journal: Highlights of Astronomy / Volume 13 / 2005
Print publication: 2005
We report new detections of three H2O megamasers and one kilomaser using the Effelsberg 100-m telescope. Isotropic luminosities are ~50, 300, 1, and 230 L⊙ for Mrk 1066, Mrk 34, NGC 3556, and Arp 299, respectively. Mrk 34 contains the most distant H2O megamaser ever detected in a Seyfert. Our targets in this survey were chosen to fit one of the following criteria: 1) to have a high probability of interaction between the radio jet and the ISM within the central few parsecs of the radio galaxy, yielding masers which arise in local molecular clouds; or 2) to have very bright IRAS sources in which massive star forming regions might yield powerful masers. The 'jet maser' sources can provide detailed information about the conditions in the ISM in the central 1-10 pc of AGN. The extra-galactic 'star formation masers' can be used to pinpoint and characterize locations of high mass star formation in nearby galaxies. In addition, these sources will help to provide a better understanding of the chemical properties of molecular clouds in extra-galactic systems.
Masers as probes of proto-planetary discs
A.M.S. Richards, R. J. Cohen, M. Crocker, E. E. Lekht, V. Samodourov, I. I. Berulis, A. Lobanov, L. Moscadelli
Journal: Symposium - International Astronomical Union / Volume 202 / 2004
Water maser emission from star forming regions has been monitored for several decades using the Puschino radio telescope, showing radial velocity variations consistent with material in Keplerian orbit around protostars. MERLIN and the EVN are now being used to image the 22 GHz emission on au scales and measure proper motions. This will distinguish discs from outflows, and provide an estimate of the central mass and possibly orbiting condensations.