text:
عکاسی آرشیوی
نمونه‌ای از عکس آرشیوی
عکاسی آرشیوی (به انگلیسی: Stock photography) به عکس‌هایی گفته می‌شوند که کاربردها و مصارف خاصی دارند و هدفش تهیهٔ یک بانک عکس است تا با دسترسی آسان در اختیار فیلم‌سازان، ناشران، گرافیست‌ها و سایرین قرار بگیرد.
عکس‌های آرشیوی باعث می‌شوند تا در وقت و هزینهٔ استفاده‌کننده، صرفه‌جویی زیادی شود و دیگر نیازی به استخدام یک عکاس نباشد. معمولاً عکس‌های آرشیوی بنا بر نیاز مخاطبان در بانک‌های عکس دسته‌بندی می‌شوند و دسترسی به تصاویر در هر بانک متفاوت است؛ هر عکسی می‌تواند در مجموعهٔ یک بانک عکس قرار بگیرد، از عکس‌های خبری گرفته تا عکس‌هایی که موضوع خاصی را تصویرسازی می‌کنند.[۱]
↑ مطلق، نفیسه. «آشنایی با عکاسی آرشیوی». همشهری آنلاین. دریافت‌شده در ۲۷ آوریل ۲۰۱۲.
اصطلاحات فنی
فول فریم
زاویهٔ دید
تعادل رنگ سفید
کج‌نمایی رنگی
دمای رنگ
عمق میدان
عمق سطح فوکوس
فوکوس خودکار
نوردهی
جبران نوردهی
ضریب اف
دیافراگم
تقدم شاتر
تقدم دیافراگم
قطع فیلم
سرعت فیلم
سرعت لنز
فاصله کانونی
عدد راهنمای فلاش
فلاش تکمیلی
فاصله ابر کانونی
سنجش نور
خطای پرسپکتیو
قرمزی چشم
سرعت شاتر
قانون شایم فلوگ
نظام ناحیه‌ای
ضریب شوارتزشیلد
ضریب واتکینز
لکه زرد نگاتیو
نجومی
هوا به هوا
پاپاراتزی
خیابانی
تبلیغاتی
شهوانی (اروتیک)
برهنه
گلامور
پورنوگرافی
آرشیوی
لوموگرافی
اجسام بی‌جان
عامیانه
زیر آب
انتزاعی
ریزنگاری
تکنیک‌ها
عکاسی آفوکال
ضدنور
تمام‌نگاری
مادون قرمز
نوردهی درازمدت
ماکرو
نوردهی چندگانه
عکاسی شب
سراسرنما
سپیا
سولاریزه
برجسته‌بینی
منجمد کردن
فرابنفش
اچ‌دی‌آر
فلاش آزاد
نمای افق‌گَرد
عکس‌برداری با لرزش عمدی
ترکیب‌بندی
کادربندی
کادر بالای‌سر
کادر طرفین
قانون یک‌سوم
حفظ سادگی
دوربین سوراخ سوزنی
دوربین تک‌لنزی غیربازتابی
دوربین تک‌لنزی بازتابی
دوربین دولنزی بازتابی
دوربین یکبارمصرف
دوربین پولاروید
دوربین قطع بزرگ
دوربین کامپکت
تاریکخانه
چراغ تاریکخانه
فیلم عکاسی
پایه فیلم (بیس)
فیلم تخت
فیلم ۱۲۶
فیلم رول
فیلم‌های مخصوص
پشتی فیلم
تشتک
کاغذ عکاسی
کفشک
فلاش استودیو
سافت‌باکس
لنز تله فوتو
لنز رتروفوکال
لنز آیینه‌ای
گیره لنز
اسلاید پروژکتور
سر سه‌پایه
کارت خاکستری
آگراندیسور
گریپ
نمایاب
نمایاب چشمی
نمایاب سطح سینه‌ای
تاریخ عکاسی
عکاسی آنالوگ
اورتوکروم
دوربین جعبه‌ای
دوربین تاریکخانه‌ای
پشت‌آویز عکاسی
عکاسی و قانون
تاریخ عکاسی در ایران
داگرئوتایپ
کالوتایپ
دوربین دیجیتال تک‌لنزی بازتابی
دوربین تمام‌نما
دستگاه بارجفت‌شده
گیرنده تصویر
اشتراک تصاویر
استیون سسون
عکاسی رنگی
فیلم رنگی (چاپ
نمایش)
مدل رنگی سی‌ام‌وای‌کی
فضای رنگ
رنگ‌های اصلی
مدل رنگی آرجی‌بی
ظهور و چاپ
ظهور فیلم سیاه و سفید
ظهور فیلم رنگی
ظهور اسلاید
K-14 ظهور
ظهور ژلاتین نقره
ظهور کاغذ
ویرایش ضربدری
رنگ‌های مکمل
ثبوت
چاپ پی‌درپی
ظهور با افزایش کنتراست
حمام توقف
فهرست عکاسان
ویکی‌پروژه عکاسی
درگاه عکاسی
در ویکی‌انبار پرونده‌هایی دربارهٔ عکاسی آرشیوی موجود است.
Photographs with the purpose of having a specific use
"Stock image" redirects here. For the securities valuation tool, see stock valuation.
A public domain stock photo titled "frog on palm frond."
Stock photography is the supply of photographs, which are often licensed for specific uses.[1] The stock photo industry, which began to gain hold in the 1920s,[1] has established models including traditional macrostock photography,[2] midstock photography,[3] and microstock photography.[4] Conventional stock agencies charge from several hundred to several thousand United States dollars per image, while microstock photography may sell for around USD 25 cents.[4] Professional stock photographers traditionally place their images with one or more stock agencies on a contractual basis,[1] while stock agencies may accept the high-quality photos of amateur photographers through online submission.[5]
Themes for stock photos are diverse, although Megan Garber of The Atlantic wrote in 2012 that "one of the more wacky/wondrous elements of stock photos is the manner in which, as a genre, they've developed a unifying editorial sensibility. To see a stock image is... to know you're seeing a stock image."[5] Historically notable traditional stock photo agencies have included RobertStock, the Bettman Archive in New York,[1] and the Hulton Archive in the United Kingdom[6] among many others.[7] In the 1990s companies such as Photodisc in Seattle, Washington, began selling CD ROMs with packs of images, pioneering the royalty-free licensing system at a time when Rights Managed licensing was the norm in the stock industry.[7] There was a great amount of consolidation among stock photo agencies[8][9] between 1990 and the mid-2000s, particularly through Corbis and Getty Images.[1] The early microstock company iStockphoto was founded in May 2000,[10] followed by companies such as Dreamstime,[11] fotoLibra,[12][13] Can Stock Photo,[14] Shutterstock, and Fotolia.[15]
1.1 First stock photo companies (1920–1930s)
1.2 New indexing systems and growth (1940s–1980s)
1.3 Expansion and transition online (1980s–1990s)
1.4 Recent developments (2000–present)
2.1 Styles and trends
3 Types of stock photo licenses
3.1 Public domain (PD)
3.2 Royalty-free (RF)
3.3 Rights-managed (RM)
First stock photo companies (1920–1930s)
A stock photograph, now in the archive of Getty Images, showing the 1911 Solvay Conference in Belgium. Many stock photos document historical events.
Newspapers and magazines were first able to reproduce photographs instead of line art in the mid-1880s with the invention of the half-tone and its use on a printing press.[16] Initially starting with staff photographers, independent free-lance photographers eventually took over.[16] One of the first examples of a stock photo was circa 1920 when American photographer H. Armstrong Roberts ensured that the people photographed in "Group in Front of Tri-Motor Airplane" all signed model releases. This allowed the photograph and others like it to be commercially viable.[1] In an effort to save the cost of hiring photographers for commission-based photo shoots, publishers and advertisers began to consider stock photos as a less risky alternative.[7] One of the first major stock photography libraries[7] was founded in 1920 by H. Armstrong Roberts.[17]
The Bettman Archive in New York is an example of an early traditional stock agency,[1] with the company delivering photos upon 24-hour request to magazines such as Look and Life.[1] Founded in 1936 by Otto Bettmann, a German curator who emigrated to the United States in 1935,[18] the Bettman Archive began with Bettmann's personal collection of 15,000 images which he brought with him in suitcases when he escaped from Nazi Germany.[19] He actively expanded his collection by placing ads in magazines for stills and photos.[18] A different early pioneer with the stock industry was photographer Tony Stone, whose portfolio of mountain scenes proved popular with chocolate advertisers. Stone's stock library eventually reached 20,000 images, each selected for its likelihood to sell multiple copies.[7]
New indexing systems and growth (1940s–1980s)
Known as a stock resource for newspapers and magazines, the Hulton Archive started as the photographic archive of Picture Post. As the archive expanded through World War II, it became clear that its vast collection of photographs and negatives were becoming an important historical documentary resource. In 1945, Sir Edward Hulton set up the Hulton Press Library as a semi-independent operation and commissioned Charles Gibbs-Smith of the Victoria and Albert Museum to catalogue the entire archive using a system of keywords and classifications. The Gibbs-Smith system claims to be the world's first indexing system for pictures, and it was eventually adopted by the British Museum collections.[6]
Expansion and transition online (1980s–1990s)
By the 1980s, stock photography had become a specialty in its own right, with the stock industry advancing quickly.[7] As photo libraries transitioned from physical archives to servers in the mid-1990s, "stock libraries" were increasingly called "stock agencies."[7] The archives also began to rely increasingly on keywords for sorting and retrieving photographs.[7] In 1991 Photodisc in Seattle, Washington began selling CD ROMs with packs of images. Unlike their competitors, Photodisc licensed the image packs as Royalty Free. In contrast to the Rights Managed system, royalty free allowed the purchaser of a CD ROM to use the images as many times as they liked without paying further fees.[7]
There was a great amount of consolidation among stock photo agencies[8][9] between 1990 and the mid-2000s, with Corbis notably acquiring the massive Bettmann Archive in 1995.[1] After Photodisc went online in 1995,[20] in September 1997, PhotoDisc agreed to combine with London-based Getty Communications to form the Seattle-based Getty Images.[21] In 1996, the Hulton Picture Collection was bought by Getty Images for £8.6 million.[22]
Alamy (registered as Alamy Limited) is a privately owned stock photography agency launched in 1999. Alamy maintains an online archive of over one hundred million still images, illustrations and hundreds of thousands of videos contributed by agencies and independent photographers or collected from news archives, museums and national collections. Its suppliers include both professional and amateur photographers, stock agencies, news archives, museums and national collections. Its clients are from the photography, publishing and advertising industries and the general public.
Recent developments (2000–present)
The early microstock company iStockphoto was founded in May 2000. Originally a free stock imagery website, it transitioned into its current micropayment model in 2001.[10] iStockphoto co-founders Bruce Livingstone and Brianna Wettlaufer then went on to start Stocksy United in 2013. Helping pioneer the subscription-based model of stock photography,[23] Shutterstock was founded in 2003 with a monthly subscription fee.[24] Online since 2000 as a royalty free stock photography website, in 2004 Dreamstime[11] was founded as new microstock agency.[15] Other stock agencies with new business models around this time included fotoLibra, which opened to the public in 2005,[12][13] and Can Stock Photo, which debuted in 2004.[14] By 2007 Dreamstime was competing with iStockphoto, Fotolia and Shutterstock, all expanded into major microstock companies.[15] In March 2013 microstock company Depositphotos launched Clashot,[25] a service that allows smartphone users to instantly upload photos to the photobank from their devices, followed by Fotolia, that launched the very similar Fotolia Instant [26] later that year.
Between the 1990s and the mid-2000s, Bill Gates' Corbis Images and Getty Images combined purchased more than 40 stock photo agencies.[1] iStockphoto, or iStock.com, was acquired by Getty in 2006.[7] In February 2009,[27] Jupitermedia Corporation sold their online stock images division, Jupiterimages, to Getty Images for $96 million in cash,[28] including the sites stock.xchng and StockXpert.[27] In 2005, Scoopt started a photo news agency for citizen journalism enabling the public to upload and sell breaking news images taken with cameraphones. In 2007 Scoopt was purchased by Getty Images, which closed it in 2009.[29] In 2012 Shutterstock became the first microstock agency to complete an initial public offering,[30] with the company's shares reaching a $2.5 billion market value by late 2013.[24] The stock photo company Fotolia announced that it would be acquired by Adobe for $800 million on December 11, 2014.[31]
Stock photography refers to the supply of photographs, which are often licensed for specific uses such as magazine publishing or pamphlet-making.[citation needed] According to The New York Times, as of 2005 "most" book cover designers prefer stock photography agencies over photographers in efforts to save costs. Publishers can then purchase photographs on an exclusive or non-exclusive basis.[32]
Established models of stock photography include:
Macrostock: High-priced and exclusive stock photography, also known as traditional stock photography[2]
Midstock: Stock photography priced between micro stock and macro stock, which is often used online[3]
Microstock: Low-priced and inclusive stock photography. In competition to traditional agencies, microstock photography is a relatively new model of stock photography which is available through agencies that sell images for lower prices but in greater volume.[4]
According to The New York Times, conventional stock agencies charge from several hundred to several thousand American dollars per image, and "base fees on the published size of an image, circulation and other factors." Microstock photos may sell for as little as USD 25 cents.[4] Professional stock photographers traditionally place their images with one or more stock agencies on a contractual basis, with a defined commission basis and specified contract term. The industry standard is purportedly 30 to 50 percent to the photographer, although at the start of the stock photography industry, fees were typically cut half and half between the agency and artist.[1] Other stock agencies may accept the high-quality photos of amateur photographers through online submission.[5]
Some online photo websites have created unique software to search for fitting stock photos, for example searching for complicated keyword combinations, color, shapes, and "moods."[33][34] Other search engines may seek to quantify the best photos by looking for elements as diverse as "bright lights," "evidence of emotional connections between people," and the tilt of faces.[35]
Styles and trends
Traditional stock photo agencies have large catalogues that may include press archives and works by notable photographers such as Bert Hardy, Bill Brandt, Weegee and Ernst Haas.[36] More recent trends in microstock photography include "lifestyle" photographs of people "at work and play,"[4] food, sports, and fashion.[4] Other stock photo themes may include stereotypes, expressing common emotions and gesticulations, pets,[citation needed] and images related to travel and tourism.[citation needed]
In the early 1990s, the stock industry focused on "conceptual images," which could encapsulate themes such as "global communication, success, and teamwork."[7] After the consolidation of many stock photo agencies in the 1990s and early 2000s, new companies began focusing on "niche collections" including "medical, science, minorities, gay and lesbian lifestyles, aviation, maps, panoramas, historical, sports, and celebrity homes."[1] Opined Megan Garber of The Atlantic in 2012, "one of the more wacky/wondrous elements of stock photos is the manner in which, as a genre, they've developed a unifying editorial sensibility. To see a stock image is, Potter Stewart-style, to know you're seeing a stock image. And while stock images' stockiness may be in part due to the common visual tropes that give them their easy, cheesy impact - prettiness, preciousness, pose-iness - there's part of it that's more ephemeral, too. Though they have little in common, shots of a German Shepherd typing on a laptop and a man contemplating the sunset can both be, in their special way, stocky."[5]
Types of stock photo licenses
Public domain (PD)
Main article: Public domain image resources
Example of a public domain stock photo, showing the Marina City building complex in Chicago.
In relation to photography and graphics, public domain (PD) means the image is free to use without purchasing a license, and can be used for commercial or personal purposes. Works in the public domain are those whose exclusive intellectual property rights have expired,[37] have been forfeited,[38] or are inapplicable.[39]
Main article: Royalty-free
In photography and the illustration industry, royalty-free (RF) refers to a copyright license where the user has the right to use the picture without many restrictions based on one-time payment to the licensor. The user can, therefore, use the image in several projects without having to purchase any additional licenses. RF licenses cannot be given on an exclusive basis. In stock photography, RF is one of the common licenses sometimes contrasted with Rights Managed licenses and often employed in subscription-based or microstock photography business models.[40]
Main article: Rights Managed
Rights Managed (RM) in the stock photo industry (sometimes called "licensed images") refers to a copyright license which, if purchased by a user, allows the one-time use of the photo as specified by the license. If the user wants to use the photo for other uses an additional license needs to be purchased. RM licenses can be given on a non-exclusive or exclusive basis. In stock photography RM is one of the two common license types together with royalty-free, subscription and microstock photography being business models often confused as separate license types (both use the royalty-free license type).[41]
In popular culture
In March 2015, Vince Vaughn and the cast for the film Unfinished Business, 20th Century Fox and several stock photo agencies teamed up to create press material that satirized the stereotypical style of business-themed stock photos.[42]
List of online image archives
Microstock photography
Stock animation
^ a b c d e f g h i j k l R. Peres, Michael (2007). "The Focal Encyclopedia of Photography: Digital Imaging, Theory and Applications, History, and Science". Taylor & Francis. Retrieved 2016-03-14. page 351
^ a b "Traditional Stock Agencies". budgetstockphoto.com. Retrieved 2016-03-14.
^ a b Grunbaum, Rami (March 13, 2015). "Co-founder of Getty Images steps down as CEO". The Seattle Times. Retrieved 2016-07-15.
^ a b c d e f Eric A. Taub, "When Are Photos Like Penny Stocks? When They Sell", New York Times, June 5, 2007
^ a b c d Garber, Megan (May 18, 2012). "The Tao of Shutterstock: What Makes a Stock Photo a Stock Photo?". The Atlantic. Retrieved 2016-07-16.
^ a b Hulton|Archive – History in Pictures Archived 2013-05-27 at the Wayback Machine History of Picture Post by the Archive Curator Sarah McDonald, 15/10/04. Accessed March 2008
^ a b c d e f g h i j k "A Brief History of Stock Photography". alamy.com. June 16, 2015. Retrieved 2016-03-14.
^ a b Heron, Michal (2001). How to Shoot Stock Photos That Sell (3rd ed.). Allworth Communications. p. 16. ISBN 978-1-58115-087-2.
^ a b Heron, Michal (2007). Digital Stock Photography: How to Shoot and Sell. Allworth Communications. p. 8. ISBN 978-1-58115-484-9.
^ a b Kim Peterson, "Microstock photography represents a new business model", Seattle Times, May 28, 2007
^ a b Gibson, Steve (April 13, 2008). "Dreamstime Site Review". Microstock Insider. Retrieved July 19, 2012.
^ a b Basheera, Khan (9 June 2004). "fotoLibra gets it picture perfect". i.t.wales. Archived from the original on 6 February 2012. Retrieved 21 March 2012.
^ a b "New Approach Brings Down Picture Buying Costs". creativematch. 16 June 2005. Retrieved 21 March 2012.
^ a b "About Can Stock Photo". Can Stock Photo. Retrieved 2015-08-28.
^ a b c Levine, Robert (April 4, 2007). "Photo wars: A $2 billion business gets rough". CNN Money. Retrieved July 19, 2012.
^ Howell, Dylan. "Stock Photography: A Brief History".
^ a b "Film Quarterly". 13 (2). Winter 1959: 8. Cite journal requires |journal= (help)
^ Snow, Richard F. (May 2001). "Goodbye To All That". American Heritage. 52 (3). New York City: American Heritage Publishing Company. p. 5.
^ Crotty, Cameron (February 1, 1996). "Image is everything.(West Stock and PhotoDisc introduce Web sites) (Internet Watch) (Company Business and Marketing)(Brief Article)". Macworld. Retrieved 2008-10-06. [dead link]
^ The Getty-PhotoDisc Deal: Image is Everything - Business Week
^ Gross, Larry P.; Katz, John Stuart; Ruby, Jay (2003). Image ethics in the digital age. University of Minnesota Press. ISBN 978-0-8166-3824-6.
^ "Small Business: How to Beat a Goliath" SmartMoney, February 2, 2009 Archived July 2, 2010, at the Wayback Machine
^ a b Steven Bertoni, "Silicon Alley's First Billionaire Aims To Dominate Images On Web", Forbes, October 28, 2013
^ "Depositphotos Launches Clashot: Mobile Application". Selling Stock. 15 March 2016. Retrieved 25 October 2016.
^ "Stock Photos Site Fotolia Launches Fotolia Instant, An App For Selling Your Smartphone Photos". Techcrunch. 7 October 2013. Retrieved 25 October 2016.
^ a b "Jupitermedia Announces Completion Of Sale Of Jupiterimages To Getty Images and Change Of Jupitermedia Name to WebMediaBrands". Getty Images. 2009-02-23. Archived from the original on 2009-02-28. Retrieved 2009-08-13.
^ D'Souza, Savio (2008-10-23). "Jupitermedia to sell online image unit to Getty". Reuters. Retrieved 2009-08-14.
^ "Getty shutting Scoopt citizen journalism photo site to focus on core business". The Guardian. February 4, 2009.
^ "Shutterstock Announces Closing of Initial Public Offering and Exercise of Underwriters' Option to Purchase Additional Shares". Shutterstock. 2012-10-16. Retrieved 2013-01-18.
^ Stynes, Tess (December 11, 2014). "Adobe to buy stock-photo web company Fotolia for $800 million". MarketWatch. Retrieved 2016-07-15.
^ Adam Newman, Andrew (July 7, 2005). "With Covers, Publishers Take More Than Page From Rivals". The New York Times. Retrieved 2016-07-15.
^ Zipkin, Nina (March 10, 2016). "How Shutterstock Is Training Its System to Help You Find Better Photos". Entrepreneur. Retrieved 2016-06-15.
^ Ossola, Alexandra (March 10, 2016). "Shutterstock Has Trained A Computer To Find You The Perfect Photos". Popular Science. Retrieved 2016-06-15.
^ Dwoskin, Elizabeth (October 1, 2015). "New Software Sifts Photos for the Most Clickable". Wall Street Journal. Retrieved 2016-07-15.
^ "About Hulton Archive". Hulton Archive. 2001. Archived from the original on 2001-10-21. Retrieved 2009-08-14. (archived on the Web Archive)
^ Boyle, Jnu ble Zdrf pacanaiames (2008). The Public Domain: Enclosing the Commons of the Mind. CSPD. p. 38. ISBN 978-0-300-13740-8.
^ Graber, Christoph B.; Nenova, Mira B. (2008). Intellectual Property and Traditional Cultural Expressions in a Digital Environment. Edward Elgar Publishing. p. 173. ISBN 978-1-84720-921-4.
^ unprotected on bitlaw.com
^ Peres, Michael R (2007). The Focal encyclopaedia of photography: digital imaging, theory and applications, history, and science. Focal Press. pp. 352–353. ISBN 978-0-240-80740-9.
^ Peres, Michael R (2007). The Focal encyclopaedia of photography: digital imaging, theory and applications, history, and science. Focal Press. p. 352. ISBN 978-0-240-80740-9.
^ People often use stock photos in memes because of what is perceived as sadness in sarcasm depicted on the model's face. Umlauf, Taylor (March 4, 2015). "See Vince Vaughn's Stock Photos With 'Unfinished Business' Cast". The Wall Street Journal. Retrieved 2016-03-14.
Miller, Claire Cain (September 7, 2017). "From Sex Object to Gritty Woman: The Evolution of Women in Stock Photos". The New York Times. ISSN 0362-4331.
Media related to Stock photographies at Wikimedia Commons
35 mm equivalent focal length
Circle of confusion
Color balance
Depth of focus
Exposure value
Zebra patterning
Film format
Film speed
Hyperfocal distance
Orb (optics)
Perspective distortion
Photographic processes
Red-eye effect
Science of photography
Zone System
Fine-art
Neues Sehen
Afocal
Brenizer
ETTR
Fill flash
Harris shutter
Intentional camera movement
Long-exposure
Mordançage
Print toning
Redscale
Rephotography
Scanography
Schlieren photography
Sabattier effect
Stopping down
Miniature faking
Vignetting
Xerography
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Lead room
Golden triangle (composition)
light-field
enlarger
available films
discontinued films
cucoloris
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Telephoto lens
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Timeline of photography technology
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Heliography
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Photography and the law
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CMOS APS
Three-CCD camera
Foveon X3 sensor
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Reversal film
CMYK color model
Bleach bypass
C-41 process
Dye coupler
E-6 process
Gelatin silver process
K-14 process
Print permanence
Push processing
Most expensive photographs
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Nov 1, 2012. 1. Raise the top of your bed. Though it doesn't involve eating, this is Jorge's first step when it comes to starting the fight against heartburn. Because most acid reflux. If you're up all night with acid reflux you'll create a vicious cycle the next day that will only perpetuate the issue when you wake up tired.
Page 1. A TI-REFLUX DIET. Your healthcare provider has advised you to begin an anti-reflux diet. This type of diet is actually easy to follow, requiring you to cut out just a few foods and beverages that either relax the lower part of the esophagus or increase the amount of acid in the stomach. These include: Caffeinated.
Every person's situation is different, but changes in lifestyle (a healthier diet, regular exercise), environment. People with heartburn and acid reflux issues often find relief with over-the-counter acid-blocking medicines. For some, however, it's.
acid reflux diet menu day 1For instance, For those who have volunteers take in a higher-Fats food—a McDonald's sausage and egg McMuffin-and Review that to the reduced-fat meal-McDonald's scorching cakes-there was noticeably extra acid squirted up during the esophagus following the.
Health experts state that a good acid reflux diet plan consists of around 5 small meals each day, instead of three large ones. In addition to breakfast, a acid reflux diet menu should consist of a mid-morning snack, lunch, a late-afternoon snack and an early dinner.
And although everyone experiences small amounts of reflux every day. foods in your diet and then eliminating them. Sussman does admit that despite lifestyle changes, many patients need to go on medication to help their acid reflux.
Current photo via Mike Lewis/Ola Vista Photography Day 2 of the Pro Series. As I have gotten older my diet has also changed immensely. One big step is that I have started to eat 'alkaline' to relive acid reflux issues that I was.
Step 1: Eliminate Land Mines. Revamp your diet by getting rid of acid-promoting foods. This includes all foods with a pH of less than five, such as the caustic C's.
Post navigation. Acid Reflux Diet Plan. Status. The build up of this bacteria can trigger stomach upset as well.Breakfast, the most key meal of the day, also it supplies you the power that is desired to This entry was posted in Uncategorized and tagged acid reflux diet, diet for gastritis diet menu.
Cherries are one of the few natural foods to contain melatonin, the chemical that helps control our body's internal clock, says Keri Gans, a registered dietician in New York City and author of The Small Change Diet. and promote acid.
1. High Fat Foods. According to Healthline.com, "acid reflux occurs when there is acid backflow from the stomach into the esophagus," which happens due to a.
Dear Dr. Roach • I suffer from acid reflux but continue to drink caffeine once a week, on Saturday before noon. I have taken pantoprazole twice a day for a decade. Carbonated soft drinks, whether diet or regular, whether caffeinated or.
10 Tips for Eating Well — While Managing Heartburn No, you don't have to give up all your favorite foods. Try these tips for managing frequent heartburn ( occurring two or more days a week). 1. Stay away from foods such as citrus fruits, chocolate, peppermint, spearmint, tomatoes or tomato-based products, raw onions and.
30-Day Weight Loss Challenge. Life. In Dropping Acid: The Reflux Diet Cookbook & Cure, authors Jamie Koufman, MD, Jordan Stern, MD, and French master chef Marc Bauer offer healthy recipes that fit the bill.
Gastroparesis, a condition that strikes an estimated 1.5 million Americans. "If you think of the stomach as a bowl with acid and you add food to it and let it sit for a day, the food starts to break down and spoil," said Dr. John Michel.
How to break it: To help stave off post-workout binge, sip water and eat nutrient-rich foods that make you stay fuelled and feel full throughout each day. Opt for a combination. indigestion and acid reflux. How to break it: Don't bite more.
Doctors say an active kidney is a healthy kidney, and that means producing at least two liters of urine each day to ensure your kidneys are regularly flushed and functioning properly. 2. Monitor your diet. treat heartburn, acid reflux, or.
Feb 29, 2012. cover of dropping acid by dr. jamie koufman After the first two weeks, I was allowed to start adding foods back into my diet, but continued to avoid high-acid foods like citrus and soda. I also needed to avoid eating three hours before bed, and work at eating smaller meals and snacks throughout the day.
Dropping Acid: The Reflux Diet Cookbook & Cure: Jamie. # 3 Day Detox Diet Plan 10 Pounds Lose – Weight Loss.
Acid reflux diet menu day 7 – hans gerd kuhl kln – The majority of recently acid reflux diet menu day 7 manufactured dental units are engineered to prevent retraction of oral fluids, but some older dental units are equipped with antiretraction valves that require periodic maintenance.
http://www.clintonnc.com/wp-content/uploads/2015/07/web1_Doctors-1.jpg Sampson Regional Medical. extreme cases of gastroesophageal reflux (GERD). GERD is a chronic digestive disorder that occurs when the stomach acid flows.
Our Locations 21212 Northwest Frwy Suite 465 Cypress, TX 77429. 18220 Tomball Parkway Suite 350 Houston, TX 77070. Tel: (281) 970 – 8900 Fax: (281) 970 – 8901.
When PPIs arrived in Australia in the early '90s, they were welcomed for their extraordinarily effectiveness in treating gastro-oesophageal reflux disease. changes to control their acid by losing weight and modifying their diet, alcohol.
Acid Reflux Diet Assessment. There is no meal size structure in this plan, which can allow someone to gorge themselves with one meal a day, as long as you stay within the daily However, their menu is not catered toward acid reflux, so their prepackaged meals will inevitably include some triggers.
Food choices and dietary trends. Dropping Acid: The Reflux Diet Cookbook & Cure (2010): What to eat and foods to avoid. I just ordered the book and it seems to be very thorough but I would have liked to see a weekly menu for the induction phase. So much easier for me than to plan one myself.


text:
/**
* A link list of joints.
* @author saharan
*/
OIMO.JointLink = function(joint){
	// The previous joint link.
    this.prev = null;
    // The next joint link.
    this.next = null;
    // The other rigid body connected to the joint.
    this.body = null;
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    this.joint = joint;
}

redpajama_set_name: RedPajamaGithub


text:
This is the glossary of Japanese swords, including major terms the casual reader might find useful in understanding articles on Japanese swords. Within definitions, words set in boldface are defined elsewhere in the glossary.

A
 – thin line that runs across the temper line (hamon) to the cutting edge (ha).
 – regular wavy surface grain pattern (jihada). Also known as gassan-hada after the name of a school which usually produced swords of this type.

B
 – an authentically shaped wooden (practice) sword (or other bladed weapon).
 – temper line (hamon) of the blade point (kissaki). (see image) (also see ko-maru)

C
 – black gleaming lines of nie that appear in the ji.
 – distinctly visible mokume-hada with a clearer steel than in similar but coarser patterns.
 – an irregular hamon pattern resembling cloves, with a round upper part and a narrow constricted lower part.
 – a straight sword primarily produced during the ancient period (jokotō). Their definition as  is specifically chronological, as it refers solely to ancient pre- Heian swords, unlike  which refers to later swords. These ancient Japanese swords are also known as  .
 – Commonly used as a calque for the broadest definition of (European) long swords.
 – either a nagakatana (due to long blade) or a naginata (due to long handle).

D
 – in context any pair of Japanese swords of differing lengths (daitō and shōtō) worn together.
 – any type of Japanese long sword, the larger in a pair of daishō. Commonly a katana.

F
 – the cutting edge (ha) of the blade point (kissaki). (see image)
 – tapering of the blade from the base (machi) to the point (kissaki)

G
 – see ayasugi-hada.
 – swords produced after 1876. Also the name for the period in sword history from 1876 to the present day, i.e., the period that succeeded the shinshintō period.
 – swordsmiths summoned by the retired Emperor Go-Toba to work at his palace in monthly rotations.
 – the five basic styles of swords which during the kotō period were associated with the provinces: Yamashiro, Yamato, Bizen, Sagami/Sōshū and Mino.
 – pair of parallel grooves running partway up the blade resembling chopsticks.
 – a wave-like outline of the temper line (hamon) made up of similarly sized semicircles.

H
 – the tempered cutting edge of a blade. The side opposite the mune. Also called hasaki or yaiba. (see image)
 – misty spots in the temper line (hamon) resulting from repeated grinding or faulty tempering.
 – notch in the cutting edge (ha), dividing the blade proper from the tang (nakago). (see image)
 – border between the tempered part of the ha (cutting edge) and the untempered part of the rest of the sword; the temper-line. (see image)
 – see ha.
 – patterns and shapes such as lines, streaks, dots and hazy reflections that appear in addition to the grain pattern (jihada) and the temper line (hamon) on the surface of the steel and are a result of sword polishing.
 – see matsukawa-hada.
 – see hiraji.
 – curved surface between ridge (shinogi) and temper line (hamon). Also called hira. If polished, the hiraji appears blue-black. (see image)
 – a nearly flat blade without ridge (shinogi) or yokote. (see image)
 – temper line (hamon) with tempering marks visible around the ridge and near the edge of the blade.
 – see shinogi-zukuri.

I
 – a fully tempered point area (kissaki) because the hamon turns back before reaching the point.
 – a bōshi which turns back in a straight horizontal line with a short kaeri.
 – a short, stubby blade point (kissaki).
 – top ridge of the back edge (mune), the back ridge. (see image)
 – surface grain pattern (jihada) of scattered irregular ovals resembling wood grain. The small/large grain pattern of this type is called ko-itame-hada/ō-itame-hada.

J
 – area between the ridge (shinogi) and the hamon.
 – generally used to refer to the material of the blade.
 – visible surface pattern of the steel resulting from hammering and folding during the construction. (also see masame-hada, mokume-hada, itame-hada and ayasugi-hada)
 – nie that appears in the hiraji.
 – a sword produced before the mid-Heian period. Unlike later blades, these are straight swords. The term is also used to refer to the respective period of swordsmanship which was followed by the kotō period.
 – multiple overlapping clove shaped chōji midare patterns.
 – a bayonet.

K
 – part of the temper line (hamon) that extends from the tip of the bōshi to the back edge (mune).
 – a dagger concealed in the clothing.
 – blade thickness measured across the back edge (mune). (see also motokasane and sakikasane)
 – curved sword with a blade length (nagasa) longer than . Worn thrust through the belt with the blade edge (ha) facing upward. It superseded the older  starting in the Muromachi period, after 1392. Also a (now rare) general term for single-edged blades, see tō.
 – a gunome with a straight top and an overall slant.
 – a variation of the chōji midare  pattern with the peaks resembling tadpoles.
 – a double-edged blade (sword/dagger) of any size or shape.
 – short straight thin radiant black line of nie that appears in the temper-line (hamon).
 – fan-shaped point of the blade; separated from the body of the sword by the yokote. (see image)
 – a skewer for the owner's hair-do, carried in a pocket of the scabbards of katana and wakizashi on the side opposite of the kozuka.
 – any knife, particularly a small utility knife carried in a pocket of the scabbards of katana and wakizashi.
 – see itame-hada.
 – a bōshi that runs parallel to the cutting edge of the point area (kissaki) and then forms a small circle as it turns back towards the back edge (mune).
 – see mokume-hada.
 – diagonal line that separates the point of a blade (kissaki) from the shinogiji and extends the ridge (shinogi) to the back edge (mune) in the kissaki area. (see image)
 – curvature (sori) of the blade with the center of the curve lying  near or inside of the tang (nakago).
 – a pre-Edo period sword as opposed to a shintō. The year of transition is generally taken to be 1596. The term is also used to refer to the respective period of swordsmanship where the lower limit is given by the appearance of curved swords in the mid-Heian period. The kotō period succeeded the jokotō period.
 – handle of a small utility knife (kogatana) carried in a pocket of the scabbards of katana and wakizashi on the side opposite of the kōgai. Also used to refer to the whole knife, i.e. hilt plus blade.
 – Register of masterpiece swords (meibutsu) compiled by the Hon'ami family in the Kyōhō era.

M
 – notches that divide the blade proper from the tang. (also see munemachi and hamachi)
 -straight surface grain pattern (jihada).
 – ten excellent students of Masamune: Gō Yoshihiro, Norishige, Kaneuji, Kinju, Rai Kunitsugu, Hasebe Kunishige, Osafune Kanemitsu, Chogi, Samonji, Sekishi Naotsuna.
 – surface grain pattern (jihada) resembling the bark of a pine tree. A type of ō-mokume-hada or ō-itame-hada with thick chikei. Also known as hijiki-hada.
 – signature, usually engraved on the tang (nakago).
 – swords designated as masterpieces. Sometimes used to refer specifically to swords listed in the Kyōhō Meibutsuchō.
 – a peg of bamboo or horn which passes through the mekugiana to secure the tang in the hilt.
 – hole in the tang (nakago) for the retaining peg (mekugi) that secures the tang in the hilt. (see image)
 – an irregular temper line (hamon). (also see suguha)
 – irregular temper line (midareba) that continues into the point (kissaki).
 – distance from the blade edge (ha) to the back edge (mune). (also see sakihaba and motohaba)
 – see tantō.
 – point at which the yokote, shinogi and ko-shinogi meet. (see image)
 – surface grain pattern (jihada) of small ovals and circles resembling the burl-grain in wood. The small/large grain pattern of this type is called ko-mokume-hada/ō-mokume-hada.
 – blade width (mihaba) at the bottom of the blade (machi).
 – blade thickness (kasane) at the bottom of the blade (machi).
 – back edge of a blade, i.e., the side opposite the cutting edge (ha). (see image)
 – notch in the back edge (mune), dividing the blade proper from the tang (nakago). (see image)

N
 – any sword with a blade longer than a tantō, particularly exceptionally large ones (e.g. nodachi). Also called chōtō.
 – a large sword with a usually katana-sized blade and a very long handle of about equal length. Successor design to the ōdachi/nodachi.
 – pole weapon wielded in large sweeping strokes. Typically with a wide blade, long tang and without yokote. It often has a distinctive carved groove. Also called chōtō.
 – unpolished part of a blade that is concealed by the hilt. (see image)
 – end of the tang (nakago), i.e., the butt of a blade. (see image)
 – blade length measured from the point to the back edge notch (munemachi).
 – surface grain pattern (jihada) resembling the flesh of a sliced pear (jap. nashi); i.e. essentially fine dense ko-mokume-hada with surface nie throughout.
 – small distinct crystalline particles due to martensite, austenite, pearlite or troostite that appear like twinkling stars.
 – a curved blade with ridge (shinogi).
 – indistinguishable crystalline particles due to martensite, austenite, pearlite or troostite that appear together like a wash of stars.
 – see yō.
 – very large and heavy sword with lengths (nagasa) up to  for the use in field battles. Worn across the back.
 – gently waving temper line (hamon).

O
 – very large sword invented in the 14th century. with lengths (nagasa) of .  Worn slung from the shoulder.
 – a large grain pattern (jihada).
 – see itame-hada.
 – see mokume-hada.
 – alternative reading of ōdachi.

S
 – blade width (mihaba) at the yokote.
 – blade thickness (kasane) at the yokote.
 – curvature (sori) of the blade with the center of the curve lying  near the point.
 –  bōshi seen  in the works of the three swordsmiths: Osafune Nagamitsu, Kagemitsu and Sanenaga: hamon continues as straight line inside the point (kissaki) area running towards the tip of the blade. Just before reaching the tip, the bōshi turns in a small circle (ko-maru) a short distance to the back edge (mune) remaining inside the kissaki.
 – sword of the Imperial Japanese Army with a metal scabbard (saya) produced from the 1930s to the end of World War II in 1945.
 – a real sword as opposed to unsharpened or wooden practice weapons (bokutou).
 – ridge running along the side of the sword, generally closer to the back (mune) than the cutting edge (ha). (see image)
 – flat surface between ridge (shinogi) and back edge (mune). (see image)
 – a curved blade with yokote and a ridge (shinogi) quite close to the back edge (mune). Also known as . (see image)
 – period in sword history characterized by the revival of old sword styles, especially those from the Kamakura period. It follows the shintō period and is generally dated from the late 18th century to about 1876, when the wearing of swords was prohibited. The term is also used to denote swords produced in this period.
 – post-Edo period swords produced after the end of the kotō period (after 1596) and before the period of revival of old styles at the end of the 18th century which is known as shinshintō. The term is also used to refer to the respective period of swordsmanship.
 – a curved blade without yokote and a ridge (shinogi) quite close to the back edge (mune); basically shinogi-zukuri without yokote. (see image)
 – any type of Japanese short sword, the smaller in a pair of daishō. Commonly a wakizashi.
 – curvature of the sword measured as the greatest perpendicular distance between the back edge (mune) and the chord connecting the back edge notch (munemachi) with the point of the blade.
 – the overall shape of the blade.
 – straight temper line (hamon). (also see midareba)
 – plain dark spots on the ji that differ considerably from the surface pattern in both color and grain.
 – marks in the temper line (hamon) that resemble the pattern left behind by a broom sweeping over sand.

T
 – straight sword (chokutō) produced in ancient times with a blade length (nagasa) longer than . Not to be confused with the .
 – curved sword with a blade length (nagasa) longer than  and typically . Worn slung across the hip with the blade edge (ha) facing down. Primarily produced in the kotō period. Not to be confused with the .
 – knife or dagger (strictly speaking only the latter) with a length (nagasa) shorter than  and typically about . Usually constructed in flat style (hira-zukuri). (also see tantō, kaiken) Commonly used as a calque for the broadest definition of (European) short swords.
 – knife or dagger (strictly speaking only the former) with a length (nagasa) shorter than  and typically about . Usually constructed in flat style (hira-zukuri). Also called mijikagatana. (also see tanken, kaiken)
 – single-edged blades (saber/knife) of any size or shape.
 – a tempered spot within the ji not connected to the main temper line (hamon).
 – umbrella term for all single- and double-edged blades of any size and shape.
 – curvature (sori) of the blade in which the center of the curve lies roughly in the center of the blade resembling the horizontal bar of torii.
 – an ancient (jokotō) very short knife with blade length (nagasa) of  or less.
 – sword guard; generally a round metal plate with a central wedge shaped hole for the blade and if needed up to two smaller holes for the kozuka or kōgai
 – symmetrical double-edged thrusting weapon popular in the Nara and early Heian period. Also a (now rare) general term for double-edged blades, see ken.

U
 – curvature (sori) of the blade with a slight curve toward the cutting edge (ha).
 – misty reflection on the ji or shinogiji usually made of softer steel.

W
 – blades with a length (nagasa) between  . Shorter of the two swords worn by warriors in the Edo period.

Y
 – see ha.
 – without turn-back (kaeri); a bōshi that continues directly to the back edge (mune).
 – file marks on the tang (nakago) applied as a kind of additional signature and before engraving the real signature (mei). (see image)
 – activity (hataraki) in the temper line (hamon) that resembles fallen leaves or tiny footprints. After the late Sengoku period (late 16th century) referred to as nioi kuzure.
 – line perpendicular to the ridge (shinogi) which marks off the kissaki from the rest of the blade. (see image)
 – dagger used for cutting through armour. Their length (nagasa) was originally fixed at , a value that was later reduced to . Originally worn thrust vertically through the back of the belt; later carried at the ride side with the hilt to the front and the edge facing up.
 – spot or spots where nie is concentrated on the ji.

See also
List of National Treasures of Japan (crafts-swords)

References

Bibliography

External links

 Nihonto forum
 Glossary of Japanese sword terms
 Japanese Sword Index and Visual Glossary

Samurai weapons and equipment
Japanese swords
Japanese swords
Wikipedia glossaries using unordered lists

redpajama_set_name: RedPajamaWikipedia


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Former England rugby union international arrested on suspicion of rape
Player held on Sunday after report of attack at nightclubWoman also arrested on suspicion of administering a substance A former England rugby union player has been arrested on suspicion of the rape of a teenager.
A Greater Manchester police spokesman issued a statement on Wednesday morning following reports of an incident at a nightclub in the city which stated: "Officers were called shortly before 11am on Sunday 9 January 2022 to a report of a Sexual Assault on a female on Thorpeness Square in Manchester.
What happens when your star is cancelled but you can't cancel the film?
Test cricket's next challenge: how to avoid another lopsided Ashes series | Geoff Lemon
Graham Thorpe's cigar lit the fuse for police shutting down post-Ashes party

redpajama_set_name: RedPajamaCommonCrawl


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Home › Partners › Which NHL teams are going to miss out on the Stanley Cup Playoffs?
With the NHL playoffs just days away, here are some teams that might not make the playoffs this season: -Toronto Maple Leafs: The Leafs were in the playoffs last year and are looking to return to the playoffs for the first time since 2007.
But they still have one of the weakest records in the league.
The Leafs have lost four of their last five games and have allowed 15 goals over that stretch.
-Philadelphia Flyers: The Flyers are one of five teams that have not made the playoffs in the last seven seasons.
They have a 13-11-1 record in the past 11 games.
-New York Rangers: The Rangers have lost two straight games and will face the New York Islanders in the first round of the playoffs.
But the team has won three straight games, including a 3-2 victory over the Ottawa Senators on Friday.
-Minnesota Wild: The Wild have been the second seed in the Western Conference for the past five years, and they are trying to make it six straight years.
The Wild are averaging only 2.8 goals per game and are allowing 15 goals in that stretch, which is the worst in the NHL.
The team is also shooting 3.5 percent from the penalty kill and are 2-4-2 in the series.
-Florida Panthers: The Panthers are in the midst of a two-game losing streak, which was snapped with a 3:31 of overtime against the St. Louis Blues on Friday night.
The Panthers have lost three of their past four games, going 3-5-1 in those games.
They are averaging 3.4 goals per contest and are 3-4 in their past six home games.
Tags: human resources solutionsnorthwell human resources


Singer Pink(Alecia Moore) was spotted relaxing at the beach in Malibu with husband Carey Hart yesterday.
The couple, who will be welcoming their first child this spring, are waiting til the big day to find out what they're having.
'I have a life inside of me, and I want her or him to know that I will accept him or her with open and loving and welcoming arms. And though I will prepare this little munchkin for a sometimes cruel world, I will also equip this kid to see all the beauty in it as well'.
Mel B Is Definitely Showing!


DAVIS, Calif. (AP) — Leaders of a California college town are working to relocate turkeys that have been harassing people on the streets.
The Sacramento Bee reports (http://bit.ly/2eeuM4l ) that the Davis City Council voted this week to approve a wild turkey management plan that includes trapping and relocating many of the birds and possibly killing some of the more aggressive ones. It also called for an ordinance prohibiting people from feeding the turkeys.
Davis residents are fond of urban wildlife. They built a tunnel for toads and protected jackrabbits from construction, but the well-known turkeys wandering the streets are too much.
Police Chief Darren Pytel says his department has fielded calls from people accosted by turkeys, including a man who was pinned against the wall of a bank by a bird.


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chemical compound
Preparation of carbides
Classification of carbides
Ionic carbides
Interstitial carbides
Covalent carbides
Steven S. Zumdahl
Carbide, any of a class of chemical compounds in which carbon is combined with a metallic or semimetallic element. Calcium carbide is important chiefly as a source of acetylene and other chemicals, whereas the carbides of silicon, tungsten, and several other elements are valued for their physical hardness, strength, and resistance to chemical attack even at very high temperatures. Iron carbide (cementite) is an important constituent of steel and cast iron.
The crystal structure of tetragonal calcium carbide, CaC2. From N.N. Greenwood and A. Earnshaw, Chemistry of the Elements, copyright © 1984, with permission of Butterworth-Heinemann Ltd.
uranium processing: Carbide fuels
Various uranium and plutonium carbides are known, including the monocarbides (UC, PuC), the sesquicarbides (U2C3,…
Carbides are prepared from carbon and an element of similar or lower electronegativity, usually either a metal or a metal oxide, at temperatures of 1,000–2,800 °C (1,800–5,100 °F). Almost any carbide can be prepared by one of several general methods. The first method involves direct combination of the elements at high temperatures (2,000 °C [3,600 °F] or higher). The second method is the reaction of a compound of a metal, usually an oxide, with carbon at high temperature. Two additional methods involve reaction of a metal or metal salt with a hydrocarbon, usually acetylene, C2H2. In one of the methods, the heated metal reacts with a gaseous hydrocarbon; in the other, a metal is dissolved in liquid ammonia, NH3, and the hydrocarbon is bubbled through the solution. Carbides that are prepared with acetylene are called acetylides and contain the C22− anion. For example, the alkali metal acetylides are best prepared by dissolving the alkali metal in liquid ammonia and passing acetylene through the solution. These compounds, which have the general formula M2C2 (where M is the metal), are colourless, crystalline solids. They react violently with water and, when heated in air, are oxidized to the carbonate. The alkaline-earth carbides also are acetylides. They have the general formula MC2 and are prepared by heating the alkaline-earth metal with acetylene above 500 °C (900 °F).
Classification of carbides based on structural type is rather difficult, but three broad classifications arise from general trends in their properties. The most electropositive metals form ionic or saltlike carbides, the transition metals in the middle of the periodic table tend to form what are called interstitial carbides, and the nonmetals of electronegativity similar to that of carbon form covalent or molecular carbides.
Ionic carbides have discrete carbon anions of the forms C4−, sometimes called methanides since they can be viewed as being derived from methane, (CH4); C22−, called acetylides and derived from acetylene (C2H2); and C34−, derived from allene (C3H4). The best-characterized methanides are probably beryllium carbide (Be2C) and aluminum carbide (Al4C3). Beryllium oxide (BeO) and carbon react at 2,000 °C (3,600 °F) to produce the brick-red beryllium carbide, whereas pale yellow aluminum carbide is prepared from aluminum and carbon in a furnace. Aluminum carbide reacts as a typical methanide with water to produce methane. Al4C3 + 12H2O → 4Al(OH)3 + 3CH4
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There are many acetylides that are well known and well characterized. In addition to those of the alkali metals and the alkaline-earth metals mentioned above, lanthanum (La) forms two different acetylides, and copper (Cu), silver (Ag), and gold (Au) form explosive acetylides. Zinc (Zn), cadmium (Cd), and mercury (Hg) also form acetylides, although they are not as well characterized. The most important of these compounds is calcium carbide, CaC2. The primary use for calcium carbide is as a source of acetylene for use in the chemical industry. Calcium carbide is synthesized industrially from calcium oxide (lime), CaO, and carbon in the form of coke at about 2,200 °C (4,000 °F). Pure calcium carbide has a high melting point (2,300 °C [4,200 °F]) and is a colourless solid. The reaction of CaC2 with water yields C2H2 and a significant amount of heat, so the reaction is carried out under carefully controlled conditions. CaO + 3C → CaC2 + CO
CaC2 + 2H2O → C2H2 + Ca(OH)2 Calcium carbide also reacts with nitrogen gas at elevated temperatures (1,000–1,200 °C [1,800–2,200 °F]) to form calcium cyanamide, CaCN2. CaC2 + N2 → CaCN2 + C This is an important industrial reaction because CaCN2 finds extensive use as a fertilizer owing to its reaction with water to produce cyanamide, H2NCN. Most MC2 acetylides have the CaC2 structure, which is derived from the cubic sodium chloride (NaCl) structure. The C2 units lie parallel along the cell axes, causing a distortion of the cell from cubic to tetragonal.
Interstitial carbides are derived primarily from relatively large transition metals that act as a host lattice for the small carbon atoms, which occupy the interstices of the close-packed metal atoms. (See crystal for a discussion of packing arrangements in solids.) Interstitial carbides are characterized by extreme hardness but at the same time extreme brittleness. They have very high melting points (typically about 3,000–4,000 °C [5,400–7,200 °F]) and retain many of the properties associated with the metal itself, such as high conductivity of heat and electricity as well as metallic lustre. At elevated temperatures some interstitial carbides retain the mechanical properties of metals, such as malleability. Many of the early transition metals have radii that are large enough to form interstitial monocarbides, MC. The critical (i.e., minimum) radius appears to be approximately 1.35 angstroms (1.35 × 10−8 cm, or 5.32 × 10−9 inch). However, most transition metals form interstitial carbides of several stoichiometries. For example, manganese (Mn) is known to form at least five different interstitial carbides. In contrast to the ionic carbides, most interstitial carbides do not react with water and are chemically inert. Several have industrial importance, including tungsten carbide (WC) and tantalum carbide (TaC), which are used as high-speed cutting tools because of their extreme hardness and chemical inertness. Iron carbide (cementite), Fe3C, is an important component in steel.
There are only two carbides that are considered completely covalent; they are formed with the two elements that are most similar to carbon in size and electronegativity, boron (B) and silicon (Si). Silicon carbide (SiC) is known as carborundum and is prepared by the reduction of silicon dioxide (SiO2) with elemental carbon in an electric furnace. This material, like diamond, is extremely hard and is used industrially as an abrasive. It is chemically inert and has a diamond structure in which each silicon atom and each carbon atom are surrounded tetrahedrally by four atoms of the other type. Boron carbide (B4C) has similar properties. It is also extremely hard and inert. It is prepared by the reduction of boron oxide (B2O3) with carbon in an electric furnace. In the structure of B4C, the boron atoms occur in icosahedral groups of 12, and the carbon atoms occur in linear chains of three. Another boron carbide (BC3), which has a graphitelike structure, is produced from the reaction of benzene (C6H6) and boron trichloride (BCl3) at 800 °C (1,500 °F).
Various uranium and plutonium carbides are known, including the monocarbides (UC, PuC), the sesquicarbides (U2C3, Pu2C3), and the dicarbides (UC2, PuC2). Because they are highly refractory, these compounds have been much investigated for use as fuels for nuclear reactors. For example, the fuel…
alkali metal: Reactions with nonmetals
Lithium forms a carbide (Li2C2) similar to that of calcium. The other alkali metals do not form stable carbides, although they do react with the graphite form of carbon to give intercalation compounds (substances in which the metal atoms are inserted between layers of carbon atoms in the…
Carbon (C), nonmetallic chemical element in Group 14 (IVa) of the periodic table. Although widely distributed in nature, carbon is not particularly plentiful—it makes up only about 0.025 percent of Earth's crust—yet it forms more compounds than all the other elements combined. In 1961 the isotope carbon-12 was selected to…
Boron carbide
Aluminum carbide
Acetylide
Titanium carbide
Methanide
Acheson process
How Stuff Works - Science - What Are Carbide Tips?


text:
New York Islanders Three Takeaways From 2018-19 Game 1
GLENDALE, AZ - JANUARY 22: Mathew Barzal #13 of the New York Islanders during the NHL game against the Arizona Coyotes at Gila River Arena on January 22, 2018 in Glendale, Arizona. The Coyotes defeated the Islanders 3-2 in overtime. (Photo by Christian Petersen/Getty Images) /
WASHINGTON, DC – OCTOBER 15: Goalie Thomas Greiss #1 of the New York Islanders looks on after allowing a goal by Daniel Winnik #26 of the Washington Capitals (not pictured)in the second period at Verizon Center on October 15, 2016 in Washington, DC. (Photo by Patrick Smith/Getty Images) /
Shots! Shots! Shots!
Shots For: 20
Shots Against: 46
Differential: -2.3
You'd be excused if you thought the New York Islanders opening game against the Carolina Hurricanes was actually game number 83 from the 2017-18 season. The Islanders continued bleeding shots to the tune of 46 shots against. Much like they did under Doug Weight.
Unlike that period under Doug Weight, the Islanders didn't look like they were scrambling about chasing the puck carrier like a bunch of peewee players. They seemed to hold a good defensive shape and did a good job of keeping the puck to the outside. The end result wasn't good, but there seem to be some positives there.
The issue the Islanders had against the Hurricanes was their inability to get the play going the other way. Like Barry Trotz said in his post-game comments, the Islanders did well to try and get the puck out of the zone, they'd just constantly turn the puck over in the neutral zone.
With the play being led by the Hurricanes, the shots started pilling up. By the end of the second period the shots were 31-14. With still another 20 minutes to go, the gap was certainly going to grow. And it did.
By the end of the game the Carolina Hurricanes had outshot the New York Islanders by 26 shots on net. IN terms of shot attempts the difference was far greater with the Canes attempting 89 to the Islanders 35
This type of performance won't last. Either Barry Trotz gets what he wants from this team as it's currently constituted. Or he'll get Lou Lamoriello to make a trade to swap out the elements that don't work for ones that do.


All these letters describe the same thing, a form of image stabilisation that allows sharp, hand-held photographs, to be taken at lower than normal shutter speeds. The different names are used by Canon, Nikon, Sigma and Tamron to describe very similar technologies, each designed carefully to avoid the patents of the other companies.
My first encounter with Image Stabilisation (IS) was at a Nature Photography Fair in 1995 where Canon had a demonstration 75-300mm IS zoom lens on show, the first IS lens available. When I fitted it onto my camera, and half-pressed the shutter release, there was a loud whirring noise and the image in the viewfinder wobbled around queasily before settling. Panning the lens caused the image to stay still initially then eventually catch up after panning had stopped. From this unpromising start, I felt that the technology could have some benefits and soon bought one of the lenses.
Like many 75-300mm lenses, the performance was good from 75-200 but fell away towards the 300mm end. At full aperture (large) at 300mm there was some softness which disappeared once the lens was stopped down to f/8 - f/11. Image stabilisation allowed me to hand-hold the lens at the optimum aperture and get sharper photographs. The sharpness gain was not due to reducing camera shake, just by allowing the lens to be hand-held reliably at the best aperture. This was before the days of digital photography when you could change ISO values for individual pictures.
As the technology improved, shutter speed gains rose from 2 stops to 3 stops, and eventually to 4 stops, as is the case for most recent IS lenses. This does not mean that the full 4 stops benefit over the normal 1/focal length minimum shutter speed is guaranteed. It depends on how steady your hands are, how windy it is, whether you are on a moving platform, and so on. However, if you take several pictures, even at very low shutter speeds, the chances with IS are that at least some of them will be sharp.
How does this affect landscape photographers? Often they use sturdy tripods for every picture and some would say they have no need for IS lenses. In fact, the early IS lenses actually could reduce the sharpness of photographs taken on tripods if the IS was left switched on. This was because a feedback loop could develop in the absence of any movement causing the IS group to hunt around. Most modern IS lenses automatically sense tripod use and switch off the stabilisation.
A number of current lenses, such as the 70-200mm models, have available both IS and non-IS versions, and the difference in cost often is considerable. If you use a tripod all the time, you could save money and get the non-IS version, but often I take pictures, especially early and late in the day, that capture a fleeting moment which would be gone before my tripod was erected. I depend on IS for these pictures and would not be without it now.
Both photographs this month are hand-held at slow shutter speeds with IS lenses. The photograph of moving water was shot balancing on a slippery rock. I dropped the shutter speed as low as it would go (1/10th second), to gain the feeling of movement in the water. The second image shows water (from a watering can) bouncing off a Shasta daisy. It was taken at 1/30th of a second at 277mm focal length, equivalent to 443 mm on full frame. I tried a range of shutter speeds from 1/8th to 1/250th but this one was the best, combining the movement of the water and the tracks of the splashes without the flower head moving about during the exposure.


These stations include a basic set of bike repair tools and a heavy duty bike pump. Current stands are located at Union Square in downtown Hickory near the bus stop and at Hickory City Park (the park with the tennis courts) on 12th St DR NW in Hickory. Future plans include repair stands at Lake James State Park, Lake Norman State Park, and Jacob's Fork Park in Newton.


Australia and New Zealand have completed the list of the Rugby World Cup semifinalists, beating South Africa and Argentina respectively.
Australia were more successful in the first half and took an 8-3 lead into the break. However, the Wallabies found themselves one point down midway through the second half. The game was decided eight minutes from time when winger James O'Connor landed a penalty to help the Aussies beat the reigning champions and claim the intense quarterfinal 11-9.
The other quarterfinal saw hosts and the tournament's main favorites New Zealand face Argentina. Despite the odds, the South Americans managed to limit New Zealand to two late tries courtesy of some punishing defense.
The Pumas even led in the first half when flanker Julio Farias Cabello finished a flowing backline move involving center Felipe Contepomi, who fell just short of breaking Hugo Porta's long-standing national scoring record.
The late tries got things straightened out as the All Blacks clinched the game 33-10 and settled a semifinal against their biggest rivals Australia.
Meanwhile, Saturday's triumphal Wales and France will decide the other finalist between themselves.


text:
CAFR's Experience with Online Examinations: An Important Part of Accountancy Education's Future
Adriana Spiridon | May 27, 2022
In Romania, as in many jurisdictions worldwide, the year 2021 was marked by recovery and resilience out of the COVID-19 pandemic, ushered in under several safety and protection measures set by national authorities. The Chamber of Financial Auditors of Romania (CAFR) was authorized and delegated by the Authority for the Public Oversight of the Statutory Audit Activity (ASPAAS) the organization of both the initial professional examinations (pre-practical experience) and the final examination of professional competence after the training period for auditors. Safety of all candidates, staff, and other individuals that support the professional examination process was a high priority. Therefore, CAFR needed to find new approaches to organizing and marking exams from what CAFR would normally do. Prior to 2021, hundreds of candidates would come from all over the country to a central, controlled examination center and sit in-person in Bucharest for pen-and-paper examinations. Afterwards, papers were collected and graded by an Evaluation Commission that would meet in-person. Any appeals or complaints filed after the publication of results were also addressed by a Complaints Commission that also met in-person. The entire process was time-consuming and incurred significant costs and efforts.
In 2021, CAFR determined that the best way forward was through online examinations. The first step was entering into a tripartite agreement between CAFR, ASPAAS, and the Academy of Economic Studies of Bucharest — one of the most reputable economic universities in Romania — to leverage the Academy's online examination platform, already in use for several years, tested by thousands of students, and at no additional fee for CAFR.
Pre-Exam
Importantly, there was an existing level of trust in this platform among all key stakeholders and CAFR knew that it could meet its needs in terms of questions that could be uploaded and format of the exams – i.e., it could accommodate both multiple choice questions, long-form questions, and a certain time limit could be set.
To avoid any suspected fraud, for each examination, CAFR uploaded into the library platform a significantly larger number of questions than those required for an in-person test and mapped to certain topics. The platform then randomly selected the questions for each candidate, thus also mitigating the human error component.
With increased digitalization of the exam, CAFR was also cognizant of cybersecurity, privacy, and confidentiality risks. Agreements were signed among relevant parties regarding confidentiality. Each candidate was provided an individual account with unique log-in details to the examination platform, and received the access details to a particular Zoom session- used for identity verification and monitoring during the entire exam. Candidates were also allowed to receive technical support if needed, either by using the Zoom session chat or by dialing a specific technical support line.
Still, CAFR had to ensure that there was buy-in among candidates that would be sitting for this new online examination experience. Prior to the exam, CAFR issued a specific set of instructions and guidelines for the examination and a few days before each exam, CAFR organized an online Zoom meeting with the candidates to explain procedures involved, the related monitoring aspects, and to answer any questions and concerns. Alongside this Zoom session, CAFR also organized a practice, simulation exam so that candidates would be directly familiar with the platform before the real examination.
During the Exam
During the entire exam, every candidate had to connect to the Zoom session with the audio and video signal on. Candidates' audio-visuals and screen sharing feeds were recorded during the test for future reference and for any potential appeals or complaints. There was also a "central physical unit" composed of platform administrators, CAFR and ASPAAS staff, and other supervisors that were monitoring the Zoom sessions. It was very important that CAFR be transparent in its monitoring procedures to maintain a positive reputation among all stakeholders.
Post-Exam
Evaluators assessed the answers and graded the papers online. For multiple choice questions, the examination was fully automated. For long-form questions, the results were not automated, and evaluators assessed the answers and graded accordingly by connecting, with individual log-in details, to the examination platform. The results of the online exams were conveyed to the candidates via the CAFR and ASPAAS websites. Any complaints were also dealt with online by the Complaints Commission.
Overall, CAFR has received favorable feedback about the online examinations experience from the past year. Gaining candidates' trust in the examination platform, especially those who are not particularly tech-savvy was a primary obstacle to overcome. This is why CAFR invested in creating guidelines, practice exams, and provided candidates with an e-mail and phone number that were dedicated to answering any technical questions that might arise during the exam.
Another challenge was for the candidates to have all the technical devices ready to take these online examinations (i.e., up to date software, steady internet connection supplemented by a back-up connection such as Wi-Fi or a smartphone with hotspot capability). In 2021, all candidates took the tests remotely, from their chosen location, from all over Romania. There were candidates who unfortunately withdrew from an examination because of lack of necessary devices or poor internet connection. This will be an important consideration for what CAFR does in the future.
Will Online Exams Remain?
CAFR embraced the digital challenge imposed by the pandemic. CAFR has seen immediate benefits from online examinations, such as decreasing time and cost of setting up physical test centers and less travel expenses incurred by candidates. The entire examination process was quicker, including the post-examination stages such as grading, complaints, etc. Candidates were quite pleased with the overall online examination experience.
Another plus for the online exams is the accessibility to remote locations, enabling wider participation and access to the practical training or the profession. With an internet connection and electronic devices, candidates throughout the country could take the exam, from the comfort of their chosen location.
To attract more people to the audit profession (either as trainees or auditors) and to avoid additional expenses in the post-pandemic period (already troubled by cost increases), CAFR has begun discussions with the ASPAAS regarding the organization of the 2022 initial and final examinations with online and in-person format options. CAFR believes that online examinations are here to stay and will be an important part of the accountancy education ecosystem going forward. Is your PAO ready?
More on PAO Digital Transformation
There are huge opportunities for PAOs to advance their own organization's success and our global professional community. Our journeys are unique, yet our experiences not uncommon. IFAC's PAO Digital Readiness Assessment Tool is providing a platform for future synergies and transparency among PAOs as they start exploring technology solutions, new certifications, and training. Patience and tenacity are necessary, but digitalization will unlock new power for PAOs. The IFAC PAO Development & Advisory Group encourages all IFAC members to leverage and complete the free Tool and is available to connect with PAOs on this topic!
Explore IFAC's regularly updated PAO Digital Transformation Series webpage , which houses helpful resources, articles and videos on Digital Transformation.
Continue the Conversation on Online Examinations
Do you have additional challenges, solutions, or opportunities related to online examinations? Do you have policies, procedures, guidance, et cetera that might be useful to PAOs? Are you willing to assist a PAO on the journey to online examinations? If your answer to any of these questions is "yes," please contact us at education@ifac.org as we plan to continue to share your knowledge in the Accountancy Education eNews (subscribe today!) and link to your good practices in the IFAC Accountancy Education E-Tool.
Adriana Spiridon
Adriana Spiridon joined the Chamber of Financial Auditors of Romania in 2008. She started within the International Relations Department and soon began coordinating the CAFR international affairs activity as head of department. Beginning with 2018, she manages the CAFR Department of Admission, Professional Development and Trainees and is also a member of the Professional Accoutancy Education Europe (PAEE) Steering Group. Adriana Spiridon is also a certified translator, she graduated from the University of Bucharest, has a Master's degree in Specialized Translations and Terminology Studies and a degree of International Relations Specialist Certificate issued by the Romanian Diplomatic Institute. She was involved in various translation and publication projects, such as the Romanian translation of the IESBA and IAASB Handbooks.
Deploying Emerging Technology to Fight Corruption
January 13, 2023 | Alhaji Razak Jaiyeola
The Benefits and Challenges of Smaller Accountancy Practice Digitisation
January 4, 2023 | Gail McEvoy
Deciding on the Right CRM Solution: PAOs Need a CRM That Works for Them
January 24, 2022 | cloudThing
What Are Critical Success Factors for PAO Digital Transformations?
August 12, 2021 | Asmâa Resmouki, World Bank Consultant


text:
Q: Hi Im having trouble fitting the Table that is inside a JScrollPane in a Panel table1.setPreferredSize(new Dimension(800,500));

JScrollPane pt = new JScrollPane();
pt.setViewportView(t);
pt.setSize(800, 500);

JPanel x = new JPanel();
x.add(pt);
x.setBackground(Color.decode("#323232"));

x.setSize(800, 500);

frame1[enter image description here][1].add(x);
frame1.setVisible(true);

I want to fit the table in the whole gray area. Any ideas how to do that?

A: table1.setPreferredSize(new Dimension(800,500));

Don't hardcode a preferred size.
You can suggest a size by using:
table.setPreferredScrollableViewportSize(table.getPreferredSize());

Then the size of the scrollpane will be the preferred size of the table.
pt.setSize(800, 500);
...
x.setSize(800, 500);

Don't use setSize(). The layout manager will determine the size based on the rules of the layout manager.
If you want the table to grow/shrink as the size of the frame changes then
your panel should use a BorderLayout. Then you just add the scrollpane to the panel and the scrollpane and table will expand/shrink to fill the available space.
Or just add the scrollpane directly to the frame. The content pane of the frame already uses a BorderLayout.
So the basic problem is how you nest panels on the frame.

redpajama_set_name: RedPajamaStackExchange


Washington: America's public debt has reached a record high of more than $22 trillion, according to data released by the US Treasury Department.
"The national debt has now eclipsed $22 trillion, as we added $1 trillion in debt over just the last 11 months," said Michael A. Peterson, CEO of the Peter G. Peterson Foundation, a non-partisan organisation dedicated to addressing America's long-term fiscal challenges.
Analysts said the Trump administration's $1.5-trillion tax cut and increased government spending have fueled the rapid increase in budget deficits and public debt.
"Reaching this unfortunate milestone so rapidly is the latest sign that our fiscal situation is not only unsustainable, but accelerating," Xinhua quoted Peterson as saying.
"As we borrow trillion after trillion, interest costs will weigh on our economy and make it harder to fund important investments for our future," Peterson said.
"We already pay an average of $1 billion every day in interest on the debt, and will spend a staggering $7 trillion in interest costs over the next decade," he said, adding "we must put our fiscal house in order and begin to manage our national debt".


text:
Q: How to convert textbox value to integer I have some textboxes in my C# windows form application. I want to do the following:
inRed = Convert.ToInt32(tbRed.Text.ToString().Length < 0 ? tbRed.Text = "0" : tbRed.Text);
inGreen = Convert.ToInt32(tbGreen.Text.ToString().Length < 0 ? tbGreen.Text = "0" : tbGreen.Text);
inBlue = Convert.ToInt32(tbBlue.Text.ToString().Length < 0 ? tbBlue.Text = "0" : tbBlue.Text);

inCyan = Convert.ToInt32(tbCyan.Text.ToString().Length < 0 ? tbCyan.Text = "0" : tbCyan.Text);
inMagenta = Convert.ToInt32(tbMagenta.Text.ToString().Length < 0 ? tbMagenta.Text = "0" : tbMagenta.Text);

If the textbox doesn't have a value, enter a 0 and convert to integer, otherwise convert the value of the textbox to integer.
I am getting the following error for inCyan, where the textbox is empty:
Input string was not in a correct format.

How can I achieve what I am looking for?

A: Instead of Convert.ToInt32, use Int32.TryParse. This gives you feedback regarding if it was a valid integer. e.g.
String textboxValue = "1";
Int32 i;
if (!String.IsNullOrWhitespace(textboxValue) && // Not empty
    Int32.TryParse(textboxValue, out i)) { // Valid integer
  // The textbox had a valid integer. i=1
} else {
  // The texbox had a bogus value. i=default(Int32)=0
  // You can also specify a different fallback value here.
}

As a follow-up, String.IsNullOrWhitespace makes it easy to decipher if a value is supplied, but (depending on your .NET version) is may not be available (and you may only have String.IsNullOrEmpty.
If need be, the polyfill is something long the lines of:
Boolean SringIsNullOrWhitespace(String input)
{
    return !String.IsNullOrEmpty(input) && input.Trim().Length > 0;
}

Also, if you find yourself trying to perform this parsing frequently, you could refactor it into a helper class:
public static class ConvertUtil
{
    public Int32 ToInt32(this String value)
    {
        return ToInt32(value, default(Int32));
    }
    public Int32 ToInt32(this String value, Int32 defaultValue)
    {
#if NET4
        if (!String.IsNullOrWhiteSpace(value))
#else
        if (!String.IsNullOrEmpty(value) && value.Trim().Length > 0)
#endif
        {
            Int32 i;
            if (Int32.TryParse(value, out i))
            {
                return i;
            }
        }
        return defaultValue;
    }
}

// explicit
inRed = ConvertUtil.ToInt32(tbRed.Text, 0/* defaultValue*/);
// As extension
inRed = tbRed.Text.ToInt32(0/* defaultValue*/);

A: You can do something like
// Initialise variable with 0
int value;

// Try parse it, if it's successful and able to parse then value is set to         the int equivalent of your text input
int.TryParse(inputVariable, out value);

return value

This is a simple way of dealing with your problem - note, if the parse fails then it returns 0 to value.
How you would apply it to your particular problem.
int inMagenta;
int.TryParse(tbMagenta, out inMagenta);

etc.....

A: You can use tryparse.
int inRed;  //default value will be 0 , if the string is not in a  valid form
Int32.TryParse(tbRed.Text.ToString(), out inRed);


IT-department of allShapes LLC is the developer of our site and is currently developing for us an Electronic Children's Search and Security System "Bagheera" which yu soon can see in action.
It is very importnat to us to be on call and ready to help 24/7. Thanks to the autiomatic telephone station , provided free of charge by Gravitel co, we are shure that each and every call for help will be heard.
Our work requires quick communication. Thanks to e network of mass texting systmes that functions all over Russia we are capable of transfering quickly and easily important information to all the members of the Association. We express gratitude to all the ompanies that have provided us with free tariffs.


text:
A few weeks ago I reviewed Godmonster of Indian Flats, an ignored B-movie that I felt showed great potential. So much that I decided to seek out the director Fredric Hobbs' other work. I discovered that he was both an artist and an experimental filmmaker. Godmonster of Indian Flats may not be considered a masterpiece, but it's far from your every day low budget 70's monster flick. It has this bizarro flavor and a stark sincerity that struck my fancy. I found out that the same year Hobbs made Godmonster, he made a blaxploitation horror movie called Alabama's Ghost. Naturally, I tracked it down immediately.
Alabama's Ghost teeters between avant-garde and nonsensical. The movie starts with a dixieland jazz band performing the title track while the end credits role. The story revolves around a black handyman named Alabama who accidentally drives a fork lift through a wall in the basement of the club he works at. He starts exploring and finds several chests full of a dead magician's belongings. Amidst cloaks, cards, endless handkerchiefs and other magic gimmicks he also finds the Great Carter's stash of mystic ganja. Apparently the Great Carter had been developing a special hash to control minds. In it he finds an address to a little old lady's shack, the supposed sister of the Great Carter. He decides he's going to go and blackmail her for the use of Carter's magic garb so he can get rich and famous. At no point during this movie does Alabama seem like he has any clue what's really going on, much like the audience. The old lady turns out not to be an old lady at all. She's actually the leader of a world wide vampire cult.
To fulfill their own plan of world domination they need Alabama's body for...what, I'm still not quite sure. At one point this phrase is uttered...
"Doctor they have a twin Frankenstein. They're trying to kill Alabama!"
So I think that may have something to do with it. I'm getting a little ahead of myself though. So Alabama carries on his plan of mixing magic with a prog rock. He and his band tour the country and he becomes rich and famous. Unfortunately he keeps being haunted by the ghost of the Great Carter.
One of Hobbs' movie sculpture cars also seen in his impossible to find documentary "The Trojan Horse"
There was lots of wackyness to please my sensibilities. It's a wild, psychedelic, freakshow from a truly underrated auteur. I was happy to see almost the entire cast of Godmonster of Indian Flats starring in this. I especially liked Peggy Browne, who played Zoerae, the vampy broad who seduces Alabama. Her performance stood out in Godmonster and it stood out here too. She delivers her lines with allure and I really dug her presence. The actor who played the Great Carter, E. Kerrigan Prescott is my favorite though. It's obvious that he's a great thespian but loves to ham it up. He did mostly TV, but I was thrilled to see he was also in Arthur Crabtree's Fiend Without a Face. His character was the most fascinating part about this movie to me. I could be reaching here, but I got the impression that he was intended to be an homage to Dr. Mabuse, by using mind control from beyond the grave. Even kind of looks like he did in Testament of Dr. Mabuse...
(kinda)
Alabama's Ghost is baffling, bizarre and purposely politically incorrect, but to a select few those are precisely the reasons to watch a movie like this. There's much more that I haven't mentioned because I truly feel this is a film that garners repeat viewings. Jam packed with the good stuff, Like Nazis, an elephant, and voodoo mysticism. This movie is a gluttonous nutty free for all and is a beautiful reward for actually enjoying Godmonster of Indian Flats and doing the footwork to find more like it. I still haven't been able to find any info on Hobbs' first film, Troika being available in any form, but I'll keep trying. Now as soon as I have the funds I'll just have to make the leap and buy Roseland and put this Hobbsian triple feature to bed.
Posted by Scumbalina at 3:19 PM
Labels: 1970's, blaxploitation, Fredric Hobbs, USA, vampires aren't always lame
raculfright_13 July 14, 2010 at 7:34 PM
I kinda wanna see this :/
Scumbalina July 15, 2010 at 8:46 AM
you should see it! it's confusing so it's kind of hard to follow sometimes, but it's definitely a little "weirder" than Godmonster, with a much higher potential for cult status. Worth a look!
Bradley Lyndon Hollowniczky February 14, 2017 at 9:06 PM
"Alabama's Ghost" is one heady brew--overpacked, overplotted, overwrought and absolutely delightful in every particular. I love this film--it's so full of bizarre ideas and abrupt, often jarring changes in tone, yet it still presents at least the illusion of a cohesive and appealing vision even if we're not quite sure what that vision is. The cast give wonderful performances and are clearly having the time of their lives. I particularly love Christopher Brooks as Alabama. He only appeared in a handful of films, most notably jazz bandleader Sun Ra's pseudo-Egyptian afro-naught fantasy "Space is the Place" (which I highly recommend for lovers of the offbeat 70's weirdness such as yourself). It's gratifying to see this film taken seriously as an expression of outsider cinema art. I just stumbled upon your blog today and I've been going through it (backwards) all evening. I'm enjoying it immensely! Cheers to you...I'll be looking up quite a few of the movies you've profiled.
Bradley Lyndon Hollowniczky March 4, 2017 at 2:29 PM
I just watched this again intending to review it for submission to a list of the weirdest movies of all time. I must say I noticed more depth to the story and imagery on a second viewing. The elusive "cohesive vision" of director Hobbes seems to include a religious/messiah allegory but it is blurred between the characters of Alabama and Carter's ghost, as if Carter was unable to complete his divine mission to destroy the vampire cult and has knowingly enlisted Alabama to do the honors. Alabama isn't really up to the task and requires the intervention of the voodoo witch doctor and his robot double. Some hero! I am wondering if there wasn't some sort of commentary against mixed race relationships as well. Carter's ghost interrupts the consummation of Alabama's relationship with Zoerae and Alabama repeatedly refers to him as a "racist" ghost. Later Alabama seems to find happiness with the unnamed escapee from the vampires' den who tips off the witch doctor about the Alabama double and the cult's plans and who is the only black woman in the film apart from Alabama's mother. The vampire cult, who are, after all manipulating and using Alabama as a sort of psychic slave, wear black capes and hoods which look suspiciously like KKK uniforms. It's another bit of subtext that's hinted at enough to make you wonder but vague enough to possibly be the viewer grasping at straws for some kind of meaning. Carter is using Alabama, too, and there's a nice bit of symbolism in Alabama frantically searching for an escape from Zoerae and finding he's utterly surrounded by the giant Carter posters. Carter the Great, by the way, was a real Magician who really did die in India (albiet in 1936, not 1935 as they indicate in the film)...the many posters were genuine Carter memorabilia. The prog-Jazz band "Loading Zone" was a very popular opening act in the late 60's (opened for Cream and other rock luminaries) but disbanded in 1971 after their second album tanked. Since Alabama's Ghost was released in 1973 I am assuming it took Hobbes several years to complete.
the Video 98 Collection part 8: Lola (1969)
The Video 98 Collection Part 7: The Mines of Kilim...
TV Tuesday! - Lancelot Link, Secret Chimp (1970-19...
The Patchwork Girl of Oz (1914)
Moustache Monday! Starring Sam Elliot's Moustache
the Day of the Cobra (1980)
Moustache Monday!
Evilspeak (1981)
The Video 98 Collection Part 6: Arizona Heat (1988...
The Video 98 Collection Part 5: Tales Of Ordinary ...
Happy Birthday Eiji Tsuburaya
The Video 98 Collection Part 4: Nukie (1988)
The Video 98 Collection Part 3: Robot Holocaust (1...
The Video 98 Collection Part 2: Uncle Sam (1997)
The Video 98 Collection Part 1: The Lost Idol (199...
Video 98, I love you...
the Witch with the Flying Head (1977)
End of the Month Mini-Reviews


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Cambridge Neuroscience Seminar 2018 - Mental Plasticity & Development
Monday March 12th 2018
Cambridge Neuroscience Seminar at Robinson College on Monday 12th March 2018
Cambridge Neuroscience is delighted to announce the 30th Cambridge Neuroscience Seminar, 'Mental Plasticity & Development' hosted by the Department of Psychology on Monday 12th March 2018, at Robinson College.
The aim of this annual interdisciplinary meeting (about 280-300 delegates) is to give a snapshot into the extent of neuroscience research here in Cambridge and how it fits into the broader context of neuroscience worldwide. This year will focus on areas of research that highlight the interdisciplinary nature of the Psychology Department here at Cambridge, with sessions covering neural architectures and plasticity mechanisms that enable the development of knowledge, memory and skill acquisition.
Data Blitz at CNS 2018 on Monday 12th March 2018
There will be a data blitz for early career researchers held during the main programme. Abstracts will be selected from submitted poster abstracts. Research can cover any of the five themes of Cambridge Neuroscience. Deadline for Abstract submission is Monday February 26th 2018 and presenters will be notified of selection by Friday March 2nd (Early abstract submission is advisable) to ensure adequate preparation time. Selected presenters will be allowed to speak for a maximum of 3 minutes.
Poster exhibition at CNS 2018 on Monday 12th March 2018
There will be a extended poster exhibition held during the conference with generous prizes. Posters can cover any of the five themes of Cambridge Neuroscience. Deadline for Abstract submission is Monday February 26th 2018.
Public Engagement Programme on Monday 12th March 2018
Professor Paul Fletcher (Department of Psychiatry, Cambridge) will deliver the public lecture - "I'm not mad: I only bend reality so that I can see around the corners". This lecture is free to attend and will be followed by a drinks reception.
Reception and Conference Dinner at Robinson College on Monday 12th March 2018
There will be a drinks reception and conference dinner at Robinson College on Monday 12th March following the meeting (extra fee payable). Places are available for this reception and dinner.
Professor Essi Viding
Division of Psychology & Language Sciences, University College London
'Why should neuroscientists care about gene-environment correlation?'
Professor Matthew Botvinick
DeepMind, London
Gatsby Computational Neuroscience Unit, University College London
'Prefrontal cortex as a meta-reinforcement learning system'
Professor Paul Fletcher
"I'm not mad: I only bend reality so that I can see around corners?"
CNS2018 | Mental Plasticity and Development
08:00-09:00 Registration, coffee and light breakfast
09:00-09:05 Opening remarks, Professor Mark Johnson, Department of Psychology
Chaired by Professor Mark Johnson, Department of Psychology, University of Cambridge
09:05-09:35 Professor David Rowitch, Department of Paediatrics, University of Cambridge
'Development of functionally heterogeneous astrocytes in mammalian CNS'
09:35-10:05 Dr Sarah Lloyd Fox, Birkbeck, University of London
'Integrating nutrition, psychology and neuroscience to measure infant development in the UK and the Gambia'
10:05-10:45 Cambridge Neuroscience Opening Plenary Lecture
Professor Essi Viding, UCL Division of Psychology and Language Sciences
'Why should neuroscientists care about gene-environment correlation'
10.45-11.15 Refreshments
Chaired by Professor Usha Goswami, Department of Psychology, University of Cambridge
11.15-11.45 Dr Joni Holmes, MRC Cognition and Brain Sciences Unit, University of Cambridge
'The Centre for Attention Learning and Memory (CALM): a transdiagnostic approach to learning difficulties'
11:45-12:15 Professor Paul Ramchandani, Imperial College London, Faculty of Education, University of Cambridge
12:15-12:50 Data Blitz, Moderated by Dr Kirstie Whitaker, Department of Psychiatry
12:50-14:20 Lunch, Poster Session and Trade exhibition
Chaired by Professor Zoe Kourtzi, Department of Psychology, University of Cambridge
14:20-14:50 Dr Jasper Poort, Sainsbury Wellcome Centre for Neural Circuits and Behaviour, University College London
(University of Cambridge from October 2018)
14:50-15:20 Dr Amy Milton, Department of Psychology, University of Cambridge
15:20-15:50 Professor Angela Roberts, Department of Physiology, Development and Neuroscience, University of Cambridge
'Bridging the translational gap in the study of anhedonia'
15.50-16:20 Refreshments
Chaired by Professor Trevor Robbins, Department of Psychology, University of Cambridge
16:20-16:50 Dr Karen Ersche, Department of Psychiatry, University of Cambridge
'Where there's a Will, there's a Way: The Changing Faces of Drug Addiction'
16:50-17:20 Dr Jon Simons, Department of Psychology, University of Cambridge
' Getting a grip on reality: Towards a cognitive understanding of hallucinations'
17:20-18:00 Cambridge Neuroscience Closing Plenary Lecture
Google DeepMind and Gatsby Computational Neuroscience Unit, UCL
18:00-18:10 Closing remarks by Professor Trevor Robbins
Awards, arrival of public audience
Introduced by Professor Chris Frith, University College London
Professor Paul Fletcher, Department of Psychiatry
"I'm not mad: I only bend reality so that I can see around the corners"
19:00-19:45 Drinks reception, Robinson College
19:45-21:30 Conference dinner, The Dining Hall, Robinson College