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The Inukshuk is Back!
Some of you will have noticed the gap between the harpoon and the blubber pot on the grass outside the Institute in recent months. The person-shaped stone cairn, or inukshuk as it is more commonly known in the Arctic, has been in conservation for nearly a year. Now it's back on display and looking better than ever.
Inukshuk unveiled after restoration
The inukshuk has guarded the West entrance to the Institute since the 1970s, when it was lifted into place with a crane and reassembled piece by piece using a grainy black-and-white photo taken in Canada where it was originally purchased. It was moved again to its current position in 2010 and put together in the same way, using lots of cement to fix each of the heavy pieces of pink granite in place. You might see in the before-picture here it had built up a rather unsightly waistband that we had cruelly taken to calling its 'muffin top'.
Inukshuk at SPRI before damage
Sadly, in 2017 its powerful waistline did little to protect it from the attention of one excited visitor and the inukshuk broke in two! Thankfully nobody was hurt, but the sculpture itself was immediately boarded up to prevent any further damage—the pieces are too heavy to lift by hand. A talented team of conservators was then engaged to take on the job of rebuilding and stabilising it.
Conservators at Patina Art Collection Care worked closely with us to get an impression of the original vision of the Inuit sculptor, Aqjangajuk Shaa. Every effort was made to contact Shaa, but to no avail. Luckily, a thorough search of the archives unearthed more pictures of the inukshuk in its original site at Kinngait (Cape Dorset) in the 1960s, which did give some idea of how it once stood.
Inukshuk in Canada 1960s
We were surprised to learn that its right arm has been upside-down ever since it was first displayed here. It remained upside-down even when it was moved in 2010, and again in 2013 when the arm was damaged and reattached. We took advantage of the new repairs to correct this and also to ever so slightly reposition the legs to give the impression of movement, which was also more apparent in the early pictures.
It was great watching Dee and Ricky from Mtec using their crane to lift it back into place and to see it all come together over several days. The granite pieces were expertly drilled through where it wouldn't be visible, so that metal dowels could be used to hold the sculpture together and fix it securely to the concrete base. Lyndsey and Andrew from Patina also thought very hard how to place the toes, which were previously swamped in cement. The joins are now altogether cleaner, more fluid and sturdier than they were before, and even the old break from 2013 was retouched so it can hardly be seen.
MTec begin the installation process
Sadly, we recently heard that Aqjangajuk Shaa (1937-2019) died in March this year, just as we were making arrangements for his inukshuk's return. We hope you'll agree that the inukshuk in its newly re-invigorated state is a fitting tribute to Shaa's legacy as a celebrated artist, and will give plenty of joy for generations to come.
The MTec and Patina Art team
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Ship-shape again! The fully conserved silver Terra Nova model revealed at last
This extraordinary solid silver model of Captain Scott's Terra Nova was generously donated to the museum in 2010 by Scott's descendants. At that point it looked as if it had weathered a few storms:
The masts were bent and a lot of the rigging was broken or missing sections. There was also a very distracting yellow coating over the metal which made it look almost more like a brass model than a silver one.
On closer inspection there were lots of old repairs to the model, either with solder, or with new wire rigging which didn't match the old, or with original rigging wire repositioned or used to tie loose bits on. Even the bowsprit was held on with a blob of Blu-tak inside the hull. All in all it would be a daunting task to try and restore some of its original beauty. And why did it look so battered in the first place?
The model was actually a present to Captain Robert Falcon Scott's son Peter, given to him in honour of his father's gallantry in 1913, soon after the news of Scott's death was announced in Britain. The subscribers of "John Bull Magazine" had a whip-round and commissioned the model for Peter, whom they called "John Bull's boy". Peter was 4 at the time.
To a modern eye it seems extraordinary enough to make a ship model out of sterling silver, although in fact this was in vogue in the 1910's and this one was made by the famous London silversmiths, Mappin and Webb. It seems even more unusual to give such a thing as a present to a 4 year-old boy. But the damage to the rigging, masts and bowsprit, not to mention the amateur repairs, all show that Peter must have played with the ship (and possibly dropped it), and that it was part of his life. Peter's family remember the ship being in their childhood home, and from there it was very kindly given to the museum.
When conserving the model we wanted to repair much of the damage without losing all traces of this history, which is what makes the ship unique. The first stage was to remove the old yellow coating. This was originally applied to stop the ship from tarnishing, but had become disfiguring in its own right. Removing it was enormously time-consuming, and was done with the help of ultra-violet light, as described in an earlier blog post.
Once the coating was gone and the silver gently polished, repairs to the masts and rigging could start. We had a choice to take the model to a specialist conservation silversmith, who could deconstruct the rigging and completely restore it. But this would erase all the quirks introduced by Peter Scott over the years and lose an important part of the ship's story. So instead the repairs were done by me, as the in-house conservator at the museum, using less interventive techniques.
As a non-rigging expert, understanding the rig and repairing it was an intimidating prospect, so I enlisted help from Janet West, Emeritus Associate at the Scott Polar Research Institute and a renowned expert on scrimshaw. Understanding ship rigging is bread and butter to her and we spent invaluable hours looking at the model and comparing it to photos of the Terra Nova in Antarctica. It turned out that, although the hull was a perfect replica of the ship (according to the original plans) the rigging was very approximate and could not have worked in real life. To be fair to the model maker, it would be almost impossible to rig the model realistically because the number of criss-crossing wires would become overwhelming.
Talking with Janet gave me confidence to start repairing the rigging. I began with the footropes which hold the sails furled and then entered a hugely enjoyable flow state repairing everything else. I used very fine nylon thread, archival tissue and adhesive to tie and reconnect the fine wires together. I repositioned some original wire that had been wound round things to get it out of the way and by the end found that there was actually much less missing rigging than I first thought. This is the finished article:
The result now strikes a balance – the ship still shows evidence of its past but has regained some of its "wow factor" too.
Sophie Rowe
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Solving the "Mystery of the Wilson sledge runner"
This object is the "Wilson sledge runner", and admittedly it does not look very interesting in its own right:
But appearances can be deceptive, because the story goes that this fragment was actually part of the dramatic moment when Scott's party, nearing the South Pole on 18th January 1912, saw the first signs that the Norwegians had been there already and had their hopes of being first to the Pole dashed.
The sledge runner was being used as a flag pole with a black marker flag and a note with a statement of the Norwegians calculations of their position. Edward Wilson and Scott both recorded this moment in their diaries, and Wilson also sketched the site before collecting the flag, note and part of the sledge runner:
The story goes on to tell how the fragment was allegedly found with the bodies of Scott and his party, and given to Wilson's widow, Oriana. From her it was passed to her great friend Evelyn Ferrar in her will, and was then brought to the Polar Museum by Evelyn's son Nick Forbes.
Nick Forbes asked the Polar Museum to examine the sledge runner to see if this story could be "proved". Apart from Scott and Wilson's diary entries which describe the finding of the flag and sledge runner, the whole story was only preserved in Nick's family as an oral tradition. Perhaps the fragment was not the one in the story after all. Proving something like this beyond all doubt would be impossible but it should be possible to tell how likely the story was.
When the fragment was examined in detail it quickly became apparent that it is part of a Norwegian sledge runner from the early twentieth century. The object is a piece of tapering metal which was used as protective cladding on a wooden sledge runner to protect it from damaging sharp ice. It is made from German silver, an alloy of copper, zinc and nickel which was used for a short period in the early twentieth century as a rust-free and inexpensive alternative to iron cladding. This important fact, as well as nail holes and other features of the object show that it is certainly from a Norwegian sledge from the right period. Amundsen was a Norwegian and would have planted the flag on the sledge runner in 1911. So, mystery solved – or not?
Unfortunately the English team was also using Norwegian sledges, and Scott bought all the sledges for both the Discovery (1901-4) and Terra Nova (1910-13) expeditions from Oslo! This means the fragment could actually be just a random piece of sledge runner from another of Scott's journeys which has been confused with the "Wilson" fragment. This is very possible because Nick Forbes' family have been closely connected to the world of Polar exploration for generations, especially Scott's Discovery expedition where Nick's grandfather H.T. Ferrar was the geologist.
The clues to solving the mystery of whose sledge runner this really was took a long time to find. I hunted through the Archives at SPRI looking for accounts of finding the bodies of the Polar party, along with their effects. I tried to track the journey of the sledge runner from there to the Forbes family through notebooks, wills, letters and exhibition catalogues, but frustratingly it was never considered worthy of mention. The flag and the note collected by Wilson at the same time were given to SPRI by Oriana Wilson herself in 1930, and interestingly these were never mentioned in any written sources either, but their provenance is not in doubt. I crawled around in our stores measuring sledge runners from our Discovery and Terra Nova sledges, and eventually I even looked under the stairs at Amundsen's delightful house near Oslo where one of the only surviving Norwegian South Pole sledges is stored:
I read many accounts of early twentieth century sledging. In short, I became a sledge runner nerd!
The crucial evidence to solve the mystery is visible in the sledge runner itself. On each side are parallel folds which show where it was wrapped around the wooden runner. The distance between these folds is 10mm, which would be the thickness of the runner too. The runners from the Discovery and Terra Nova expeditions are about 15mm thick and so much too thick to have fitted the fragment. Meanwhile, Amundsen's diary and his official account of his expedition show that he was obsessed with reducing the weight of all his equipment to the bare minimum. He actually ordered his sledges to be broken up, pared down as thin as possible and then rebuilt, saving many kilos in weight. The sledges which survive from Amundsen's expedition show that the runners were about 40% thinner than those used by the English, and were about 10mm thick. The nails used for cladding were also the same as those which were used with Nick Forbes' fragment. So the fragment could definitely have come from an Amundsen sledge.
Amundsen used thin temporary under-runners covered with metal cladding to protect the wooden runners in rough conditions. In many cases the cladding was made of steel, but according to his own account the leading sledge in the South Pole journey had non-ferrous fixings because iron plays havoc with compass readings.
Amundsen described how his team broke their under-runners in half to make flag poles and skied off in different directions to plant them near the Pole – just to ensure they had definitely covered the territory. A photograph of Wisting with his sledge taken near the South Pole in 1911 and now in Nasjonalbiblioteket in Oslo shows a whole under-runner fixed to the sledge, the same type as was later used to make the flag poles:
The weight of all the evidence taken together strongly supports the story of the sledge runner. The full story of the authentication has been written up and is now published in the latest issue of Polar Record. It will be made available free of charge through the University Repository Green Access scheme early in 2018. In the meantime the metal fragment has been kindly loaned to the Polar Museum by Nick Forbes and is on display there with the flag and note which were found at the same time.
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Cloches for a bomb ketch, sloop and barquentine
Ships are very important in the history of Polar exploration and that's why we have quite a lot of ship models in our collection. We display as many as we can in the museum and library, but some are kept in storage as there isn't space to put them all on show. The models are extremely intricate and delicate, so we really need to keep them free of dust because cleaning them is pretty risky for the rigging! Unfortunately even the smallest ship models are too big for our storage cupboards and end up gathering dust.
Inspired by my allotment I've come up with a nifty solution to this problem – cloches! We have three models in storage which can be covered by a frame very similar to what I use for bringing on veg plants in spring. These are the ships:
They are (from left to right) the bomb ketch HMS Terror, lost in 1845 during Franklin's voyage to the Arctic and discovered just last month on the seabed; the sloop Gjøa, (now at the Fram Museum in Oslo) which was the first to navigate the Northwest passage successfully, under the leadership of Roald Amundsen in 1903-6; and last but not least, Shackleton's three-masted barquentine "Endurance".
Each ship has its own stand, but the cloches need to be much bigger to cover the ship with enough clearance all round. So the stand is placed on a baseboard made from MDF, and restrained with little chocks glued in position to stop it sliding around:
Unfortunately the MDF is not archival, as it gives off acids which will speed up the degradation of the sails and rigging. So it needs to be sealed up with aluminium barrier film. This is the most time-consuming part of building the cloches, as the film has to be ironed on and it takes ages! Some bits (like the chocks) are too fiddly for the iron-on film, so I use archival aluminium tape to cover those. This is the Gjøa on the aluminium covered board:
The white bits are the aluminium tape. You can just see the holes in the corners – this is for the cloche framework which goes on next:
The framework is made from wooden dowels which also need to be sealed with aluminium tape to stop acids being given off. The glue I use to stick the bits together is archival too:
The last stage is sewing a textile cover with a flap opening for the cloche, from an archival fabric called Tyvek. I could have used polythene but decided not to as it is rather static and also heavy and unwieldy. The front of the cover is a flap to get the model in and out and the whole cover is attached to the baseboard with velcro to hold it in place:
The Tyvek is opaque so I have put a picture of the ship model on the outside of the cloche with it's museum ID number.
Job done!
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Plaster, poultices and Crayola crayons
Recently, I began treatment on a sculpted plaster bust by the Danish artist Eigil Knuth. Knuth was born in 1903 and spent many years of his life exploring Greenland, where he conducted archaeological excavations and scientific expeditions. From 1922 – 1924 he studied art at the Copenhagen Academy of Fine Arts, and he spent a further three years studying sculpture in Italy. In 1936 he crossed the Greenland ice cap and then spent the winter on the east coast at Angmassalik, where he made a series of portrait busts of Inuit people he met there. The Polar Museum has two of these busts in its collection; one of a child, and the other of a young woman:
In a treatment in 2014, the museum's conservator Sophie Rowe did surface cleaning of the sculpture and removed some of the disfiguring dark specks on the plaster. She noted that the yellowish substance around the base looked like what was intended to be a protective layer of wax, but that the object had been left sitting in a bath of it for a long time and it had become a thick, disfiguring coating. Additionally, the hair style of the woman is constructed from two pieces of plaster that were previously attached together, but the joint has broken. The joint on the bun is also covered in this thick, yellow wax which makes it impossible to reattach the pieces with an adhesive:
Plaster can be a tricky material to treat because it is very porous, so it soaks up anything that is applied to it. Even if you are just cleaning with water, the water will soak in and set any dirt or stains even further into the plaster. For this reason, when cleaning plaster, conservators often like to use a technique called poulticing. Poulticing involves putting a solvent (like water, or alcohol) in a substrate like cotton wool, cellulose pulp, or a gel, and applying that to the surface. The solvent in the cotton wool will travel into the plaster, dissolve whatever is causing the stain, and then as it evaporates, carry the stain back out to the surface where the cotton wool is. Thus, instead of just moving around in the plaster, the stain is moved into the poultice, which can then be removed. Here is a poultice on the hair piece:
Before I could use this technique on the object, I needed to find a solvent that would dissolve the wax but not the plaster, and which could be safely used in our lab. Luckily the wax was very thick on the base of the bust, and it was easy to take small samples of it. I would have liked to run the samples through an FTIR, which is an analytical instrument particularly good for the identification of organic substances such as waxes, but I wouldn't have access to one unless we waited several months. Instead I made an educated guess about the identity from a strong-smelling clue – the sculpture smelled exceedingly like a Crayola crayon! I did some research about what type of materials are in a Crayola crayon and what they are soluble in, and I did some solubility tests on my wax samples. This is what they looked like through the microscope:
I even took a video to document the solubility to show to my advisor, Sophie, when we discussed the treatment:
We decided on a solvent system that we thought checked all the boxes (dissolved the wax, didn't dissolve the plaster and was safe to use), and I got to work:
Thankfully, everything seems to be going as planned! Poultices can be really tricky to use successfully and sometimes you end up just moving a stain back and forth through a medium instead of removing it; and it can be slow going. Here is a poultice turning pale yellow as the solvent evaporates:
And this is the bust partway through treatment, next to a picture of the sculpture before I started removing the wax:
While there's still some work to be done, it's exciting to see the wax slowly disappear!
Megan Narvey
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"Terra Nova" sails into the museum at last
The Polar Museum has 17 ship models which are mini replicas of vessels used in famous expeditions to the North and South. So I was surprised to discover that until very recently the Museum did not have any model of Scott's ship "Terra Nova". That is why there has been no display of this ship in the gallery – until now.
Polar Museum buffs might remember that we do have a model of the Terra Nova made entirely out of silver, very kindly given to us in 2010 by the descendants of Robert Falcon Scott. This needs highly specialized conservation work to repair it and we are actively fundraising for this to be done by a conservation silversmith. But until this work is completed it can't be put on display.
However, we now also have a traditional wooden scale model of the Terra Nova, very kindly donated by Lindsey Westcott. Lindsey is a descendant of Robert Forde, who served as Chief Petty Officer on the Terra Nova Expedition in 1910-13, and took part in sledging journeys to the Cape in 1911.
The model is a 1:96 scale replica, made by Colin Freeman exactly according to the original ship plans which are held at the National Maritime Museum in Greenwich. We decided it would be a perfect addition to the ship model case in the museum gallery:
There was no spare space in the ship model display, so we decided to replace the model of the Gjøa, which was the first ship to navigate the Northwest Passage, sailed by Roald Amundsen. The ship models are all suspended from very fine steel wire in fitted metal cradles, which look a bit like birds when the model is taken out:
The Terra Nova hull is not the same shape as the Gjøa, so new cradles had to be made. Once again we called on the services of trusty mountmaker Bob Bourne to make fitted cradles for the new model. Then we swapped the two ships over:
Here are the Gjøa and the Terra Nova sailing past eachother on the museum trolley – something which never happened in real life.
There are numerous famous photos of the Terra Nova taken by Herbert Ponting and others, all in black and white. Personally I really like the splashes of colour on the model which remind you that of course the ship was not black and white in real life. Also the fine detail is amazing:
Because of the way it was installed, we could not re-use the steel wires which were used to hang the Gjøa, so we had to get new wire. Finding the right thickness to match the rest of the display was tricky, until Bob sourced some very fine twisted steel wire in a fishing shop. Apparently it is the perfect thing for catching pike! The wires were threaded through the new cradle, and the Terra Nova could be hung in place:
The ship display now shows the Erebus, the Nimrod, the Fram, and the Terra Nova, and so reflects much more closely the stories of Franklin, Shackleton, Scott and Amundsen which are told in the museum gallery. So many thanks to Lindsey Westcott!
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Introducing Megan – our new conservation intern
Hello, my name is Megan Narvey and I am the new conservation intern at the Polar Museum!
I wanted to introduce myself as I will be at the museum for the next five months, and will hopefully be able to share some of the projects that I am working on.
My conservation training has been through the Institute of Archaeology at University College London. I earned an MA in Principles of Conservation there in 2014, and will complete the MSc in Conservation for Archaeology and Museums this autumn. The main focus of my degree right now is work experience. I spent two months at the Museum of Anthropology in Vancouver, Canada, where I did treatments on Canadian First Nations cultural materials like a Kwakwaka'wakw wooden figure and a Tlingit basket. Then I spent five months in the Antiquities department at the Fitzwilliam Museum here in Cambridge, where I helped to prepare for the major exhibition Death on the Nile which is on right now.
At the Polar Museum I will be doing some treatments on museum objects – I have already started work on an Athabascan beaded baby belt from the Great Slave Lake region in the Northwest Territories. I will also be doing a collections care project to create better storage for the museum's large medals collection, and will help with all sorts of ongoing projects that will happen at the museum while I'm here (like helping to monitor for pests). The museum will also be a home base while I work on my Master's dissertation project throughout the spring and summer.
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In praise of blackout lining.
I recently blogged about our project to improve conditions for our framed artworks. Around 45 works have been removed from their frames and stored in more suitable dark archival storage boxes, while the frames have been packed away in the attic:
We have devised a system for numbering and labelling the frame packages and recording them in our database, so it is easy to find the right frame for each artwork if they need to be put back together for an exhibition. The alternative would be rootling through over 100 bags in the attic, which would be a nightmare…
There are still about 30 artworks which need to be protected from light, but which can't be taken out of their frames. Maybe the picture is very fragile and it is protected physically by the frame, like this delicate painting of Henry Bowers on textile:
Or perhaps the artwork is mounted in an unusual way and cannot be easily removed from the frame, like this painting of Port Stanley by David Smith:
Sometimes the work is on loan and we don't have permission to take it out of the frame, and sometimes it is just too big for our archival boxes. These items all need to stay in the mobile art racking in their frames, but we can still shield them from excess light. This is where blackout lining comes in! For each framed picture I am making a small bespoke curtain from blackout lining, and attaching it to the storage racking above with Velcro. There is a pocket on the front of each curtain for a label and photo of the picture underneath so they can be identified at a glance:
Regular readers might notice that we have used blackout lining before, to shield our Inuit artefacts from excess light on display during certain times of the year. It is not a glamorous or high tech solution but it works! And in storage we don't have the problem of remembering to put the curtains up or take them down every day, as once installed they can just stay put.
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Goodbye Ronja and hello kayaks
Our lovely conservation student Ronja from Berlin has finished her placement with us now and gone home – but not before changing our Inuit kayak model display on her last day:
The kayak models are in a relatively bright location in the gallery so they need to be rested periodically to reduce light damage. We found three models in the store to swap into the display, but they needed a bit of conservation treatment first. One particularly tricky item was the drag anchor from one of the model kayaks. A drag anchor was used by Inuit hunters when catching whales. It was attached to a harpoon and would slow the whale down and tire it out after it had been hit, so that the hunter could follow it and eventually kill it outright. Drag anchors have different designs, but this one is a bit like a tambourine without the jingly bits:
It is made from baleen (the filter strips in a whale's mouth) coiled into a ring, with a piece of gut stretched over the top to make a drum shape, and stitched in place with sinew. There are also very thin leather strips to make a line to attach to a harpoon. Unfortunately all these materials are very attractive to insects, so part of the baleen has been eaten, making the whole structure very weak. Meanwhile the gut has also split the whole way across and is very fragile, with more splits appearing, and the leather is broken in several places. The damage to the drag anchor makes it difficult to understand how it would have worked in practice, but is also very hard to repair without causing more damage in the long run.
We really wanted to put the drag anchor on display as we don't have any other version of this type of object in the collection. Ronja came up with a very nifty conservation mounting system that would make it clear how the drag anchor should look, but without putting the fragile original materials under pressure by sticking lots of new materials to them. First she made a patch to cover the hole in the gut skin top. She tested lots of materials to decide what to make the patch from, including sausage skins!:
Eventually she chose a rare Japanese paper called gampi paper. This was very kindly given by Bridget Warrington at the Cambridge Conservation Consortium, where they sometimes use gampi paper to conserve ancient manuscripts. Ronja painted the paper with watercolours to match the original drag anchor. Here is the patch and the leather harpoon line positioned to show how the drag anchor should look:
Instead of sticking the patch to the fragile gut, Ronja made a soft fitted mount to hold it in place just under the original. The mount was made in two sections out of archival foam. A piece in the middle had to be cut out to make room for the delicate leather strips attached inside the drag anchor, and there was a hole in the side of the mount to insert the harpoon line. The cocktail sticks in the picture are there to help line the parts up correctly:
Ronja also repaired the baleen ring to strengthen it, using more Japanese paper, this time a kozo paper. Here you can see the white paper repair before Ronja painted it to match the rest of the object:
Now the models were ready to install. Each kayak has a fitted metal cradle that screws into a brushed steel post in the display, and the model sits on top:
Once the kayak itself was in position, Ronja placed the drag anchor on the back and arranged the harpoon line. Then she arranged all the other accessories belonging to that model:
We are very pleased with the new kayak display – many thanks to Ronja and we wish her all the best!
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Potty prototypes
The Polar Museum is full of curious objects designed to make living and working in the hostile polar regions easier. In fact the collection started out more like a resource centre where prospective explorers could come and see equipment that others had used and share ideas (and perhaps even borrow something…). Not surprisingly, some items were tried out once or twice and never used again, but we still have them in the collection, along with the comments that people made about them which are recorded in our accession register.
One of the fringe benefits of doing a thorough condition survey of our objects is that we get to see some peculiar one-offs that we might never have noticed before. One that caught my eye was this combined snowshoe-ski (Y: 2011/36):
This was an experiment by the Falkland Islands Dependency Service aiming to get the best of both types of snow footwear – but apparently "they worked in neither capacity"!
Another oddity is the "racket ski" (N: 127) originally designed in the 1930s by George Seligman, an eminent glaciologist, for use by porters in the Himalayas. From the top it looks like a rather stubby ski:
But on the underside it has an unexpected covering of velvety fabric!
When you look closer you can see that there are actually two strips of fabric with the nap pointing in opposite directions. This prevents the skis from slipping either forwards or backwards, as the bristly fabric pokes into the snow. This technique was borrowed from the Lapps and the Inuit, who know a thing or two about snow travel, and used fur on the underside of boots and snow shoes in a similar way.
The telltale wire and small screws show where it was once hung up on display in the old style museum, for explorers to see the construction – many of our older objects have similar traces of historic display methods. The other ski in this pair has the wire on the other side so the pair could be hung next to each other showing the top and underside.
The advantage of racket skis was that "they require absolutely no skill in use, and a man, quite unversed in ski-ing, can put them on and walk straight away with them, the only precaution necessary being to keep the points from digging into the snow….Racket ski are superior to snowshoes in that it is not necessary to lift the foot or to walk with feet far apart, and their smaller width makes traversing on steep slopes much easier. They are particularly valuable for use in the neighbourhood of camps and for taking observations, being far less cumbersome and less likely to get mixed up with tripod legs and the like than ordinary ski."
These racket skis actually made it off the drawing board and were manufactured briefly by Lillywhites in London, but were apparently not widely used.
The most bonkers-looking "ski" in the collection by far is this one:
It was made during the British Graham Land Expedition (Penola) in 1934-7 for crossing treacherous sea ice – and it too has spent time hanging on the wall in the old style Polar Museum:
It consists of a short bit of wood wrapped with fur, with a leather toe strap to hold a boot. A pair of these would work by spreading the weight, and the fur was there to prevent slipping. The ski is very thick and heavy but only 63cm long. Personally I think you would have to be very brave or desperate to go out on treacherous sea ice wearing these. Not surprisingly this particular design never caught on – but several slimmer versions without the fur and with more complex foot straps were developed and manufactured in the 1940's. So appearances can be deceptive!
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text:
CARDS AT PLAY By Freddie North
CARDS AT PLAY
by Freddie North
This companion volume to "Conventional Bidding Explained" explains in clear terms a wide range of techniques available to the declarer, covering 20 key coups, squeezes, fonts and plays. It contains examples to help bridge players brush up on any weak areas of their game.
CARDS AT PLAY Summary
This companion volume to "Conventional Bidding Explained" explains in clear terms a wide range of techniques available to the declarer. It contains systematic coverage of many of the major techniques and tactics of card play, and includes 20 key coups, squeezes, fonts and plays with a thorough explanation of each. It also features a wide selection of examples to help bridge players brush up on any weak areas of their game. Information is presented for: elimination and avoidance play; blocking and unblocking; deceptive play; assumption in play; the principle of restricted choice; and safety plays. Readers may also make themselves familiar with the mechanics of: the Bath coup; trump coups; Morton's Fork coup; the Sciccors coup; the Devil's coup; the coup en passant; and smother play.
Customer Reviews - CARDS AT PLAY

redpajama_set_name: RedPajamaCommonCrawl


text:
Huawei patent leaked shooting of moon with 50X optical zoom
The State Intellectual Property Office announced a patent for Huawei, which is called "a method and electronic device for shooting the moon". The method automatically recognizes the moon in the preview interface and enters the moon shooting with Huawei P30 Pro after recognizing the moon, thereby automatically focusing the moon and displaying a clear outline moon image in the preview interface.
The State Intellectual Property Office announced a patent entitled "A Method and Electronic Equipment for Shooting the Moon" by Huawei Technologies Co., Ltd., which was filed on February 22, 2019.
According to the patent introduction, this method can capture a clear, crystal-clear moon in the normal shooting mode or during the shooting process of non-professional users, improving the user's shooting experience.
Previously, after the release of Huawei P30Pro, it took a while to shoot the moon, and the moon that was shot became more "exquisite" and caused a lot of controversies. Many people questioned whether this is AI optimization or "P"?
"Huawei shoots the moon" Luo Shengmen:
Huawei P30 Pro shooting moon is questioned as P map. In April this year, Huawei held a press conference to officially release Huawei's P30 series mobile phones and released a set of moon photos taken by Huawei P30Pro on its official Weibo.
Yu Chengdong, CEO of Huawei's consumer business, also posted photos of the moon he took with the phone on Weibo.
On April 13th, the well-known evaluation media loves the technology master Wang Yueqi to send a microblog to question Huawei P30Pro to shoot the moon "it seems to be P up", that is to say, that the phone will automatically recognize that the object is the moon, and then P a moon.
Subsequently, Wang Yueqi sent a microblogging said: "It was indeed ambiguous to say that the 'P' came out, saying that 'AI calculated' is more accurate."
He also said, "When the texture on the 'moon' is not a circular pit, but other things (such as underwear), the phone will also treat it as a circular pit, but at least it means that there is no built-in moon image stacked directly. "
For a time, "Huawei P30Pro shoots whether the moon is AI optimization or 'P' comes out" and falls into "Rashomon", causing various discussions with netizens.
On April 16, under the pressure of public opinion, Ai Ruo Technology issued a statement saying that Wang Yuexi was expelled because the test was not rigorous and misleading the user to incite emotion.
However, the question has not subsided. Among them, knowing how to treat love technology, Wang Yuexi said that the moon made by Huawei P30Pro is PS? Under the question, the answer to the answer to the main sparked a heated discussion.
After a detailed evaluation, he believes that Huawei does have the "P month" function, which is the ability to "have nothing".
In addition to the "reconstructed" picture of the very blurred moon, it can still be done: 1. Add the details of the complete elimination; 2. Restore the details of the flip-over; 3. Eliminate the extra added miscellaneous items.
He said that once the AI is recognized as the moon, the trigger mechanism, there will be a "nothing to have" ability to repair the pattern, equal to modify the answer according to the standard answer.
After taking photos of different objects, he found that Pluto, the moon's side, and the teacher's watch can trigger the P month function.
How did Huawei take a photoshoot of the Moon will be explained in detail in the coming post.
VIAchina.com
SOURCEchina.com
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text:
Secretary of the Army won't get rid of Gay solider's talking to him 'off the record'……
In a acknowledgement that taking action against gay solider's talking to him 'off the record' would chill the air US Army Secretary John McHugh has made it clear that off the record means that just that….off the record….and that he will not apply the 'Don't ask……Don't Tell' rules to the gay soldiers who speak to him frankly…….
Under the current law, known as "Don't ask, don't tell," service members who declare that they are gay would have to be discharged, but McHugh indicated he would not pursue any discharges against soldiers who make those statements in private conversations with him.
"I have had men and women in uniform approach me and declare that they were gay and give me their opinion," McHugh told reporters at a defense writers breakfast. "I don't consider, under the current way forward, that an open and honest discussion that is required in the secretary's directive is an outing."
President Barack Obama wants to see the "Don't ask, don't tell" law scrapped, and Secretary of Defense Robert Gates has tasked military service leaders with assessing the force's position on implementing a repeal of the Clinton-era law.
McHugh must have got beatup a little…..He isses this statement a day later…..
"With regard to the three soldiers who shared their views and thoughts with me on 'Don't Ask Don't Tell,' I might better have counseled them that statements about their sexual orientation could not be treated as confidential and could result in their separation under the law," McHugh said.
But will stick to original statement not to go after those who spoke to him off the record…….
Despite the need to clarify those comments, McHugh indicated that no action will be taken against those soldiers who told him that they were gay.
"Because of the informal and random manner in which these engagements occurred, I am unable to identify these soldiers and I am not in a position to formally pursue the matter," McHugh said.
Good Man!….
March 31, 2010 - Posted by	jamesb101 | Blogs, Breaking News, Counterpoints, Government, Law, Media, Men, Military, Other Things, PoliticalDog Calls, Politics, Updates, Women	| DADT, Don't Ask...Don't Tell, Gay soldier's, US Army Secretary


Belagavi: Violence broke out again in the thickly populated khanjar Galli, Khadak Galli, Ghee Galli, Jalgar Galli and Darbar Galli on Monday midnight as miscreants indulged in indiscriminate stone throwing that left a top police officer badly injured. Several vehicles were torched and many houses and vehicles got damaged. According to eyewitnesses many people were injured in stone pelting. Before the fire fighters and police rushed to the spot, irreparable damage had already been caused to the public property in these localities. A few weeks ago, similar violence had broken out in the same areas.
According to sources two groups from two different communities are believed to have indulged in stone pelting on Monday mid night in the above said areas. Many stone pelters will be arrested today based on CCTV footage.


text:
Santa Ana est un département fondé en 1855 qui se trouve à l'ouest du Salvador. Son chef-lieu est Santa Ana.

Géographie

Le département de Santa Ana fait partie de la Zone Occidentale (en espagnol: Zona Occidental), l'une des quatre divisions géographiques du Salvador. La Zona Occidental comprend également deux autres départements, ceux d'Ahuachapán et de Sonsonate.

Avec le département d'Ahuachapán qui confine au sud de celui de Santa Ana, il est l'un des deux départements à être frontalier avec le Guatemala, pays situé à l'ouest du Salvador.

À l'est, il jouxte deux départements de la Zone centrale, celui de La Libertad, au sud-est, et celui de Chalatenango, au nord-est.

Entièrement enclavé dans le quart nord-ouest du Salvador, il est montagneux dans sa quasi-totalité étant situé sur la Cordillère d'Apaneca où se trouvent un grand nombre de volcans dont l'Izalco et surtout le Santa Ana qui est le plus haut volcan du Salvador.

Municipalités

 Candelaria de la Frontera
 Chalchuapa : municipalité où se trouvent les ruines du Tazumal et de Casa Blanca.
 Coatepeque
 El Congo
 El Porvenir
 Masahuat : D'une grande importance touristique et archéologique.
 Metapán : Au nord du département.
 San Antonio Pajonal
 San Sebastián Salitrillo
 Santa Ana : chef-lieu.
 Santa Rosa Guachipilín
 Santiago de la Frontera
 Texistepeque : municipalité entre Santa Ana et Metapán.

Informations générales
Deux grands lacs se trouvent en partie dans le département de Santa Ana. Le lac de Güija près de Metapán et le lac de Coatepeque à l'est du département. Aussi le volcan Santa Ana ou Lamatepec est situé dans ce département.

C'est aussi le centre culturel des tribus Maya-Quiche.

Division administrative fondée en 1855

redpajama_set_name: RedPajamaWikipedia


Dual α9β1/α4β1 integrin inhibitor; rapidly and preferentially mobilizes HSCs and progenitors. Augments HSC mobilization in combination with AMD3100 (Cat. No. 3299).
High affinity fluorescent derivative R-BC154 (Cat. No. 6048) also available.
The following data is based on the product molecular weight 537.56. Batch specific molecular weights may vary from batch to batch due to the degree of hydration, which will affect the solvent volumes required to prepare stock solutions.
If you know of a relevant reference for BOP, please let us know.
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Many people will recognise Sue Such as a longstanding and highly respected resident of Didcot, Oxfordshire. Within her community she has spent many years raising issues of topical importance and successfully representing those less able to defend themselves.
This website is a chance for Sue to communicate directly with her community, highlighting issues that don't always reach the front pages of the newspapers.
Sue works diligently to establish a relationship and rationale that ensures the best possible outcome for all. She is a real champion of the "underdog". She works particularly diligently and tenaciously for those less able to defend themselves and unable to fight for their rights.
Michael J Stokes, BA, MS, MA, Dip Ed.


When people visit any restaurant all they want is delicious food, quick service and a quality time to relax with friends and family. However problems such as shortage of staff or menus, rush hours and lack of knowledge on the items offered often blocks the way to quality offerings barring a restaurants image.
Observing and facing such problems, the founder of Voolsy – Smit Nebhwani came with this concept that would help both the customers and the restaurant owners to ease out the dining.
An application that works inside restaurants to ease out the order and paying process using iBeacons.
Voolsy being a cloud based solution is flexible, can be used from any location and is secure. It helps busy owners manage things from anywhere.
You just need to invest on the tablets and the printers to be used at your dining area. The best part is that this system can be installed almost in no time and does not require any modification to the current system that is being offered.
Once a customer enters the dining area, his entire dining experience will be controlled by him. Right from placing the order, customising it and paying the bill — entire process can be managed by the user. Even if they need a waiter or a manager, they can be called at the press of a button.
Voolsy saves time of a customer and helps them place order very quickly. Due to the time saving process, the overall table turnaround is increased. This leads to more profits and return on investments. The time saving process has helped restaurant owners increase their sale by 24%.
Voolsy helps owners manage real time records of payments and orders, manage staff effectively and focus more on offering quality food since the primary task of taking orders is managed by Voolsy itself. Since a lot of operational tasks are assisted on by Voolsy, restaurant owners can now focus on providing quality food.
Voolsy provides upselling feature due to which different food items are suggested when a customer is placing the order. This leads to increase in the upsell items and more per order value.
Voolsy provides reports on details that help making informed decisions about the future promotional activities, marketing campaigns, expansion plans and ways to manage the non peak hours. The likes and preferences of the customers are know so they can be leveraged on to gain more loyalty. The analytics provided by Voolsy have helped restaurant owners to increase their productivity by 30%.
Voolsy provides marketing options such as in-restaurants promotions to market offers real time. Instant offers can be provided to users dining in your area gain more loyalty, trust and goodwill.
Right from the amount of sales done on each day, new customers visiting the dining area, repeat customers coming to the places, most occupied hours at the dining area all the details are available in the reports provided through the Voolsy Admin section. These reports helps restaurants owners know the ins and outs of their place and leverage on their strengths.
Voolsy offers great marketing activities for its partnered Restaurant. It regularly conducts campaigns to get more footfalls and awareness about the offerings of the dining area. Collaboration with Voolsy is mutual and it leads to benefit of both Voosly and the partnered outlet.
Voolsy is currently working with 700+ outlets across three cities and is gradually gaining more acceptance with people. As envisioned, it is bringing a revolution in the way people are dining helping them focus more on having food rather than waiting for a waiter to get their order.
Want to know more about Voolsy, check our video!


Working in sales can be tough. So, it's vital that sales professionals have access to quality information and inspiration that will encourage them to perform at the highest professional level. If you're looking for a motivational sales keynote speaker in San Francisco that can drastically improve how your sales force operates, then it's time to book Boaz Rauchwerger.
Motivational speakers have a tendency to rehash content from previous events that your audience may have heard many times before. Duplicated content has a dull and uninspiring effect on audiences. Luckily, Boaz brings a unique and engaging perspective to a wide range of key corporate topics that will enlighten and entertain your audience.
Boaz has a distinct style that builds off his successful experience as a company owner, advertising guru and well-known keynote speaker. Boaz delivers original content that is as important as it is compelling.
Aside from having a formidable reputation as a sales speaker, Boaz can deliver insights on a wide variety of topics including employee communication, attitude alignment, goal setting for success, and effective team building. Boaz's incomparable style allows him to explore a diverse list of topics that can be customized to meet your organization's expectations and objectives.
Boaz's successful career as a professional and engaging motivational speaker has provided him with the tools and stage presence to effectively deal with audiences of all shapes and sizes. Boaz is the perfect choice for a wide variety of events. Whether it's an after-dinner speaker, a keynote address at your next conference, exhibition, corporate event or other notable occasion, choosing Boaz as your keynote speaker. He will leave your audience inspired and ready to perform at their best. If you are in the San Francisco area, and in need of a speaking professional with plenty of valuable wisdom to share, then it's time to give us a call at (619) 723-3007.


text:
Guantanamo guards tell of prisoner attack
U.S. NAVAL BASE GUANTANAMO BAY, Cuba — Army "block guards" were making their daily walk through the stifling heat of the cellblocks inside the barbed wired camp here in late May.
But after a guard discovered a dangerously sharp object hidden in the empty cell of a detainee, a violent confrontation ensued, illustrating military officials' contention that criticisms from human rights groups only tell part of the story.
According to two Army prison guards, one 22 years old and the other 28, the prisoner was temporarily in another part of the prison for a bath when the jagged, rectangular piece of metal, three to four inches long was found and removed.
But the two guards, who spoke in a rare interview with The Washington Times on the condition of anonymity, said an altercation then followed in which the detainee tried to gouge out one of the guards' eyes.
After first allowing the detainee to return from his shower to the cell, a five-man team of guards then began a carefully choreographed "cell extraction" to move him to another cell, where he would not be able to do further damage.
"He was extremely aggressive from the moment we went in," said the 28-year-old guard, whose job it was to "push the detainee back" as another guard quickly handcuffed the prisoner.
Before the cuffs could go on though, things went wrong and the detainee forced his hands up under the first guard's plexiglass face mask and began digging for the eyeball.
"He tried to insert one finger into my eye socket, then he transitioned into a fishhook maneuver," the guard said. "He got his finger into my mouth and was trying to rip my cheek off." After another moment, the detainee's hands were forced down and into the cuffs.
The entire incident was videotaped, as are all cell-extraction procedures under the tight protocol with which military officials have been running the Guantanamo prison amid scrutiny and harsh criticism from human rights advocates.
Senior officials here, several of whom take ongoing criticism of their performance at the prison personally, eagerly described the incident as an example of "the other side of the story" about Guantanamo, which they say deserves a closer look.
"It's an extreme slap in the face to me frankly that the American public is being led to believe that we're abusing, or mistreating detainees," said Col. Michael Bumgarner, the senior officer working inside the prison camp, which holds 585 enemy combatants held on suspicion of working for the Taliban and al Qaeda.
Human rights groups aggressively criticize the camp, where most of the detainees have been held more than three years without ever being told the "classified" charges against them. Most recently, Amnesty International described Guantanamo as "the gulag of our time."
A classified report by the International Committee of the Red Cross, a neutral organization with access to military prisons worldwide, has described abusive interrogation techniques used on the detainees. In March, the Massachusetts-based group Physicians for Human Rights, cited "systematic psychological torture" of detainees.
Last week, the Pentagon also acknowledged several incidents of Koran mishandling, although most were inadvertent and all were punished.
The military is spending about $2.8 million to construct a psychiatric ward for mentally ill detainees.
Buildings being constructed according to state-of-the-art standards for federal prisons will replace the existing outdoor camp. One with 100 beds opened last year, and construction on another with 220 beds is expected to start soon.
The psychiatric facility is needed because about 4 percent of the detainees are on psychotropic medications for illnesses ranging from schizophrenia to manic depression, said Navy Capt. Steve Edmonson, the head doctor for detainees.
"We have an ethical responsibility to provide treatment they need regardless of what they've done or what they're accused of," he said, denying the new psychiatric ward was a response to criticism by human rights groups.
Military officials said about the late-May incident that, aside from deep scratches and bruises, neither the detainee nor any of the prison guards were seriously injured. The sharp object turned out to be a chunk of steel broken from the wire-mesh wall dividing cells in the camp.
Officials refused to give more details about the detainee, such as where he is from or why he is being held. Col. Bumgarner claimed that the detainee was "a guy who's trained in terrorism combat."
Command Sgt. Maj. Anthony Mendez, the senior enlisted man inside the camp, said the majority of the time guards and detainees get along, and that it is "a small amount" of detainees who are consistently aggressive.
One of the two guards who spoke anonymously with The Times said it was "a daily event" for he and others to have insults and threats hurled at them by a small group of angry detainees.
Col. Bumgarner said some detainees taunt guards by referring to the leader of the al Qaeda terrorist attacks in Iraq.
"'Zarqawi kill you' — that's their favorite line," he said.


Ego Placebo is Survival via Mutilation and Beautification.
Ego Placebo centers itself in the canon of contemporary Filipino-American art: the artist lives in an amalgam of two cultures — one by choice and one by force — both conditional. The artist mines her personal mythology into aesthetic expressions wherein the viewer projects their own connections to and interpretations of the exhibited works. Ego Placebo stares back at the forces that made the artist hate her body, the same forces that allow Others to navigate their social environments without ever interrogating their corporeal form. Ego Placebo reaches for a traditional way of knowing obscured by centuries of European colonization, wherein meaning is mutable and intuition is logic. Ego Placebo is an audacious celebration of the Self. Ego Placebo seeks the edge of Western limitation, a hedonistic exploration of pleasure and pain.
The Self is the first lens through which one views the world. It is the rawest and freest material born of impulse; existing both as a construct by which its wearer can navigate their cultural environment and a construct through which its wearer may reveal themselves to the Other. Value placed on the latter construct by the Other is debatable, shifting with the certainty of the stock market. If the Self is obscured through interference, one undertakes a journey to reclaim what was taken or adapts to an existence where the Self is decentralized; unknowable without an Other.
How does the Self survive a culture that hates it? What tools, in defiance of empirical logic, help it adapt to the environments its cultures occupy?
Wiley (b. 1995, she/her) Filipino-American artist from Honolulu, HI. Wiley holds a BFA from Portland State University. Wiley creates self-reflective works with materials and methods associated with her childhood in an effort to better understand how her lived experiences create and shape who she is. She has exhibited works in Hawaii and Oregon including Pacific University and Portland State University. Wiley's work is in the private collections of Mike Rutherford and Pacific University, and was featured in Sculpture Magazine. She was awarded an Honorable Mention in the Outstanding Student Achievement in Contemporary Sculpture Award from the International Sculpture Center, and a Juried Commendation from the Arlene Schnitzer Visual Arts Prize.
(Portland, Oregon) Fuller Rosen Gallery proudly presents Angélica Maria Millán Lozano's first solo exhibition: TREGUAS on view November 17, 2018 - December 20, 2018.
The exhibition frames treguas or truce as a process of negotiation, acceptance, forgiveness, and healing; between self and body, self and partner, self and beauty, self and history.
Lozano's work explores rite of passage constructs using the narrative of her abuelita, who was forced into marriage at age fifteen — an age now synonymous with the iconic Latin American Quinsiañera. Lozano reckons with these uneasy truces through textile and soft sculptures that recall clothing and bodily adornment. Sequin, crushed velvet, and lamé forge agency in treguas.


Amazon has employees that are paid to listen to what people ask Alexa to do. That's kind of creepy, right? Amazon officials say they do it to improve Alexa's performance. They explained the practice to Bloomberg: "Amazon.com Inc. employs thousands of people around the world to help improve the Alexa digital assistant powering its line of Echo speakers. The team listens to voice recordings captured in Echo owners' homes and offices. The recordings are transcribed, annotated and then fed back into the software as part of an effort to eliminate gaps in Alexa's understanding of human speech and help it better respond to commands."
Even if someone isn't listening, your question, demand, or conversation is recorded every time you trigger the smart speaker. You can find these recordings by opening the app and clicking the menu on the left side. Select the Settings button and go down to History - you'll be able to read everything you've said and play back the audio from every conversation you've had with Alexa - And delete it all.


text:
Inside Energy (http://insideenergy.org/2014/10/10/oil-engineering-boom-plenty-of-students-but-not-enough-teachers/)
Oil Engineering Boom: Plenty Of Students, Not Enough Teachers
By Dan Boyce | October 10, 2014
Dan Boyce
Colorado School of Mines petroleum engineering professor Carrie McClelland helps one of her smaller seminar classes work through a group project.
"I don't think a lot of [trained petroleum engineers] can justify coming here for half the salary to work incredibly hard to teach instead," McClelland said of the professor shortage facing petroleum engineering programs.
The $27-million Marquez Hall opened at the School of Mines in 2012, designed for 300 students. The program now has about 900 undergraduates enrolled.
Many classrooms in Marquez Hall are sponsored by various, and competing, oil and gas companies.
Petroleum Engineering Senior Kate Denninger says class sizes have increased dramatically during her time at the School of Mines.
For Colorado School of Mines petroleum engineering professor Carrie McClelland, teaching a seminar of 45 students seems like a bit of relief. Normally her class sizes are closer to 80 or 90.
"It makes it difficult to make sure that they're still getting a great education," she said.
Enrollment in petroleum engineering at the school of mines, and at similar programs around the country has risen dramatically in the last five years in response to the nation's energy boom.
Where enrollment at the Colorado School of Mines nearly doubled in the past five years, the University of Wyoming more than quadrupled in that time. UND's program exploded from four students in 2010 to 286 this semester. See the data used to make this chart here.
Students are flooding into these programs to cash in on high-paying, industry jobs. Conveniently for the students, there are plenty of these jobs to go around.
It has not been convenient for many educators. Although the School of Mines has gone from under 300 undergraduate PE students to about 900 in the last decade, the faculty has stayed the same size.
"It's becoming unmanageable in some sense," said University of Wyoming professor Vladimir Alvarado.
His program has quadrupled in the last five years. They are requesting more faculty to handle the growth, but the problem is finding qualified professors. Public universities just can't compete with the salaries being offered by oil and gas companies.
At the Colorado School of Mines, a petroleum engineering professor makes a little more $100-thousand a year, on average. They could make double if they went into industry.
Schools are doing what they can to manage; creating more and more sections of the most popular classes to reduce class sizes and moving to more multiple choice tests to lower grading time. The School of Mines is having more undergraduates work as Teachers Assistants, like Senior Kate Denninger.
"It's great to be on the opposite side of things," Denninger said, "trying to help these guys get through the same problems I did."
Industry is stepping in, too, helping pay for new equipment and classrooms. At the School of Mines, oil company Schlumberger is even paying for one of its own employees to teach courses as an adjunct professor. Also, interim department head Erdal Ozkan said a saving grace in the professor shortage has been foreigners. More international academics are willing to accept lower pay for a chance to work in the U.S, and particularly, Ozkan says, for U.S. universities:
"We have the best universities, we still have the best research programs, we have the best connection with the industry," Ozkan said.
Professor Carrie McClelland—she won't be contributing to the teacher shortage either. She actually took the opposite path, coming into the classroom from industry.
"Yeah, it's not about the money for me," she said, even if that is what it's about for a lot of her students.
There are 21 petroleum engineering programs in the country. This site ranks the top 15 PE schools for this year.
USA Today recently ranked the top-10 highest paying college majors. Surprise surprise, petroleum engineering is number one.
The hiring problems faced by academic institutions are also being faced by state regulators trying to hire specialists in oil and gas. Check out this story from our own Stephanie Joyce.
Making Energy
About Dan Boyce
Dan Boyce is Inside Energy's Colorado-based reporter. He's a native Montanan and worked previously at Montana Public Radio.
More by Dan
Spark! Unpacking The Politics Of Energy In Colorado
On Thursday night, Inside Energy gathered some great minds at the Colorado School of Mines for a discussion on energy and politics. A part of our ongoing Spark! series, we learned a lot that evening about Colorado's past entanglements with energy and policy, and how the experts felt about current energy policies.
Oil Development Impacts On Theodore Roosevelt National Park
Low-Carbon Equals Low-Pollution


At one point we had over 55 people in the room – what an amazing turnout!
Dunmow is fortunate to benefit from so many volunteers who freely give of their time, experience and energy – from drivers for the hospice, to people keeping footpath networks open and accessible, through to volunteers who have been working for over twenty years to safeguard local history and heritage.
Volunteer Uttlesford hold up to date information on a wide variety of volunteering opportunities and can help match your interests to the opportunities that are available.
You are never under any obligation and the service is completely free and confidential.


Different members of the congregation take turns leading the worship services. Occasionally we will have a different type of service such as a hymn sing or a guest speaker.
We host special services such as Memorial Services and Weddings. Please contact us for more detail.
We also host special services for religious holidays. Easter Sunrise Service is at Sunset Hill House at 5:45 this year. Easter Service is at 10:30 followed by an Easter Egg Hunt at noon. On Christmas Eve, we have a service geared for families with young children at 4 PM and the traditional service of Lessons and Carols at 7 PM.


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Posts Taggedbrandingtip
Don't Be Afraid To Draw A line In The Sand, Know Who You're NOT
in bigmarv Coaching Training on August 31, 2021 August 30, 2021 Share Facebook Twitter Pinterest Email 0
What's good?! Today, we are going to begin to establish your culture. At first thought people think of this as knowing who they are and what they want. However, it's imperative to also…
Branding Is More Than What You See, Let's Take A Peek Behind The Curtain
in bigmarv Mornings With Marv on May 3, 2021 April 29, 2021 Share Facebook Twitter Pinterest Email 0
As an entrepreneur, the most important thing to do is build your brand one step at a time. You may not see its essence now, but you will in the future. If you see an…
Why Personal Branding Matters When You're Building A Legacy
Do you know that you are a personal brand as a whole? It's critical that you understand your brand and everything it stands for. There is a lot involved in developing a personal brand, but…


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A portrait of the conflict between the powerful and the power, of one mans fierce reaction to injustice, and of one womans stoical strength, the novel captures the horrors of the Great Depression and probes into the very nature of equality and justice in America.
At once a naturalistic epic, captivity narrative, road novel, and transcendental gospel, Steinbecks powerful landmark novel is perhaps the most American of American Classics.
Reviews of the The Grapes of Wrath
Giving a book like the Grapes of Wrath to a 15 year old serves largely to put them off fine literature for the rest of their lives. A book like the Grapes of Wrath should be required reading - for every American over 30.
If you are an American you need to read The Grapes of Wrath. Some guys with a lot of cash came along and bought up all the struggling family farms and leased the land back to the former family farmers and when they couldnt produce, the new Owners kicked the families out of their homes. From California came hand bills, pamphlets promising jobs and urging the homeless to drag their whole lives via barely moving junk heaps to the golden state where grapes grew in bunches by the side of the road. They were called Okies and shitheals and were looked down upon. The people with money would ask, as if being poor was a choice. The owners sent out more handbills then they needed to. Because the more men begging for a job the less the owners would have to pay them. And the great owners, who must lose their land in an upheaval, the great owners with access to history, with eyes to read history and to know the great fact: when property accumulates in too few hands it is taken away. The land fell into fewer hands, the number of the dispossessed increased, and every effort of the great owners was directed at repression. We need to sit down, shut up, and stop asking questions because he, being a rich bastard, is an owner and we should know our place. Pray God some day kind people wont all be poor.
Noi siamo esseri umani, e siamo destinati a combattere il sopruso con l'insurrezione."Sconfortante sarebbe notare che l'Umanità rinuncia a soffrire e morire per un'idea; perchè è questa la qualità fondamentale che è alla base dell'Umanità, questa la prerogativa che distingue l'uomo dalle altre creature dell'universo"E allora Tom, uno dei protagonisti dell'esodo biblico della famiglia Joad, con la sua incapacità a tollerare le angherie che subiscono i suoi cari, diventa il simbolo e l'incarnazione dell'essere umano di John Steinbeck.
I'm thinking of the descriptions of the natural world like that wonderful chapter about the turtle, who eventually gets scooped up by Tom. You see the world through the turtle's eyes for a moment and you see how the indifference of the characters to nature is a larger phenomenon that leads to their own ruin. There's another, similar type of moral breakdown at work in the wonderful passage about the car dealers talking about how to rip people off. Thus, the Joads are eventually forced to leave the government camp in search of work. Suffice it to say that the harrowing ordeals don't end there, nor the emphasis on simple human kindness as the antidote to the capitalist machine. Simple human kindness becomes, by the end, the mother's milk that can sustain them, but only barely and uncertainly, and we're left with the indelible portrait of people trying to survive, unsure how it might turn out.
farmers lost their homes and land to the banks incapable to repay their loans , (no crops no money) symbolized by the Joad family of Oklahoma in the 1930's . Where a hungry large group of people, travel to the promise land of California a distant 1,500 miles away but find more starvation, abuse and death. In an old dilapidated automobile the Joad's , Ma the de facto leader and Pa, Tom, just released from prison for killing a man in self defense ( it didn't help that both were drunk) .
Imagine having nowhere to go, but still crossing the desert in hope of finding a future after your past was wiped out by human failure, greed and environmental carelessness? Steinbeck is one of those authors that I love unconditionally, more and more with each reading experience. Just recalling the voices of the characters makes me shiver - as they suffer through the ordeal of fleeing from the Dust Bowl, that environmental catastrophe caused by greed and paid for by individual families, to a Californian paradise which doesn't welcome newcomers. Family saga, social study, historical document, political standpoint, ethical statement on compassion and greed - it is all there, but invisible under the masterfully crafted story, which has its own quality, beyond the message on the essential needs and worries of poor, common people without protective networks.
Those poor, dirty Joads. After being displaced from their Oklahoma farm following the Dust Bowl storms that wreck their crops and cause them to default on their loans, the Joads find themselves a family of migrants in search of work and food. Only once they arrive, they discover that there is nothing prosperous about itnot only is there a serious shortage of work (mostly caused by an overabundance of labor that came with the influx of so many other migrant families), but they also have to contend with growing anti-migrant sentiment among the local population and wealthy landowners who think nothing of taking advantage of them in their state of vulnerability. Without proper labor laws protecting workers rights and no trade unions to represent their interests, the Joads are severely underpaid for whatever work they do manage to find, and they simply fall deeper and deeper into despondency.
Most of the 4 and 5 star ratings came from those who read it as adults. At one point in the story, Ma tol' Rosasharn that it ain't all about her (most high school kids think everything is all about them, which is probably one reason they couldn't enjoy this book or most other classics they are forced to read). I wasn't disappointed in the lack of closure at the end, because the closure came in the middle when Ma said, "Rich fellas come up an' they die, an' their kids ain't no good an' they die out.
He wrote the Pulitzer Prize-winning novel The Grapes of Wrath, published in 1939 and the novella Of Mice and Men, published in 1937. In all, he wrote twenty-five books, including sixteen novels, six non-fiction books and several collections of short stories. Seventeen of his works, including The Grapes of Wrath (1940), Cannery Row (1945), The Pearl (1947), and East of Eden (1952), went on to become Hollywood films, and Steinbeck also achieved success as a Hollywood writer, receiving an Academy Award nomination for Best Story in 1944 for Alfred Hitchcock's Lifeboat.
Een zuivere liefde...
Al haar hooggestemde idealen over de liefde worden in één klap verwoest als ze bij hem intrekt: de huwelijksnacht is ...
The Ultimate Hitchhiker's Guide to the Galaxy...
"The Hitchhiker's Guide to the Galaxy"Seconds before the Earth is demolished for a galactic freeway, Arthur Dent is s...
Legends of Persia...
As a presumed goddess, Ashley is expected to b crops, make sure battles are won and somehow keep herself out of the h...
A Natural History of Seeing: The Art and Science o...
"Novelist and science writer Simon Ings sets out to solve mysteries of seeing, taking us through the 600-million-year...
Dead Cert...
As jockey Alan York looked at the back of Bill Davidson astride the great horse Admiral, one thing was different.
Prowlers...
SCATTERED FAR AND WIDE, THEY HAVE HUNTED AS BEST THEY COULD IN THE HARD LANDS, IN PLACES WHERE THEIR PREDATIONS COULD...
Publish Date: April 10th 2014 by Viking


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David built houses for himself in the city of David. And he prepared a place for the ark of God and pitched a tent for it. Then David said that no one but the Levites may carry the ark of God, for the Lord had chosen them to carry the ark of the Lord and to minister to him forever. And David assembled all Israel at Jerusalem to bring up the ark of the Lord to its place, which he had prepared for it. And David gathered together the sons of Aaron and the Levites: of the sons of Kohath, Uriel the chief, with 120 of his brothers; ...
And when he had taken the scroll, the four living creatures and the twenty-four elders fell down before the Lamb, each holding a harp, and golden bowls full of incense, which are the prayers of the saints. And they sang a new song, saying, "Worthy are you to take the scroll and to open its seals, for you were slain, and by your blood you ransomed people for God from every tribe and language and people and nation, and you have made them a kingdom and priests to our God, and they shall reign on the earth." Then I looked, and I heard around the throne and the living creatures and the elders the voice of many angels, numbering myriads of myriads and thousands of thousands, saying with a loud voice, "Worthy is the Lamb who was slain, to receive power and wealth and wisdom and might and honor and glory and blessing!" ... Share Your Faith Products
For the entrance of the inner sanctuary he made doors of olive wood, the lintel and five-sided doorposts. So he made two doors of olive wood, and he carved on them carvings of cherubim, palm trees, and open flowers, and overlaid them with gold; and he spread the gold on the cherubim and on the palm trees. So also he made for the entrance of the nave four-sided doorposts of olive woodread more. Scripture Verse Crafts
If you would like to read some Christian 'Poetic' Housewarming Card Verses & Housewarming Poems, click on, 'Christian Housewarming Card Verses'. If you are searching for a particular card verse, then click on, 'Christian Card Verses' where I have many verses categorized for many different occasions. To visit the 'In God's Word' index page, click on the back button below. The index page has links to scriptures categorized on many different topics. Please click on the 'Share With Friends' button above, if you want to send this page to a friend. Remember, there is more Christian poetry in the 'Christian Poetry Pages' section, also Christian Poetry for Special Occasions in the 'Special Occasion Poetry' section. Bible Verse Crafts
Thus says the Lord, "Go, buy a potter's earthenware flask, and take some of the elders of the people and some of the elders of the priests, and go out to the Valley of the Son of Hinnom at the entry of the Potsherd Gate, and proclaim there the words that I tell you. You shall say, 'Hear the word of the Lord, O kings of Judah and inhabitants of Jerusalem. Thus says the Lord of hosts, the God of Israel: Behold, I am bringing such disaster upon this place that the ears of everyone who hears of it will tingle. Because the people have forsaken me and have profaned this place by making offerings in it to other gods whom neither they nor their fathers nor the kings of Judah have known; and because they have filled this place with the blood of innocents, and have built the high places of Baal to burn their sons in the fire as burnt offerings to Baal, which I did not command or decree, nor did it come into my mind— ... Share Your Faith Products
See what kind of love the Father has given to us, that we should be called children of God; and so we are. The reason why the world does not know us is that it did not know him. Beloved, we are God's children now, and what we will be has not yet appeared; but we know that when he appears we shall be like him, because we shall see him as he is. And everyone who thus hopes in him purifies himself as he is pure. Scripture Verse Crafts
If then you have been raised with Christ, seek the things that are above, where Christ is, seated at the right hand of God. Set your minds on things that are above, not on things that are on earth. For you have died, and your life is hidden with Christ in God. When Christ who is your life appears, then you also will appear with him in glory. Put to death therefore what is earthly in you: sexual immorality, impurity, passion, evil desire, and covetousness, which is idolatry. ... Scripture Verse Crafts
The memory match game requires several index cards. A single word of one Bible verse is written on each card and placed face down on a table. Cards can also be placed on the floor for more space. The goal is for students to turn over one card at a time in the correct order of the whole verse. This may take several attempts as children try to memorize where the cards are. If one child turns over three correct words in a row, but the fourth is wrong, he loses a turn. The cards are all turned over again and the next child has a chance. If the game is too difficult, teams or groups can play against each other. Bible Scripture Verse Crafts
So he made two doors of olive wood, and he carved on them carvings of cherubim, palm trees, and open flowers, and overlaid them with gold; and he spread the gold on the cherubim and on the palm trees. So also he made for the entrance of the nave four-sided doorposts of olive wood and two doors of cypress wood; the two leaves of the one door turned on pivots, and the two leaves of the other door turned on pivots. He carved on it cherubim, palm trees, and open flowers; and he overlaid them with gold evenly applied on the engraved work. Scripture Verse Crafts
"Then bring near to you Aaron your brother, and his sons with him, from among the people of Israel, to serve me as priests—Aaron and Aaron's sons, Nadab and Abihu, Eleazar and Ithamar. And you shall make holy garments for Aaron your brother, for glory and for beauty. You shall speak to all the skillful, whom I have filled with a spirit of skill, that they make Aaron's garments to consecrate him for my priesthood. These are the garments that they shall make: a breastpiece, an ephod, a robe, a coat of checker work, a turban, and a sash. They shall make holy garments for Aaron your brother and his sons to serve me as priests. They shall receive gold, blue and purple and scarlet yarns, and fine twined linen. ...
And it will come about in that day, that every place where there used to be a thousand vines, valued at a thousand shekels of silver, will become briars and thorns. People will come there with bows and arrows because all the land will be briars and thorns. As for all the hills which used to be cultivated with the hoe, you will not go there for fear of briars and thorns; but they will become a place for pasturing oxen and for sheep to trample.
"If you happen to come upon a bird's nest along the way, in any tree or on the ground, with young ones or eggs, and the mother sitting on the young or on the eggs, you shall not take the mother with the young; you shall certainly let the mother go, but the young you may take for yourself, in order that it may be well with you and that you may prolong your days. Bible Scripture Verse Crafts
Glory of ChristOther BlindingChrist's Own GloryAgeControlling Your ThoughtsUnbelieversPerfection, DivineCommitment, to the worldChrist, Names ForSatan, Kingdom OfSatan, Titles ForThe Light Of ChristDarkness, As A Symbol Of SinCultsRevelation, In Ntevil, origins ofSpiritual Warfare, Causes OfHeart, Fallen And RedeemedBlindingSpiritual Blindness, Results Of Sin
Then Moses said to the people of Israel, "See, the Lord has called by name Bezalel the son of Uri, son of Hur, of the tribe of Judah; and he has filled him with the Spirit of God, with skill, with intelligence, with knowledge, and with all craftsmanship, to devise artistic designs, to work in gold and silver and bronze, in cutting stones for setting, and in carving wood, for work in every skilled craft. And he has inspired him to teach, both him and Oholiab the son of Ahisamach of the tribe of Dan. ... Bible Scripture Verse Crafts
He also made two capitals of molten bronze to set on the tops of the pillars; the height of the one capital was five cubits and the height of the other capital was five cubits. There were nets of network and twisted threads of chainwork for the capitals which were on the top of the pillars; seven for the one capital and seven for the other capital. So he made the pillars, and two rows around on the one network to cover the capitals which were on the top of the pomegranates; and so he did for the other capital. The capitals which were on the top of the pillars in the porch were of lily design, four cubits. There were capitals on the two pillars, even above and close to the rounded projection which was beside the network; and the pomegranates numbered two hundred in rows around both capitals. Thus he set up the pillars at the porch of the nave; and he set up the right pillar and named it Jachin, and he set up the left pillar and named it Boaz. On the top of the pillars was lily design. So the work of the pillars was finished. Now he made the sea of cast metal ten cubits from brim to brim, circular in form, and its height was five cubits, and thirty cubits in circumference. Under its brim gourds went around encircling it ten to a cubit, completely surrounding the sea; the gourds were in two rows, cast with the rest. It stood on twelve oxen, three facing north, three facing west, three facing south, and three facing east; and the sea was set on top of them, and all their rear parts turned inward. It was a handbreadth thick, and its brim was made like the brim of a cup, as a lily blossom; it could hold two thousand baths. Then he made the ten stands of bronze; the length of each stand was four cubits and its width four cubits and its height three cubits. This was the design of the stands: they had borders, even borders between the frames, and on the borders which were between the frames were lions, oxen and cherubim; and on the frames there was a pedestal above, and beneath the lions and oxen were wreaths of hanging work. Now each stand had four bronze wheels with bronze axles, and its four feet had supports; beneath the basin were cast supports with wreaths at each side. Its opening inside the crown at the top was a cubit, and its opening was round like the design of a pedestal, a cubit and a half; and also on its opening there were engravings, and their borders were square, not round. The four wheels were underneath the borders, and the axles of the wheels were on the stand. And the height of a wheel was a cubit and a half. The workmanship of the wheels was like the workmanship of a chariot wheel. Their axles, their rims, their spokes, and their hubs were all cast. Now there were four supports at the four corners of each stand; its supports were part of the stand itself. On the top of the stand there was a circular form half a cubit high, and on the top of the stand its stays and its borders were part of it. He engraved on the plates of its stays and on its borders, cherubim, lions and palm trees, according to the clear space on each, with wreaths all around. He made the ten stands like this: all of them had one casting, one measure and one form. He made ten basins of bronze, one basin held forty baths; each basin was four cubits, and on each of the ten stands was one basin. Then he set the stands, five on the right side of the house and five on the left side of the house; and he set the sea of cast metal on the right side of the house eastward toward the south. Now Hiram made the basins and the shovels and the bowls. So Hiram finished doing all the work which he performed for King Solomon in the house of the LORD: the two pillars and the two bowls of the capitals which were on the top of the two pillars, and the two networks to cover the two bowls of the capitals which were on the top of the pillars; and the four hundred pomegranates for the two networks, two rows of pomegranates for each network to cover the two bowls of the capitals which were on the tops of the pillars; and the ten stands with the ten basins on the stands; and the one sea and the twelve oxen under the sea; and the pails and the shovels and the bowls; even all these utensils which Hiram made for King Solomon in the house of the LORD were of polished bronze. In the plain of the Jordan the king cast them, in the clay ground between Succoth and Zarethan. Solomon left all the utensils unweighed, because they were too many; the weight of the bronze could not be ascertained. Solomon made all the furniture which was in the house of the LORD: the golden altar and the golden table on which was the bread of the Presence; and the lampstands, five on the right side and five on the left, in front of the inner sanctuary, of pure gold; and the flowers and the lamps and the tongs, of gold; and the cups and the snuffers and the bowls and the spoons and the firepans, of pure gold; and the hinges both for the doors of the inner house, the most holy place, and for the doors of the house, that is, of the nave, of gold. Thus all the work that King Solomon performed in the house of the LORD was finished And Solomon brought in the things dedicated by his father David, the silver and the gold and the utensils, and he put them in the treasuries of the house of the LORD. Bible Scripture Verse Crafts
and in the cutting of stones for settings, and in the carving of wood, that he may work in all kinds of craftsmanship. "And behold, I Myself have appointed with him Oholiab, the son of Ahisamach, of the tribe of Dan; and in the hearts of all who are skillful I have put skill, that they may make all that I have commanded you: the tent of meeting, and the ark of testimony, and the mercy seat upon it, and all the furniture of the tent, the table also and its utensils, and the pure gold lampstand with all its utensils, and the altar of incense, the altar of burnt offering also with all its utensils, and the laver and its stand, the woven garments as well, and the holy garments for Aaron the priest, and the garments of his sons, with which to carry on their priesthood; the anointing oil also, and the fragrant incense for the holy place, they are to make them according to all that I have commanded you." The LORD spoke to Moses, saying, "But as for you, speak to the sons of Israel, saying, 'You shall surely observe My sabbaths; for this is a sign between Me and you throughout your generations, that you may know that I am the LORD who sanctifies you. 'Therefore you are to observe the sabbath, for it is holy to you. Everyone who profanes it shall surely be put to death; for whoever does any work on it, that person shall be cut off from among his people.
Likewise, wives, be subject to your own husbands, so that even if some do not obey the word, they may be won without a word by the conduct of their wives, when they see your respectful and pure conduct. Do not let your adorning be external—the braiding of hair and the putting on of gold jewelry, or the clothing you wear— but let your adorning be the hidden person of the heart with the imperishable beauty of a gentle and quiet spirit, which in God's sight is very precious. For this is how the holy women who hoped in God used to adorn themselves, by submitting to their own husbands, ... Bible Verse Crafts
My son, do not forget my teaching, but let your heart keep my commandments, for length of days and years of life and peace they will add to you. Let not steadfast love and faithfulness forsake you; bind them around your neck; write them on the tablet of your heart. So you will find favor and good success in the sight of God and man. Trust in the Lord with all your heart, and do not lean on your own understanding. ... Bible Scripture Verse Crafts
Thus says the Lord: "Let not the wise man boast in his wisdom, let not the mighty man boast in his might, let not the rich man boast in his riches, but let him who boasts boast in this, that he understands and knows me, that I am the Lord who practices steadfast love, justice, and righteousness in the earth. For in these things I delight, declares the Lord." Bible Scripture Verse Crafts
A Psalm of David. The Lord is my shepherd; I shall not want. He makes me lie down in green pastures. He leads me beside still waters. He restores my soul. He leads me in paths of righteousness for his name's sake. Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me. You prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup overflows. ... Bible Verse Crafts
Many are the plans in the mind of a man, but it is the purpose of the Lord that will stand. What is desired in a man is steadfast love, and a poor man is better than a liar. The fear of the Lord leads to life, and whoever has it rests satisfied; he will not be visited by harm. The sluggard buries his hand in the dish and will not even bring it back to his mouth. Strike a scoffer, and the simple will learn prudence; reprove a man of understanding, and he will gain knowledge. ... Scripture Verse Crafts


Douglas Ditomo of D&D tile & stone co. was honored to accept the pennsylvania state ambassador of the national tile contractors association position. the ntca is committed to qualified labor practices and continuing education within the tile and stone industry. douglas and the rest of the staff at D&D are excited to do their part in supporting proper installation techniques, continuing education, and the ntca. please feel free to reach out if you have any technical questions regarding any type of tile or stone installation.
D&D tile & stone co. Accepts Angie's list 2017 super service award!