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Hippolyt von Turno (* 30. November 1828 in Objezierze (Oberau); † 13. März 1897 ebenda) war ein Rittergutsbesitzer und Reichstagsabgeordneter.

Turno besuchte das Köllnische Gymnasium in Berlin und die Bergakademie Freiberg im Königreich Sachsen. Nach einem Aufenthalt in Paris wurde er Landwirt. Er besaß die die Herrschaft Objezierze mit den Rittergütern Objezierze, Nieczajna, Zulin und Pacholewo (alle im Kreis Obornik).

Von 1871 bis 1881 war er Mitglied im Posener Provinziallandtag und von 1879 bis 1882 des Preußischen Abgeordnetenhauses. Von 1871 bis 1874 vertrat er den Wahlkreis Bromberg 4 (Inowraclaw – Mogilno) und von 1877 bis 1884 den Wahlkreis Posen-Stadt im Deutschen Reichstag für die Polnische Fraktion.

Einzelnachweise

Literatur
 Anton Bettelheim (Hrsg.): Biographisches Jahrbuch und deutscher Nekrolog. Band 4, 1900, Reimer, Berlin
 Bernhard Mann: Biographisches Handbuch für das preußische Abgeordnetenhaus (1867–1918). Droste, Düsseldorf 1988, ISBN 3-7700-5146-7 (= Handbücher zur Geschichte des Parlamentarismus und der Politischen Parteien, Band 3)

Weblinks
 Historisch-Politisches Jahrbuch von 1880

Reichstagsabgeordneter (Deutsches Kaiserreich)
Mitglied des Preußischen Abgeordnetenhauses
Mitglied des Provinziallandtages der Provinz Posen
Mitglied der polnischen Fraktion
Geboren 1828
Gestorben 1897
Mann


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Why Anger is Useful
Why Anger is UsefuldelialloydJune 19, 2019 May 21, 2021
I once took a course in college called Anger. Because I went to Brown University – which has a reputation for being a bit groovier than the rest of the Ivies – it's easy to mock a course called "Anger." As one of my fellow Brunonians once quipped – "What did you do in that class? Hold hands, sing Kumbaya and pass around a 'talking stick'? "
Sort of. There was a final project where you were encouraged to develop your own personal reflection on anger. One person did an indigenous dance. Someone else sang a song. I read aloud from a short story I'd written about discovering that my college boyfriend was cheating on me.
But most of the course was about reading. Each week, the professor would focus on one text – the Old Testament, Moby Dick, Toni Morrison's Beloved. The students would write a one-page paper on the text and discuss it. The punch line of the course – but one you only came to once you'd digested all of these treatises – was that anger, in the end, was really about sadness. When we feel angry about something, it's because we are actually hurt by someone or something. And anger is the emotion we often use to express that sadness.
That insight rung true to me then and it rings true to me now. I've been really angry lately. In one instance, it's with a relative of mine who has proved to be a real disappointment. She's done some horrible things, including to me and other members of my family, and some of those things are not fixable. In another case, I'm angry with a friend who didn't show up for me when I asked him.
But when I sat down and thought – and, more importantly, wrote about these experiences in my journal – I realized that I wasn't really angry with either of these people.
I was sad. I was sad because in both instances, the people in question revealed a side of themselves that I either hadn't seen before or didn't want to see. And in revealing these less appealing sides of themselves, I experienced a sense of loss. Loss for the person I thought they were – or perhaps more truthfully – loss of the person I wanted them to be.
Letting go of anything that matters to you is profoundly sad. It could be selling your childhood home or being laid off from the company you love or breaking up with your therapist. And, let's face it: feeling angry is a heckuva lot more comfortable for most of us than feeling sad.
But one of the realizations I've come to as I age is that I'm actually better off confronting sadness than avoiding it. So in embracing my own anger of late, I have tried to observe that feeling, peel it back and allow myself to feel the enormous grief of accepting what is, what is not, and what cannot be.
I won't lie to you: it ain't fun. But it does feel more honest.
Image: Photo by Usman Yousaf on Unsplash
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Reply Jean P
So, so true! Many years of working with therapists has taught me that anger is always an unmet need. You prove the point with your keen insights. Recognition is half the battle, the more mindfulness we put forth, the better equipped we are to move forward. It seems to be human nature for most to access anger vs. a "softer" emotion like sadness. My MO is putting an anxiety cap on my anger to keep it suppressed. Just came to that realization recently, I am a work in progress.
Reply delialloyd
We are all a work in progress, Jean. But so glad this post resonated. I love this idea of an "unmet need." Will ponder…

redpajama_set_name: RedPajamaCommonCrawl


Enveloped by snowy peaks, the mountainous landscapes of Switzerland are truly of epic proportions and are best viewed by train. The central European country is dotted with more than 450 major summits, interwoven by plunging valleys, gushing rivers, and sparkling white ski slopes. As one of the pioneers in the railway industry, Switzerland is covered with an extensive network of railway routes, some of which have been dubbed some of the most beautiful routes in the world. With the superb design of the railway routes, Switzerland by train is the best way to explore the country.
But the high prices in Switzerland have long deterred budget travelers from venturing to its prairies. Switzerland is considered one of the most expensive countries in the world, with train fares ranging from 30 to 200 euros. But these high prices can be easily avoided with a Eurail Pass – making train travel in Switzerland a breeze.
To get a better understanding of Switzerland by train, here are some of our tips and advice.
The Swiss train system SBB is one of the easiest public transport systems to use. There are clear station signs and information systems in English. Most announcements are in German and French. The tourist routes (mostly run by private companies) such as the Glacier Express and Bernina Express have English announcements.
Swiss trains in general are very comfortable and spacious. Most of them are two-storey trains with free seating. For longer train journeys, you may find enclosed cabins with six seats in each of them. Most trains either have a small cafeteria or a vending machine on board. There is usually a train steward who serves food from their trolley, with coffee, tea, cold snacks, and sandwiches on offer. If you're on a budget, you can also bring your own food.
As Switzerland isn't a big country, distances are relatively short and you can usually travel from one city to the next within 2 to 4 hours. There are almost no sleeper trains (except international train journeys).
To make the most out of your Eurail Pass, it's best to plan your train route in advance. Check out the detailed map and timetable of almost every train journey in Europe. The Rail Planner App is also a great tool to help you plan your trip. It includes an offline timetable for you to check train times, even when you're on top of a Swiss mountain!
The key thing to note when planning a trip through Switzerland by train is that not everything is included in the Eurail Pass. Be sure to check that the route you want to take is covered. Some special scenic trains, including the Glacier Express and Golden Pass, are run by private companies. Eurail Pass holders do get a discount on many of these routes. As of 2017, the Glacier Express is included in your Eurail Pass.
Trains in Switzerland run regularly. You don't need to book your seats in advance except on private routes such as the Glacier Express and Bernina Express. Again, be sure to check before hopping on the train. Reservation fees in such cases are usually not expensive, ranging from 5 to 20 euros per person per trip.
If you're limited on time, here is our pick of the best scenic routes in Switzerland that you won't want to miss.
This legendary train journey has gained quite a reputation for its spectacular views and panoramic sights. Once on board, it's easy to see why. Crossing from the eastern to the western Swiss Alps, the Glacier Express winds through 91 tunnels and crosses 291 bridges including the 2,033-meter Oberalp Pass. The entire journey from St Moritz to Zermatt takes only 7.5 hours but the short trip is enough to show you the best sights of Switzerland.
The Golden Pass panoramic train connects the major city of Zurich to Lake Geneva, departing from the historic city of Lucerne through the swanky Gstaad towards the stunning Montreux and Interlaken. This area is best suited for adventure seekers looking to explore the area on foot or through extreme sports like climbing and bungee jumping. We traveled just part of the route and found ourselves awe-inspired by the window views the minute we left the city.
Yet another popular route is the Bernina Express that crosses all the way from north to south of the Swiss Alps. Starting from Chur in the southern reaches of Switzerland, the train rides over beautiful viaducts, rocky rapids, and switch-back tunnels towards Tirano in Italy. The 100-year-old railway climbs up to 2,253-meter of height without the help of a rack-and-pinion mechanism. It also forms part of the Rhaetian Railway, which was declared a UNESCO World Heritage Site in 2008.
Whether you're seeking adventure on the ski slopes or along the lake, seeing Switzerland by train is sure to astound even the most hardened travelers. Prepare for the ride of a lifetime.
Read more about riding Europe's scenic trains on the Eurail.com website.


Ok, I'll admit it. I've never actually seen Cider House Rules, but I can say that Arsenal Cider House in Lawrenceville really does rule! Though were had visited in its first year of operation, we recently returned with some great friends to find that the selection has grown and so has the popularity.While the Cider House itself only sells the cider by the growler, visitors can sample up to four different variations of cider for free (valid 21+ ID required).
There were a couple "still" varietals which resembled an apple wine, but more "carbonated" options which were more beer-esque (think of the 16 oz. Hard Cider you can buy at the beer distributor). TasteBudA was drawn to the apple-fruit fusions of plum and peach, while I found the apple-mead selections to be less complex and enjoyable.
The four of us indulged in the sampling before deciding we were enjoying what we were tasting and wanted more. So, we required a growler to continue our afternoon. Growlers, like with beer, are refillable and you can get a punch card to earn frequent-filler-rewards.
The decor is completely dedicated to the history of the Lawrenceville Arsenal located right across the street on 39th street. As we sat for a while and chatted, the number of folks who came in to simply refill their growlers was astonishing. Not only did we lose track of time and enjoy and entire growler in-house, but we refilled it and took a fresh growler to go.
Like Arsenal Cider House and Wine Cellar on Facebook for information on the local bars and restaurants where they have Arsenal Cider on tap. And keep an eye out for the 1st ever Pittsburgh Mead and Cider Fest which will be held Saturday April 27, 2013 at the Old Iron City Brewery from 1 p.m. to 4 p.m.


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Visualizing the Structure of the World Wide Web in 3D Hyperbolic Space
Tamara Munzner 1
The Geometry Center, University of Minnesota 2
Paul Burchard 3
Department of Mathematics, University of Utah 4
We visualize the structure of sections of the World Wide Web by constructing graphical representations in 3D hyperbolic space. The felicitous property that hyperbolic space has ``more room'' than Euclidean space allows more information to be seen amid less clutter, and motion by hyperbolic isometries provides for mathematically elegant navigation. The 3D graphical representations, available in the WebOOGL or VRML file formats, contain link anchors which point to the original pages on the Web itself. We use the Geomview/WebOOGL 3D Web browser as an interface between the 3D representation and the actual documents on the Web. The Web is just one example of a hierarchical tree structure with links ``back up the tree'' i.e. a directed graph which contains cycles. Our information visualization techniques are appropriate for other types of directed graphs with cycles, such as filesystems with symbolic links.
The dominant paradigm for World Wide Web navigation is pointing and clicking through traditional hypertext browsers. Clicking one's way through the Web has become very popular, but can also be very disorienting. The Web is so interconnected and huge that it is difficult to establish a mental model of its structure.
Flat one-dimensional history lists are one common navigational aid. Such lists provide a way to think about many documents at once, but offer no help in understanding the connections between them. Traditional two-dimensional Web browsers provide a way to focus on an individual document and see all of its outgoing connections, but do not show incoming links or offer an overview of more than one document at once.
Moving up to three dimensions allows us to see both multiple documents and the links between them. The Web is far too large to see all at once, but we can explore sections of it and build 3D graphical representations which can be viewed in a 3D Web browser. Such browsers are becoming widespread with the recent release of the VRML standard. Just as traditional browsers allow one to follow links in hypertext, the VRML standard provides a way to attach three dimensional link anchors to 3D data files. The graphical representation of a document is the anchor which points to the document itself itself. Actions taken in the 3D browser can control the 2D browser and vice versa. Figure 1 shows a typical session.
Figure 1: Using the WebOOGL system for information visualization in hyperbolic space Although the Web is non-linear, we can start at any document and impose a tree structure: the chosen node is the root, each outgoing link is a first-generation child, the links in these documents are grandchildren, and so on. We construct a 3D graphical representation of a piece of this structure, drawing tetrahedra at the nodes and lines between them to represent hyperlinks. Our layout is a variant of the Xerox PARC Cone Tree [9], where the parent node is at the tip of the cone and the edges leading to the children are drawn radiating outwards to the rim.
Figure 2: Euclidean conetree, showing two levels of the 1994 Geometry Center Web The problem, as we can see in Figure 2, is that our cone trees become cluttered very quickly. There is no good way of embedding an exponentially growing tree in Euclidean space that allows us to simultaneously see both the entire structure and a closeup of a particular region.
The solution is to use hyperbolic cone trees. Hyperbolic geometry offers us an elegant way to see the big picture and the interesting details at the same time.
Hyperbolic Visualization
Mathematically consistent alternatives to Euclidean geometry have been developed over the past hundred years. The noneuclidean geometries can be distinguished by the behavior of parallel lines: in Euclidean space there is exactly one line passing through a given point which is parallel to a given line, but in hyperbolic geometry there are many. In this space the area of a circle grows exponentially with respect to its radius, whereas in Euclidean space the area only grows linearly. Thanks to this property of hyperbolic distance we have a convenient way to visualize exponentially growing trees.
The simplest way to draw 3D hyperbolic pictures is in the interior of a ball. We use Euclidean straight lines, but the way we measure distance is changed so that the surface of the ball is infinitely far away from the origin. From the outside, objects very near the center seem almost Euclidean but seem to grow distorted and smaller as they are translated towards the surface of the ball. This representation of hyperbolic space is known as the projective or Klein model. Luckily we can draw such pictures using 4 x 4 matrices: since the standard graphics pipeline uses homogeneous coordinates, interactive speeds are easily achieved on modern workstations. Figure 3 shows a navigation sequence in the projective model. The look and feel of the system is difficult to communicate with still pictures, a video is necessary to do it justice.
Figure 3: Motion in hyperbolic space (the projective model)
WebOOGL [120 KB] VRML [250 KB] MPEG [900 KB] The conformal or Poincaré model is related to the projective model by a simple transformation. In this model, straight lines are drawn as arcs and flat faces are drawn as parts of spheres. The advantage is that angles are always drawn correctly. Unfortunately we cannot use 4 x 4 matrices to represent motion in the conformal model, and drawing arcs and curved faces also requires much greater subdivision than in the projective case. While this model is more computationally demanding than the projective one, it is within the reach of most workstations.
If we allow the camera to go outside of the ball we can see the entire space at once. When we constrain the camera itself according to hyperbolic isometries, it can never move outside of the ball and we see what hyperbolic space would look like from the insider's point of view. These three models provide different and useful intuition, so we use whichever of them is appropriate at any given time. Figure 4 shows two levels of the Geometry Center Weblet in the three models. (We use ``Weblet'' to refer to a section of the Web 5.) Here we have drawn the ``sphere at infinity'' for the two outsider models but in all other pictures the sphere is not shown.
Figure 4: The projective, conformal, and ``insider'' models of hyperbolic space
WebOOGL [50KB] VRML [110KB]
MPEG projective [1.15MB] MPEG conformal [700KB] MPEG insider [360KB] There has been considerable work at the Geometry Center on visualizing hyperbolic geometry. The 1991 mathematical animation Not Knot [3] includes a groundbreaking flythrough of hyperbolic space. A reference on hyperbolic navigation can be found in [1], which to the best of our knowledge contains the first recorded suggestion of using hyperbolic space for tree visualization. See also [2] for more exposition of hyperbolic geometry aimed at the computer graphics community.
The publicly distributed Geomview 3D viewer [8] includes built-in support for interactive navigation in noneuclidean geometries, including hyperbolic geometry. Details on the implementation of the hyperbolic transformation libraries used in Geomview can be found in [7].
A recent paper from Lamping et al at Xerox PARC [4] has brought hyperbolic visualization to the attention of the computer-human interaction community. They ran user tests of a 2D Poincaré model browser visualizing various kinds of hierarchical information, including organizational charts and a Weblet. Their work on information visualization is confined to the 2D hyperbolic plane, and deals only with acyclic graphs.
Hyperbolic space has a similar visual effect to a fisheye camera lens, used by [10] for information visualization. The fisheye paradigm calls for several ad-hoc decisions, the advantage of hyperbolic geometry is it provides an elegant and powerful mathematical framework for display and navigation.
The graph can be easily laid out in the hyperbolic plane using uniform edge lengths. Indeed, this property of hyperbolic geometry is one of the motivations behind its use. However, we would like to optimize our use of space so that as many generations as possible are visible. (This optimization also forestalls a bit longer the inevitable cumulative floating-point error). So we would like edges that connect nodes to be as short as possible, yet we must also avoid overlaps between the cone trees of all future generations. In order to most economically meet these constraints, the hyperbolic length of the edge connecting nodes i and j should be
where denotes the smallest angle between edges incident on node i (see Figure 5).
When the cone tree angle (a user-specifiable parameter) is 90 degrees, cones become flat disks. While this would negate most of the advantages of cone trees in Euclidean space, in hyperbolic space disks are very convenient. The hierarchy of disks has no directional bias: locally, child nodes are indistinguishable from parent nodes. Whichever node is closest to the origin of the sphere ``feels'' like the root node.
Figure 5: Angle between edges incident on node i.
The Web is distributed resource which maintains a (very large) directed graph whose nodes are documents and whose edges are links between them (labelled by link relationships). Although it may provide a useful mental picture to think of a Weblet as tree hierarchy, most Weblets are not even directed acyclic graphs (DAGs), often containing many cycles due to ``backlinks''. Other common information hierarchies, such as a Unix filesystem with symbolic or hard links, also allow cycles.
Again hyperbolic geometry offers an elegant, systematic approach to visualizing directed graphs containing cycles. Just as trees can be nicely embedded in standard hyperbolic space (which contains no topologically significant loops), so too can directed graphs with cycles be nicely imbedded in hyperbolic manifolds--spaces which can wrap around and close up on themselves. Standing in such a space, you would be able to see many copies of yourself off in the distance, each image corresponding to one way that a light ray can loop back to you by following the wraparound topology of the space. The effect would be similar to a hall of mirrors, except that the images would never be right-left reversed. If there were a graph laid out in such a manifold, you would be able to see, receding into the distance, images of the current location which represent longer and longer chains of links leading back to that node. See [2] for more details on visualizing 3-manifolds from this ``insider's'' point of view.
However, due to the multiple images, sophisticated level-of-detail culling (beyond the abilities our first-generation software) is required to render the view inside a manifold efficiently. For this reason, we have initially taken an approach based on laying out an exhaustive subtree of the graph in standard hyperbolic space and then filling in the ``backlink'' edges (which will hopefully be as uniformly distributed as possible). The choice of an exhaustive subtree corresponds in more detail to choosing (1) a ``root node'', and (2) for each other node, one incoming edge as its ``main entry point''.
To see how to choose the entry points for best layout, consider first the (infinite) tree that would be obtained by navigating out from the root node, and attaching to each node copies of all its children, without regard to whether those children have already been seen and placed in the growing tree. This is similar to the manifold picture, but somewhat misleading as every node has multiple graphical representations, each variant missing all but one of the incoming edges. Figure 6, which shows such a layout, was made from the same data set as Figure 4. Nodes which are multiply represented are drawn in yellow.
Figure 6: No backlinks
WebOOGL [60KB] VRML [130KB] MPEG [200KB] The required subtree can now be selected by choosing a traversal order for the above tree, and then only retaining the first copy of each graph node. The choice of traversal order has a major impact on the comprehensibility of the picture. Breadth-first search starting at the root node results in a more balanced, clearer picture than depth-first search. Compare Figures 7 and 8, which show the highly connected Weblet of an index of German cities.
Figure 7: Breadth-first search
WebOOGL [200KB] VRML [300KB] MPEG [200KB]
Figure 8: Depth-first search
WebOOGL [130KB] VRML [300KB] MPEG [1.02MB]
We use an adapted version of Nierstrasz's explore perl script as a Web spider to construct a raw list of Weblet links. The adaptations include the use of the libwww-perl libraries. The C++ program that creates a graphical representation of the Weblet links with the OOGL transformation libraries [7], which support 3D hyperbolic transformations. The original Euclidean version demonstrated in 1994 was called webspace. Due to the release of the popular VRML browser by that name from SGI, we have renamed the hyperbolic version webviz.
For a 3D Web browser we use the Geomview/ WebOOGL software system. Geomview is a public domain 3D viewer which runs on SGI, X, and NeXTStep workstations. The original WebOOGL system demoed in 1994 [6] had a very different structure than the current WebOOGL 2.0 configuration. See [5] for details on the WebOOGL system.
Additional Directions
The structure of the Web is just one of many potential applications of visualizing directed graphs with cycles. The file format expected by the webviz program can easily be generated by programs other than a Webspider. We have implemented a straightforward Unix filesystem explorer using find and perl. Figure 9 shows the directories on the SFB 288 filesystem and the symbolic links between them. The complex subtree at the lower left is /usr, the node with the most children at the upper left is /u (the index of all home directories), and the many symbolic links at the top connect NFS-mounted disks local to individual machines to the main filesystem. We would like to try visualizing other kind of information, such as object class hierarchies.
Figure 9: Filesystem visualization
WebOOGL [330KB] VRML [770KB] MPEG [380KB] The system is currently limited by rendering speed. Level of detail control will be crucial to extending its reach.
The current Webviz system is batch-oriented: the Webspider explores a Weblet to a specified depth and then the graphical representation is constructed and written out into a 3D data file. The file is then loaded into Geomview through the WebOOGL system. The current WebOOGL interface controls the click action, toggling between showing information about the node and following its link. A nice extension would be a user interface for interactive control of the Weblet exploration, where possible click actions would be collapsing or exploring nodes, selecting which backlinks to draw or hide, etc.
There are a number of possible directions for the layout. We now always avoid overlapping nodes by erring on the side of over-allocating space for the children of a node. Not only can this obscure the big picture, but also the current scheme runs into floating-point precision difficulties after several generations. (Of course, without level of detail culling we are often render-bound after three or four generations.) Distributing the child nodes on the surface of spheres instead of cones would use space more efficiently. An interesting approach would be to use the currently computed layout as the starting point for a dynamical system where the edges act as repulsive springs. The system could evolve until it converged to a solution which fits (no overlap) and fits well (each node occupies just as much space as it needs). Because of the self-similar nature of trees, this dynamical system would probably need to be applied in a hierarchical way similar to multi-grid techniques. Another interesting tactic would be to draw the backlinks as splines instead of straight lines. While splines in Euclidean space have been extensively investigated, hyperbolic splines have received much less attention.
Much more could be done to graphically represent the contents of the node. Color coding is now used to show link directionality and to crudely show the generation in the tree. For example, color coding and edge thickness could represent attributes such as document size, number of accesses, modification times, and so on. All nodes are now HTML documents and are just drawn as tetrahedra, but if the Web spider were improved to gather information for all recognized MIME types the node shape could represent the document content type.
We have implemented a system for visualizing information hierarchies, specifically directed graphs with cycles, in 3D hyperbolic space. We have used this system to construct graphical representations of the structure of the World-Wide Web and Unix filesystems. Our approach offers a seamless framework for both a visual gestalt of the entire system and closeup detail at any level of the hierarchy.
Acknowlegments
Many thanks to Charlie Gunn for his mathematical suggestions and technical advice. Thanks also to Stuart Levy for his contributions to the Webviz and WebOOGL software and Daeron Meyer for his work on WebOOGL. I would like to acknowledge Ed H. Chi for his original program which constructed a Euclidean graphical representation of a piece of the Web as shown in Figure 2.
This work was partially supported by the Geometry Center (University of Minnesota) and by the SFB288 (Technical University of Berlin). The Geometry Center is funded by the NSF (DMS-8920161) and the DOE(DOE/DE-FG02-92ER25137).
Charlie Gunn.
Visualizing hyperbolic geometry.
In Computer Graphics and Mathematics, pages 299-313. Eurographics, Springer Verlag, 1992.
Discrete groups and visualization of three-dimensional manifolds.
In Proceedings of SIGGRAPH '93 (Anaheim, California, August 1-6, 1993), pages 255-262, New York, 1993. ACM SIGGRAPH.
Computer Graphics Proceedings, Annual Conference Series, 1993.
Charlie Gunn and Delle Maxwell.
Not Knot.
Jones & Bartlett, 1991.
[video].
John Lamping, Ramana Rao, and Peter Pirolli.
A focus+content technique based on hyperboic geometry for viewing large hierarchies.
In Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems, Denver, May 1995. ACM.
Tamara Munzner.
WebOOGL.
VRML '95 white paper, 1995.
Tamara Munzner, Ed H. Chi, and Paul Burchard.
Visualization through the World Wide Web with Geomview, Cyberview, W3Kit, and WebOOGL, October 1994.
Mark Phillips and Charlie Gunn.
Visualizing hyperbolic space: Unusual uses of 4x4 matrices.
In 1992 Symposium on Interactive 3D Graphics (Boston, MA, March 29 - April 1 1992), volume 25, pages 209-214, New York, 1992. ACM SIGGRAPH.
special issue of Computer Graphics.
Mark Phillips, Silvio Levy, and Tamara Munzner.
Geomview: An interactive geometry viewer.
Notices of the American Mathematical Society, 40(8):985-988, October 1993.
Computers and Mathematics Column.
George Robertson, Jock Mackinlay, and Stuart Card.
Animated 3d visualizations of hierarchical information.
In Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems, pages 189-194. ACM, April 1991.
Manojit Sarker and Marc H. Brown.
Graphical fisheye views.
Communications of the ACM, 37(12):73-84, December 1994.
... Munzner1
Current address: Computer Science Dept., Stanford University, Stanford, CA 94309, munzner@cs.stanford.edu,http://www-graphics.stanford.edu/~munzner
... Minnesota2
1300 S. 2nd St, Suite 500, Minneapolis MN 55454
... Burchard3
Current address: Computer Science Dept., Princeton University, 35 Olden Street, Princeton NJ 08544, burchard@cs.princeton.edu, http://www.geom.umn.edu/~burchard
... Utah4
... Web5
The word ``Weblet'' was coined by Al Globus, globus@nas.nasa.gov.
Tamara Munzner


What is Car Care detailing?
Car care detailing is a process of comprehensive cleaning inside and out, to get the car in the best possible condition. This includes thorough cleaning of the vehicle to improve the quality, protection and condition of the car. The process is very different from the regular maintenance, that we use to take routine care of our vehicle. It aims to polish the visual and service the functional aesthetics of the car.
Which services are included in Car Care detailing?
Car detailing involves rigorous cleaning of the interior and exterior car assembly. This process includes vacuum cleaning of the car interiors, dry cleaning of car seats, upholstery cleaning, windshield cleaning, application of wax coating, dashboard and console detailed rejuvenation, high pressure spray, foam wash, boot vacuumed, seats shampooed, interior deodorized, ash tray cleaned, door rubbers treated, door jambs cleaned, mats detailed, roof lining spot cleaned, tyre and bumper dressing.
What is the need of the Professional Car Care Detailing Service?
Most of the vehicle owners clean their vehicle on a regular basis. This is not enough for your vehicle and hence, generating the urge of car care detailing. Car detailing is a periodic maintenance using the most efficient tools and techniques. This assures cleansing of the entire vehicle including, each of the interior and exterior segment.
What are the benefits of Car Detailing service?
The service will enhance the overall ambience of your car interior, looks of the exterior and functioning of the complex motor assembly. Highly skilled and trained professional will polish your car inside out.
No doubt, the vehicle gets eroded with the weather. This gradually affects the paint, shine and condition of the car. Regular car detailing will protect your car's interior and exterior from the road dirt, acid rain and other harmful pollutants present in the air.
It is important to maintain hygiene of your personal vehicle. Although, with the exposure to dirt and moisture a vehicle invites many unwanted germs and allergens. Hence, it is essential to treat the vehicle against these foreign organisms.
A car detailed regularly, holds more value in comparison to a non-detailed vehicle. The detailed car can get a better price from the buyer. A shiny and spot-free car will increase the resale value to a considerable amount.
Now, when you have deep knowledge about car care detailing service, you can book for one. Auto detailing will make your car better, cleaner, shiner as bought brand new. It is recommended by the auto-car experts to get a car detailing service every six months.


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Yotam Avni Releases Debut Album 'Was Here' on Kompakt Records
It's taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12", "That's What The World Needs", on California's Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in…
Cedric Gervais live from Miami || Armada Unites Livestream
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Nora En Pure @ home stream II
1. [00:03] Nora En Pure – All I Need [ENORMOUS TUNES] 2. [03:27] Nora En Pure – Dry Sobbing [ENORMOUS TUNES] 3. [08:18] Alex Breitling – Tuquan [PURIFIED] 4. [12:40] Gambitt – Into Your Head (Djimboh Remix) [IMMERSED] 5. [16:15] Stylo & Space Motion – The Last Siren [TIMELESS MOMENT] 6. [21:40] Township Rebellion –…
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The colorful skull icon is screen-printed by hand, creating a lived-in look and renders each item unique. The body is super flattering, featuring a V neck with side slits, that lengthen your silhouette. Knit with our light, airy and ropey cotton belnd yarn. Lightweight enough to tuck. We love this with a basic, straight-leg denim and boyfriend jean jacket.
I love the how comfy this sweater is! It's super lightweight which I love that I can wear during spring and summer!!!!
Love this sweater. I wanted something to wear that would be festive and comfy. Its so cute that I am wearing it more than just for Cinco De Mayo!
Everywhere I go in this sweater, I get tons of compliments. It is so much fun and I know I will be wearing it for years to come because it is made so nice and nothing is better then a hand crafted item.
I own four others ... Very cute. The only negative sometimes the material stretches.. Overall, I'll keep buying. !!


The nature of museums as a media environment has not been self-evident within the museums, and even less outside them. This report describes the role of museums as media and as media educators and investigates the current status of media education in museums. Within the museum sector, the museums´ relationship with media and media education has often been described as the museum is media or the exhibition is media. They have to be differentiated. The first statement implies that the museum is a media channel or media setting among all other forms of media, and the second that exhibitions and exhibition activities constitute one of the museum´s media tools. The material for the report was collected in 2014 through a questionnaire in the Link -making museums into media educators project, programmes of the Let's go to the museum media education week as well as courses during the project with participants from the museum, media and education sectors. In addition, the report is based on material collected from the web.
Based on the report, it is possible to distinguish between two levels of media education at museums: 1) comprehensive media education (media setting) and 2) adapted media education (the museum´s media tools and the methods to use them).
Comprehensive media education is described in the report as conscious, goal-oriented and systematic educational activities at museums. Pedagogical methods are implemented in the use of especially those media tools (the museum´s basic activities), which are typical for museums, in comparison to other media settings. These activities promote and enhance the museum visitors´ competence and skills to live in a media culture.
With regard to media skills, museums can promote, in particular, the participants´ interactive and social skills and their participation in culture and society. In addition, museums strive to enhance the participants´ critical interpretation skills (skills needed for media reception and selection), which will help museum visitors to build up their own cultural identity.
The level of adapted media education contains examples of measures which aim at meeting the targets described above. The purpose of distinguishing between the two levels is to clarify the status of museums´ media education both for parties within the museum sector and for others, especially within media education.
Of the museum´s basic functions, i.e. of its media tools, the exhibitions and museum education have the closest links to media education. The report shows that the dividing line between museum education and the museum´s media education is vague and often the methods (engaging guides, discussion, workshops) and the mediators or tools (museum educators, guides, workshop instructors, technical tools and applications) are identical. The distinction can be made more defined through creating transparent and clearly documented ways for developing media skills. Through its media education activities, a museum can work to promote one of the following media skills categories: critical interpretation skills, creative and aesthetical media production skills, interactive and participatory skills, and media security skills.
A salient point in the report is the museum employees´ need to improve their media competence. In future, the goal is that all the basic functions of a museum, such as collections and research, could create media education packages for the museum, either independently or together with museum education.
The results of the report confirm that there an interest in media education at the museums. Based on the material studied for the report, approximately 10 per cent of the professionally run museums (i.e. 20-40 museums) already have media education activities or programmes.
This report has been compiled within the Link - making museums into media educators project, coordinated by the Finnish Museums Association. The project is carried out in cooperation with the Association of Cultural Heritage Education in Finland and with the support of an expert network from the fields of media education, museums and education. The project is funded by the Ministry of Education and Culture (2013-2015).


text:
Hip Hop Digital Singles Sales: The Week Ending 6/10/2012
June 13, 2012 | 11:47 AM
by ajacobs
Pop/Rap collaborations continue to top the charts. While Maroon 5 featuring Wiz Khlifa held the #3 spot for a third consecutive week, Ludacris' appearance on Justin Bieber's "All Around The World" gave chase at #5, just over 20,000 downloads behind. Meanwhile, Lil Wayne and Big Sean's public display of YMCMB x G.O.O.D. unity moved six-figures in its first week at online retail, while Waka Flocka Flame, Rick Ross and Sean Kingston also delivered new hits to the masses.
Ludacris & Justin Bieber Sell Singles "Around The World"
The album opened to Justin Bieber's third release Believe, features DTP's head honcho Ludacris. "Around The World," the latest single from the work moved to the charts at #5 this week. Produced by Pop vets The Messengers, the song marks the sequel to the multi-platinum appearance on "Baby." Believe also features Big Sean, Drake and Nicki Minaj.
Lil Wayne & Big Sean Are "Homies Still"
In the wake of the presumed Pusha T attack on Drake, and Lil Wayne's reply to Pusha T, many fans perceived a Rap war looming between Young Money and G.O.O.D. Music. Soon after, Lil Wayne released new track "My Homies Still" featuring G.O.O.D.'s Big Sean. The song led to 100,000 digital units sold, and that anticipated war has yet to have an official declaration.
#3. Maroon 5 f. Wiz Khalifa – "Payphone" – 178,000 (2,004,000)
#5. Justin Bieber f. Ludacris – "All Around The World" – 157,000 (157,000)
#6. Pitbull – "Back In Time" – 133,000 (839,000)
#11. Flo Rida f. Sia – "Wild Ones" – 102,000 (2,643,000)
#13. Lil Wayne f. Big Sean – "My Homies Still" – 100,000 (100,000)
#26. Waka Flocka Flame f. Nicki Minaj, Tyga & Flo Rida – "Get Low" – 66,000 (66,000)
#50. Rick Ross f. Meek Mill – "So Sophisticated" – 36,000 (36,000)
#67. Sean Kingston f. T.I. "Back 2 Life (Live It Up)" – 28,000 (28,000)
#158. Machine Gun Kelly – "Wild Boy" – 10,000 (14,000)
#196. Drake f. The Weeknd – "Crew Love" – 7,300 (196,000)
* data comes from Nielsen Soundscan, rounded to nearest thousandth for units above 10,000, nearest hundredth for units below 10,000. Each week, HipHopDX presents top albums in Hip Hop/related, and five notables.
RELATED: Hip Hop Album Sales: The Week Ending 6/10/2012


text:
Q: "Command 'netsh wlan show profiles' returned non-zero exit status 1" import subprocess

def wifi_passwords():
    profiles_data = subprocess.check_output('netsh wlan show profiles').decode('utf-8').split('\n')
    # print(profiles_data)

    profiles = [i.split(':')[1].strip() for i in profiles_data if 'All User Profile' in i]
    # print(profiles)

    for profile in profiles:
        profile_info = subprocess.check_output(f'netsh wlan show profile {profile} key clear').decode('utf-8').split('\n')
        # print(profile_info)
        try:
            password = [i.split(':')[1].strip() for i in profile_info if 'Key Content' in i]
        except IndexError:
            password = None

        # print(f'Profile: {profile}\nPassword: {password}')

        with open(file='wifi_pasword.txt', mode='a', encoding='utf-8') as file:
            file.write(f'Profile: {profile}\nPassword: {password}')

wifi_passwords()

Ошибка:
  File "E:\venv\Lesson\venv\prikolu\wifipasword.py", line 23, in <module>
    wifi_passwords()
  File "E:\venv\Lesson\venv\prikolu\wifipasword.py", line 4, in wifi_passwords
    profiles_data = subprocess.check_output('netsh wlan show profiles').decode('utf-8').split('\n')
  File "C:\Users\yerko\AppData\Local\Programs\Python\Python310\lib\subprocess.py", line 420, in check_output
    return run(*popenargs, stdout=PIPE, timeout=timeout, check=True,
  File "C:\Users\yerko\AppData\Local\Programs\Python\Python310\lib\subprocess.py", line 524, in run
    raise CalledProcessError(retcode, process.args,
subprocess.CalledProcessError: Command 'netsh wlan show profiles' returned non-zero exit status 1.

Process finished with exit code 1

redpajama_set_name: RedPajamaStackExchange


I am a bit of a nerd and I hold to that moniker with pride. From comic books and artwork to action figures and movie memorabilia, my office (and any corner of the house my better half allows me to have) is packed with pieces of pop culture.
As I sit in my office looking at the flair that adorns my walls and shelves, I think of the unique stories behind each piece. The stories are not just the personal memories, but the stories of what each manufacturer did to entice me to become one of its brand evangelists.
Netflix recently released a documentary series, The Toys That Made Us, an in-depth look behind some of the most popular toy lines from the '70s and '80s – Star Wars, Barbie, GI Joe, and He-Man and Masters of the Universe. What makes this series compelling is the interviews with the toy developers, engineers, marketers, and executives of each brand. For a toy or pop culture enthusiast, this peek behind the curtain reveals how these iconic brands not only developed the toys but how they marketed to children.
A few of the brands really put the "battle grip" on content marketing with incredible results. What makes this more interesting is how three brands – Kenner (Star Wars), Hasbro (GI Joe), and Mattel (Masters of the Universe) – used similar content marketing strategies, almost feeding and building off each other's efforts.
I now realize that my experiences with these toy lines were my first experiences with content as a retail marketing strategy.
During the film's production in 1976, director George Lucas signed a deal with Stan Lee and Marvel comics to release the official Star Wars comic book. The release of the first two issues of the comic book happened before the movie's release to drum up publicity for the film. Not only did it succeed in what George and Stan intended, the release of the Star Wars series of comics may have single-handedly saved Marvel comics, which was in a financial slump due to poor sales.
As Buddy explains, the comics were an integral piece of the Star Wars brand marketing strategy, as many of the toys (produced by Kenner from 1977 through 1985) were promoted through the comics.
After the mega-success of the toy line, original content was produced for novels, newspaper comics, and radio dramas. The success of Star Wars' content strategy set the stage for the competition, too.
As Kenner found success with the Star Wars line, rival Mattel, which had the Barbie line, was looking to break into the action-figure market for boys and came up with a new line of figures, He-Man and Masters of the Universe.
Content became an integral afterthought to the toy line's creation. At a pitch presentation, one of the retailers said Star Wars toys were popular because of the movie and asked how kids were supposed to know He-Man. On the fly, Mattel's Mark Ellis said a comic book would be in the package of each figure. By enclosing a piece of original content, Mattel would help kids learn the backstory of He-Man, his friends, and his foes. In addition, Mark and the Mattel team partnered with DC comics (much like George Lucas partnered with Marvel) to launch a He-Man and Masters of the Universe series of comics to promote the toy line.
Mattel marketing executives went in front of a group of buyers once again with the new toys and the comic book. One major buyer questioned how kids around the age of 5 (a target audience for He-Man toys) would be able to read the comics. Another lightbulb went off for Mark, who announced that Mattel was planning a television show.
His original idea called for two one-hour specials to tell the story of He-Man and the cast of characters. The executive team at Filmation, the company behind Fat Albert and The New Adventures of Batman, convinced Mattel to pursue multiple half-hour episodes instead. The cartoon series became an instant hit. It ran from September 1983 to 1985 and contained 130 episodes. It was the main marketing vehicle for the Masters of the Universe toy line as it was used to introduce new characters, vehicles, and playsets.
Hasbro created a line of large-scale GI Joe dolls in the '60s and early '70s for boys to create adventures. The era of the larger action figures faded with the introduction of the 3 3/4-inch action figures for Star Wars (a line Hasbro had passed on when approached by George Lucas), but GI Joe was resurrected to compete with the Star Wars line. This time, GI Joe was reimagined as a member of an elite anti-terrorism task force standing up to the world's most dangerous terror organization, Cobra.
While the toy line was in production, Hasbro partnered with Marvel comics and writer Larry Hama to create a series based on the new GI Joe figures and playsets. A series of animated commercials promoted the launch of the comic. The ads, comic, and ultimately the toy line were all successful. That prompted Hasbro to release two five-part animated mini-series cartoons in 1983 and 1984, and a syndicated series in 1985 and 1986. Each episode featured characters and toys that could be purchased on the shelves and, just as with the Masters of the Universe line, the series was used as a launch pad for new products.
I never realized how much content marketing I was exposed to as a child. After watching interviews with the toy developers of Star Wars, He-Man, and GI Joe, I am sure they were unaware they were developing what would come to be known as a content strategy for the industry.
Nowadays, as content marketing is a huge part of my life, I see successful examples throughout all the programming and feeds that my children watch or subscribe to. It's a strategy that works extremely well with toy lines, and brand managers know it.
Who would have thought that I would dedicate my career to the same tactic that made me spend all of my allowance on toys and comics? I am so glad I did.
Author's note: After completing this article, I learned of the passing of the great Stan Lee. Stan will always remain an incredible influence not just in the comic book industry but in the creative world as a whole. The world he created through his storytelling inspired so many to pursue their dreams. I, like millions of others around the world, will be eternally grateful for his inspiration. Rest in peace, Stan. Excelsior!
Want to be the He-Man or She-Ra of your content marketing program? Enroll now for the winter semester of Content Marketing University.
JK is the Creative Director for Content Marketing Institute. He has worked as an art director for 16 years in both the advertising and publishing industries. His role at CMI is to assist with the ideation and creation of projects and to work with the CMI staff to ensure they achieve our goals. Follow JK on Twitter @jkkalinowski.


text:
Warrington Wolves
Eastmond Suspended
By Wirewire,
March 16, 2011 in Warrington Wolves
Wirewire
LocationCheshire
St Helens have suspended Eastmond!
A statement said: "St Helens RFC have announced that Kyle Eastmond has been suspended pending an investigation into serious misconduct.
"No further comment will be made until completion of the investigation."
That'll probably be the end of his Saints playing days and I suspect he'll move across to Bath sooner rather than later, leaving a big gap in Saints budget that they'll no doubt look to fill.
Their season just keeps getting better and better
safeway56
Surely Skints aren't finding a way to get shut on the cheap ? Sack him for next to no reason and refuse to pay him up as per his contract ? I got it from my usual source weeks ago that he is hugely unpopular with most of the playing staff at Skints. James(cry baby) Graham will be the next on his way out. Saints have refused to fund any more spitting out dummies.
Latchford Locks
Location...Ten minutes walk from Latchford
Oh how the mighty fall
also.......
Looking forward to Eastmond returning to League when he flops at Bath and watching him ply his trade at Wakey or Salford
Or maybe even the Wire
I believe the allegations are that he gave the saints supporters the 'bird' during the game against the quinns last weekend.
If this is so, it appears Saints are going to use is it as an excuse the get rid now in order to get a replacement in.
Our very own Matt King did the same thing a few years back, all he got was a slapped wrist and an order to make a public apology. It seems Saints are going OTT to suit their own needs.
Michael Dobson anyone?
Don't even go there....we have sorted out the bad attitude and inflated self esteem illness from our club we don't even want to consider any over estimated prima donna's in our team
Latchford Wolvesfan
I think Saints are simply trying to force Eastmond out and to be honest I don't blame them, his heart's no longer at saints, he's probably annoyed a few players and staff and that always seems to cause major unrest within a team.
Bath wont buy him out of his contract and Saints don't want to lose money on him so the only other thing to do is make he resign or find a way of sacking him.
This could be the thin end of a big wedge. Eastmond seems to have had his head turned by an agent who's promised him oodles of cash less his 15% commision of course. We've seen the way football has gone with the pervasive effects that agents are having on that sport when the situation has become that it isn't clubs who decide on their playing staff, it's agents. Of course this suits football club managers who benefit from bungs and backhanders. There isn't the money in RL that there is in football so the temptation to behave corruptly isn't so great but it could happen on a smaller scale in RL. Clubs should make it clear to players that deals with agents won't be tolerated and that they deal directly with clubs themselves.
I don't think Estmond will be a roaring success in RU. As a halfback he hasn't got the kicking game which RU demands...He's too small for the centres and he'll be a winger at best. I can see him coming back to RL within a couple of years but there's no way I want him at the mighty Wire...He's a disruptive influence who isn't half as good as he thinks he is.
I'd love to see him at the Wire.
All this stuff about his attitude has only come about since his announcement that he will be going to RU next year. If Wire had announced his signing this time last year every wire fan would have been creaming themselves.
IMO it smacks of of people having a go just because he has decided to turn his back on RL. In all honesty there was nothing down for him as soon as he announced his intentions, he has literally become a RL outcast.
Its pretty shameful how everyone has turned on him when just a year ago he was being labelled as the next best thing.
Teessidewire
LocationStockton on Tees
I tend to think that it's pretty shameful that Eastmond has bitten the hand that's fed him rather well over the past few years, especially during several long injury spells during which time Saints have stood by him.
What has annoyed people was his pro-RU interview on Sky Sports News whilst he was still contracted to a Rugby League Club. I don't buy this 'I want to play RU' rubbish. His Agent got him a better contract at Bath and that's all there is to it.
He's now had his ban lifted, although not in the squad for this weekend.
"Following an internal investigation, St Helens RFC have found Kyle Eastmond guilty of serious misconduct.," a club statement read.
"The case centred on rude and offensive gestures to fans at the game against Harlequins on March 11.
"The matter has been dealt with in accordance with the club's internal disciplinary procedures and the player has also been warned about his future conduct.
"As a result, Kyle's suspension from the club is now lifted. St Helens RFC will not be making any further comment on this matter."
The cynical viewpoint is that saints, having not been able to find an adequate replacement and with pryce looking more and more injury prone, have no option but to make do with Eastmond.
If the saints fans continue with their crusade against the lad then saints are in for a very long and difficult season.
If they all pull together then it may be a different story.
Here's hoping


Welcome to the International Civil Aviation Organization. All of you are familiar with the concept of planes, those 80,000 kg aerodynamic pressurized cylinders that fly 38,000 ft, carrying people (and cargo) around. Perhaps, some of you got to this conference using one of these pressurized cylinders.
Airplanes are an amazing feat of engineering. Airline networks across the world have expanded and increased in terms of their complexity. New airports are connected to the global network each week and aircraft commissioned each day. This makes monitoring the traffic challenging and thus increasing human and technological lapses.
The rise in extremism around the world has made aviation infrastructure a common target to inflict maximum damage in the minimum amount of time. You, during the 5 days of the conference, will be discussing ways to increase security in the infrastructure while making flying more efficient.
I welcome you yet again and look forward to 5 days of intense debates, negotiations, and fun!
it is my pleasure to welcome you to the ICAO Council.
There is something inherently romantic to the very nature of going anywhere by plane, in the way we see the green Earth from up above while finding our way in the sky labyrinth through calm clouds and storms, through chaos and serenity. And there is sense of poetry and grandeur to our work this year as well. Together we are to discover a new and amazing land, where no man has gone before, as it is the first time ever the ICAO Council session is to take place during the C-MIMUN conference.
The agenda item to be discussed is in essence about how to fly safely and how to make this journey millions of people take more secure. With more and more tragic incidents occurring which involve civil aircraft, the problem of safer air travel and building up the trust towards it as a means to facilitating global trade and finance or simply exploring the world is of growing importance. It is within our competence to address the issue and make our best in order to deal with it.
Let us work together to uphold the immortal tent which is the sky.
I am very glad to welcome you to the annual C-MIMUN as an Expert of our committee!
The agenda we are going to work on is quite relevant nowadays. The destabilization of the situation in many regions of the world has generated a surge in terrorism. This phenomenon was not ignored by civil aviation too.
However, as a British aviator, Captain A.G. Lamplugh, once said, "Aviation in itself is not inherently dangerous. But to an even greater degree than the sea, it is terribly unforgiving of any carelessness, incapacity or neglect." That is why, thanks to your diligent work on the report during the session a significant contribution will be made to aviation security and facilitation.
Model UN gives us a great chance to try ourselves in solving the world's burning issues of the day and we cannot miss this opportunity!
* Abstracts should consist of three parts: the introduction, the main part and the conclusion.
* Your abstracts should be clear and accurate.
* All ideas should be reasoned and supported by examples.


Starbursts are sites of large-scale, extremely high-rate star formation. These systems experience star formation at a rate that can only be maintained in equilibrium if the duration of the star formation activity (perhaps 10 million years) is short compared to the life of the galaxy. Though our understanding of their causes, properties, and evolution is not complete, a large fraction of high-luminosity starbursts are thought to be triggered by interactions between galaxies. It is also believed that the bars within barred spirals may be the cause of some starbursts. Effects such as these cause interstellar gas to be compressed and heated, and converted rapidly into stars. Often this occurs within the galaxy nucleus itself.
How do starburst galaxies appear in X-rays?
IMAGE:- X-ray emission from the famous starburst galaxy NGC253. Low temperature X-ray emission is shown in red and high temperature X-ray emission is shown by the contours. Most striking are the huge plumes extending above and below the galaxy spiral disc (shown schematically by the ellipse - i.e. we are seeing the galaxy almost edge-on). This galactic wind is due to supernova explosions within the starburst nucleus. Also very visible in contours are many point sources, the brightest of which are seen at the starburst nucleus.
Starbursts tend to have very enhanced X-ray emission compared to more normal galaxies, and their X-ray emission usually originates from spatially extended regions, the largest of which is often at the galaxy nucleus. As these massive stars in the starburst nucleus go supernova, the combined mass of hot supernova gas can blow out of the plane of the galaxy in huge plumes, and can be visible in X-rays extending for perhaps 30,000 light years. Hydrodynamical computer models have been performed to try and mimic these features.
IMAGE:- A numerical simulation of a starburst-driven wind. The picture shows the gas density (a logarithmic plot, red represents high density, blue represents low density). Energy and mass deposited into the interstellar medium of the galaxy by the starburst region (in the bottom centre of the image) heats the gas up to millions of degrees, where it emits X-rays. The hot gas expands and eventually breaks out of the disk of the galaxy, escaping into the halo of the galaxy at approximately 1000 km per second.


text:
Trecastle (1786-1821)
1786 Trecastle. 'About the year that Ebenezer Morris came to Trecastle to keep a school, namely 1786, there was a powerful revival which was the second revival; there had been one other in the time of Llewelyn Dafydd, but there is little record of it; and there are no records of any particular revival after the one in 1786 for 35 years; namely the one in 1821, which was a very powerful revival. Until this time the old games had remained:—the hill races on the Sabbath; football and handball with great pomp; the gwylmabsantau and dances, not yet been overthrown; the young people withdrew from the worship in the afternoon to the taverns; where there would often be drunkenness and uproar, swearing and fighting until morning.
At this time the parish of Llywel had the privilege of having a godly and truly hard-working priest, the Rev. David Parry, the present vicar. The revival broke out in the church and in the chapel and scores were converted in both places. The young people came in large numbers to wear the yoke of the Son of God, and there was now only a small remnant to keep up the old corrupt practices. The gwylmabsantau fell into disgrace, and instead of swearing and drunkenness, the voice of praise and singing was heard through all the regions. We hope that a Heil the Bethelite will never arise to found this old Jericho again. And it was not only public ungodliness that was overthrown, but a work was done on the souls of men that will be of eternal honour. Scores were added to the church fellowship at this time, and to this day the church has not been completely childless. The church presently numbers 150, besides children. The only minister who lives here is the Rev David Davies, together with the Rev Benjamin Morris, in Pentre'r-felin.
It was not only Trecastle, or even its neighbourhood, that received the benefit of the revivals here, but on occasion strangers and distant localities reaped something of the fruit—though the fireside hearth is essentially in one place, yet some of its sparks can be carried far. When the revival broke out in Llwyn-neuadd, a locality not far from Trecastle, under the ministry of the Rev Thomas Jones, Carmarthen, in the year 1786, among the great number that received the benefit at that time, was one William Bowen, Aberhenwen. Afterwards, he became an officer in the Revenue Office, and a very useful preacher in his day, and finished his course in Swansea. At this time it is said that the gentleman Mr Bowen, Llwyn-y-gwair, Pembrokeshire, received the arrow of truth to his heart. As a young girl was praising along the road, having come out of the chapel, and singing a verse of Williams, Pantycelyn:
Dywedwch i'm pa olwg hyfryd, Trace for me the lines of beauty
Sydd ar Dywysog mawr y bywyd; In our Prince's figure comely;
A ydyw ol yr hoelion yno, Do the nail-marks still appear
Yn ei draed ac yn ei ddwylo? etc. In his feet and hands so clear?
(Trans. Eifion Evans)
[Lit. Tell me, what pleasant view the great Prince of Life presents? Is the mark of the nails there, in his feet and in his hands?]
The gentleman happened to be passing in his coach. The sweet charming sound fell upon his ear, drawing his attention to the words. He felt their power touch his heart and inclined his shoulder to the yoke. The great man, despite all the pomp, and privilege of his position, could not get rid of the feelings kindled in his breast at that time, and his spirit had no rest until he reached the refuge that is in Christ. He showed this subsequently in being an unassuming and most useful Christian. Who would have expected that far away Pembrokeshire would have received such benefit from the Trecastle revival in Brecknockshire? In the same revival John Bowen, Pontypool, was saved, who in his early days was a bright shining star in the ministry and the instrument of turning many to righteousness.
But good never advances without someone complaining about it, and however powerful and evident the good, the opposition will be correspondingly fierce. At the time of this revival, as the movement was so powerful, and the rejoicing so great, many of its subjects spent many hours in singing and praising, and at times, all along the road as they returned home from the means of grace. Indeed, some would spend whole nights in this way in the open air; and the hills echoed with the voice of their praise, and the valleys resounded with their song. One man, more than most in the neighbourhood, felt that this was too much for him to bear. They disturbed his sleep, and this must be stopped. To this end he went to the Justice of the Peace to ask for a legal summons to arrest the leaders of the revival, and to punish them for being so unruly in their behaviour. When he went to the Justice, he was him what was his business. He replied that he was seeking a summons, to bring to punishment the people who were disrupting the area by their singing and praising, so much that it was difficult for him, and many others, to sleep at night. 'O!' said the Justice, 'if that is your request, I cannot give it: because you know that you and I must die!' And the plaintiff had to be content with that. There is no doubt that the man many times heard the noise of the drunkards, and the yells of the swearers, and noisy threats of quarrellers, without the thing touching his heart. More agreeable, it is thought, to his taste, and easier on the ear, was the chilling cries of the children of the devil, than the cry of wounded souls—than the praise of those who have found their life in the shadow of the Mediator. The truth is that the amount of noise was not an enemy to his sleep, but the nature of the song was contrary to his taste; and he was prevented from sleeping, not by the strength of their noise, but by a stirring in his own breast.
In these years Associations were often held at Trecastle; for some time as often as every other year; indeed, occasionally, every year. This was when there was nowhere else in the county, apart from Builth, for it to be held. Much mention is made even today by the oldest people of the wonderful outpourings given at that time in those great meetings. Mention is made of one in particular when heavy rain threatened to completely disrupt the meeting, when a wonderful influence descended on the elders and preachers in their private meeting. At the end of the meeting Robert Roberts, Clynnog, was called upon to close in prayer. If the place was a warm hearth before, it now became an intense flame. The old minister Howel, Trehill, jumped from his seat under the pulpit into the middle of the floor, and there leapt like a hart, and the fire spread so that all the people outside the chapel were kindled by it. The rain stopped as well, and that meeting was remembered for a very long time.' [MC iii. 354-7]
John Hughes, Methodistiaeth Cymru, (Gwrecsam, 1856), iii, 354-357
View Well Bontuchel (1819-1821)


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LONDON -- John Cena made a special appearance at the first-ever Nickelodeon U.K. Kids' Choice Awards recently at the ExCel. The Raw Superstar, who is recovering from a pectoral injury, was nominated for Best Sportsperson.
Cena walked Nick's Orange Carpet and mingled with celebrities including McFly, Emma Watson, Emma Roberts and Shaggy.
Did Cena get slimed? And did he win the Best Sportsperson award? The Nick Kids' Choice Awards will air in the U.K. on Nickelodeon on Saturday, Oct. 27, at 11 a.m.; on MTV Hits on Sunday, Oct. 28, at 2 p.m.; and on TMF on Saturday, Nov. 3, at 9 a.m. Stay tuned to WWE.com to find out if Cena wins, or gets slimed!
Check out photos and video from Cena's appearance at the Kids' Choice Awards.
Get great Cena gear at WWEShop!


Reminisce: Embrace the PAST without getting STUCK in it.
Its hard to say good-bye to the past. For some, we want to rid ourselves of the painful memories that continue to haunt us, but the past won't let us go. For others, our longing for the way things were lock us into the past and keeps us from moving forward. Either way, we feel stuck! The Good News is that Jesus is doing a new thing…and frees us to move forward into a better tomorrow.
You can wreck your life by neglecting the past and you can neglect your life by excessive living in the past.
Don't let the fear what did happen or what could happen make nothing happen!
1. Share a memory of an event that shaped who you are today. How often do you reminisce (or re-remember) this time in your life?
2. Read Luke 5:37-39 Jesus challenged many religious traditions. Why do you think people might say "The old is just fine"?
3. Read 1 Corinthians 7:10 How can regret keep us stuck in the past? How has repentance freed you from a regret of the past?
4. Genesis 19:26 I don't have to love what happened to rejoice that God can use it. How does bitterness or resentment keep us stuck in the past? When has rejoicing in the LORD freed you?
5. Read Lamentations 3:22-23 God mercies don't come with a roll-over plan. How have you experienced God's mercies recently?
6. Remember > Realize > Rehearse. I can't go back to Eden but I can enter the city of God. What does God want for us? What's your role and responsibility in what God wants for all of us?
7. What fear holds you back? How can we help you take a next step?
I don't want to _______. How many times in my life have I said those words? Sometimes its childish: I don't want to wake up early. I don't want to eat my vegetables. Other times selfish: I don't want to serve. I don't want to give. I don't want to share. Yet other times, painful: I don't want to bury my mom. There are millions of things in this life we don't want to do. It brings me great comfort to know I'm not alone. Even Jesus struggled, basically praying, "God, I don't want to." The challenge of surrender is admitting the "I don't want to" but choosing to move forward in obedience anyway. Control says "no." Surrender says "I don't want to…but for you, LORD, I will." Where are you being challenged to surrender today?
Pray: Almighty God, there are many things I don't want to do, but today for you I will obey. I will live my life surrendered in faith to you.
I'm frustrated. The cord on our new vacuum is short. Maybe I was spoiled by an extra long cord on our old one. I feel like I have to hop outlets all the time. No surprise, my vacuum doesn't work unplugged. Sure, I can push it around. It might even leave some nice lines in the carpet. But the carpet won't be clean unless the vacuum is plugged in and running. The vacuum only bears the fruit of cleaning when its plugged in. You and I are much the same way. Only connected to Christ, through surrender, can we truly live. Many walk through life leaving carpet lines but never really running. In Christ, we run, we live, we grow, and we bear fruit. Are you living a life truly connected to Christ? What is your evidence, your fruit?
Pray: LORD Jesus, I must stay connected through surrender to you. Help me stay plugged in, growing and bearing fruit of real life.
The human body can only live a few days without water. We must drink and then drink again and again. Today, we only need to turn on a faucet. But the irony is that for as readily available water is in America, our deeper thirst is never quenched. Jesus speaks to the woman about a thirst water can't quench. We try to drink in stuff, relationships, power, prestige, conquest, and control. These only leave us thirsting for more. Only Jesus can quench the thirst of our hearts. What do you want more of? Only Jesus truly satisfies.
Pray: Creator God, I am made to only be satisfied by you. I confess I drink in things and people an power. Today, I will only seek you.
"Sticks and stones may break my bones, but names will never hurt me." Not long ago we lived by this motto. Today, we recognize the power of words. Words, names, slander all hurt. Are we soft today? Maybe. Were we ignoring or denying damage in the past. Probably. People hurt people. Since Cain and Abel, people have hurt and killed each other. This Psalmist laments the pain and lies thrown his way. Yet, he turns to the LORD. Surrender not only affects our actions, but the way we choose to see ourselves and others. If we are trying to control our self-image, slander matters. If we have surrendered our image of ourselves to God, then only God's opinion matters. Who are you choosing to listen to about who you are?
Pray: Heavenly Father, I listen to the wrong voices so often. Tune my ears to your WORD and your promises. Help me hear only you.
What does it take to survive and thrive in this world today? We watch celebrities and politicians, business leaders and athletes cheat and betray others to get to the top. And it sure seems to work for them. They have their mansions while we struggle to pay for necessary prescriptions and basic healthcare. They live in luxury while we only look on longingly. Yet this Psalm reminds us that all these things will pass away. How many on top so quickly fall? Only in obedience, surrender, and trust in the LORD will we ever find real joy and contentment. "Commit yourselves to the LORD." What are you committed to today? Do you look longingly or choose to trust?
Pray: Holy Spirit, I confess I look around and long for so much. Please mold my heart and help me commit myself to the LORD.
When will it be my turn? Its so hard to wait. Everyone wants to be the line-leader in preschool. We want to go first, get the best, and have our day in the sun. Yet Peter reminds us to wait on the LORD. Surrender requires allowing God to own the time and the line. We want to control our place and protect our position. But humility relinquishes our rights to the LORD and allows God to lift us up at the right time, in HIS way. Its so hard to wait. Yet, if we will spend time in God's word, learning and trusting his promises, we will always find the wait is worth it. Are you seeking control, riding the cycle of fear? Or surrender to the LORD today, and wait on God?
Pray: LORD of Heaven and Earth, thank you that you alone are trustworthy and will elevate me in your time…if only I will trust you.


Sam has perfected an approach to picture making that works for any level of experience. The absolute beginner will rise quickly and start creating bold energetic paintings within the first couple of weeks of this online self-study. The experienced professional will learn the simplest way to break down a scene and only paint what is necessary to communicate the story. This class will not be covering tightly rendered paintings, but instead focus on quick color sketching to tell the entire story.
BIO: Samuel Michlap began his animation career in 1992 as a layout artist on Walt Disney's Classic "The Lion King," and key set designer on "The Hunchback of Notre Dame". Sam was influential at DreamWorks as a Lead Visual Development Artist, Art Director, and ultimately Production Designer. He contributed to "The Prince of Egypt", "The Road to El Dorado", "Sinbad", "Shrek", "SharkTale", "Monsters Vs. Aliens", "Tusker", "Madagascar 3″, "Turbo", "MegaMind" and "The Rise of the Guardians". Sam has been recently working on the Guardian of the Galaxy feature films for Marvel. He is an accomplished Fine Art Gallery Painter. His clientele includes: Disney, DreamWorks, Warner Bros., Sony, BlueSky, IDT, Imagi Studios, Universal, IM Digital, EA Games and Buena Vista Visual. He shows at Howard Mandville Gallery, Trailside Gallery, Ann Hughes Fine Art Gallery and Settler's West Gallery.
Preview for Dynamic Color Sketching For Entertainment with Samuel Michlap.
Sam introduces Dynamic Color Sketching as a tool to create powerful cinematic paintings. We will use cinematography as a study aid, and discuss using film for reference. Sam will review why certain palettes and combinations of lighting, composition and values just work better than others.
An exercise will demonstrate how to begin the quick-pace thought process of creating thumbnails.
Flat thumbnails are developed into volumetric designs working with color. Homework assignment is to copy at least 50 frames from "The Third Man" and make abstract shape compositions using a maximum of 4 values.
Color study demonstrations will be done using a shot from a film as reference. Indicative painting is a fast approach to bold value and shape design through color.
Two demos will be done using film shots for reference. Learning to identify big ideas for how colors relate to each other will lead to successful paintings. The homework will be a minimum of five 5-minute film frame studies working with color temperature.
A homework critique will demonstrate how to balance color and composition simultaneously. Breaking down film compositions is a great exercise to help find the big idea in a shot.
A film frame color study will demonstrate how to quickly break a composition down using subdivision of large tones. The goal of the exercise is to build color while maintaining color harmony and the simple statement.
Sam answers questions and begins discussing how to create quick color comps from movie frames.
Building strong graphic shapes will demonstrate the versatility and speed that is possible with the pen tool. Lighting keys will be used to show how easy it is to make an composition into a shot for a movie.
A film frame color study will be done with the pen tool. The homework will be to make variations of the final exercise that was done in class.
The directions for the homework assignment are given.
Emotional palettes are discussed in creating the "big idea" in a composition. A variety of color schemes will be used to balance dominant simple shapes with subdominant shapes.
An in-class assignment will be given along with a demo. Color sketching exercises will done with speed and bold thinking.
A critique of the in-class assignment for each student will be given.
The directions for the homework assignment will be given.
A critique and paint-over demo is done on student homework assignments, developing them into cinematic moments. The importance of layout is considered in designing space.
A presentation of layouts and backgrounds from classic animated films are analyzed. The color schemes are broken down and discussed in relation to storytelling. Sam will cover how to breakdown a shot and study from great cinematographers.
The in-class assignment will be to make 4 copies from frames within 5 minutes; and 1 at 20 minutes. Quick decision making and thinking boldly with color is an important part in creating strong compositions.
Questions on color harmony and color vibration are answered.
Review of last weeks lesson and a critique of the homework will be done with a painting demo over student work. Sam will cover the basics of how to use these tools to capture a specific emotional response for your audience.
Color paintings are presented to show the different ways and possibilities of using color in your paintings. Psychology of color, composition, design, and lighting all factor into every scene we create as visual storytellers.
A demo will be done showing how to push the color we see in photography by comparing colors.
In-class exercises will be done to help see and push color possibilities by using color comparison. The goal is to look for the right gray harmonies and relationships by comparing color.
Continue the in-class assignment pushing color photos or film frames by comparing color.
A review of last weeks assignment will be done with a demo over student work to help develop strong compositions. Paintings will be dealing with color in more complex settings.
A lecture showing examples of what the class assignment will be is presented.
Students will create a fully realized emotional color sketch from a selected layout. A demo will be done simultaneously to show the possibilities in pushing the lighting and composition from the reference image.
Sam will explain his decision making process with his paintings. A critique of student work will be done. The homework assignment will be to prepare a layout for next weeks class.
In the final class students will create compositions from their stories. Sam will recap the most important things to think about while sketching in a critique of last weeks work.
Short demos will be done while students develop their layouts. Sam answers questions as he looks at student work.
A critique of the in-class assignment will be done with paint-over demos.
The critique continues with paint-over demos.
The final critique of remaining student work will bring the class to an end.
This has definitely been my favorite class I have taken online.
Sam Michlap has been an artist I have followed for quite some time. I have always enjoyed the way he captured mood with colour in both his animated illustrations and gallery work. When I came across LAAFA and noticed that he was going to be teaching a painting class I did not hesitate to sign up. Being that this course was a live online instructed course I felt like I was in a class room setting with Sam every step of the way. Sam went in depth with every lesson he taught us and always created fun yet challenging assignments. He always filled in the gaps that many teachers skim over by doing live demos while explaining his choices and decisions with color. His expertise and high quality bar pushed me to improve my skills and become a better painter. His passion for teaching was evident in his detailed feedback on all our homework assignments. By the end of this course I felt more confident in making quicker decisions and colour choices. This has definitely been my favorite class I have taken online, I look forward to taking more courses taught by him.
Sam Michlap is a very talented and personable teacher. The insight he brings to his classes, founded upon his love for painting and illustration as well as his tremendous industry experience, proved fantastic. I greatly enjoyed the live demonstrations – which helped to make the concepts discussed in class become more accessible and real as Sam demonstrated the thought process and concepts he would discuss. The projects, both in and out of class, I found to be challenging and I felt I grew a great deal over the course of the class. I continue to implement Sam's ideas and practice what I learned since the course has ended. Sharing his experience, his discipline in studying film, creating color sketches every night based upon recorded films, working as a background painting for traditional animated film, the transition he made to mastering digital painting tools, as a vis dev artist and art director, as well as his personal gallery and plein air art proved inspiring and further expand upon the significant foundation that Sam has to offer as a teacher.
I cannot express enough how great my experience was with Sam's class. His teaching style was the perfect balance between challenging and encouraging. I was impressed that despite the range in artistic style and skill, Sam met each student where they were at with critiques and encouragement. I feel like I learned so much in such a short amount of time. His passion for his work and for teaching really shines through, and the depth of his knowledge and skill is invaluable! Taking his class has changed the way I see and use color as well as my approach to beginning a painting. The class was in the middle of the night my time, but Sam's teaching was so engaging that I was not once tempted to fall asleep or miss class. It was worth every minute!
Sam Michlap is not only an exceptional artist, he is an exceptional teacher. His lessons are organized and inspiring. Sam has an abundance of patience and gives strong and honest feedback that makes the next assignment that much more successful. I highly recommend his class for anyone wishing to got to the next level with their art.
Honestly one of the best classes I have ever taken. Sam is a wonderful teacher who genuinely loves to help bring his students up to the next level. Doesn't matter how long it takes to explain, Sam will make sure you GET IT. He explained color to the class in ways I've never heard. His fresh perspective really helped me crack some long term problems I've been having with color. I can now say that I am on my way to becoming a better and more confident painter. Would definitely take the class again.
Sam Michlap's Dynamic Colour Sketching for Entertainment has completely changed the way I work and approach my painting.
Looking at the progression of my work from between week 01 and 08 it is obvious to see the vast improvement of technique and confidence. Sam Michlap's knowledge, experience and energy has had a massive impact on the way I approach painting. Sam's demos and feedback was always constructive, as a teacher he was clear and happy to answer any queries and break down ideas in the live class.
This course teaches the fundamentals of composition, design, painting, colour and how to apply them to create powerful cinematic paintings, I would definitely recommend it and am ready to participate in the next Sam Michlap class.
Taking this class with Sam was an absolute blessing. As lucky as I've been to have gone through an art school with a very strong program, I will say that taking Sam's class really took it one step further and "connected the dots" for me. And that alone is more than worth the price of admission. In general, to take this class is to sign up for a wealth of information in composition, design, painting, and most notably, color. But far beyond that, it's also a class that will help you to actually apply that information – in an immediate way. Chances are, you'll be seeing very visible and very real jumps of improvement that will end up startling you. From the career tips, the numerous resource recommendations, the extremely informative lectures, and the amazing demos, Sam's dedication and passion for imparting his knowledge is unmatched. I would recommend this class to anyone and everyone!
I loved this class. Sam's experience and knowledge of the field seems comprehensive. His enthusiasm is infectious. Not only is he generous with his process, he is very organized and articulate, and he presents material in a way that was easy to digest. There seems to be a vast amount information to learn in the field of painting for animation, but the process Sam shares in this series gave me a foot-hold, and a way to move forward. Doing five minute color sketches is a skill that is useful to all artists.
I have a whole library of "how-to" books and instructional videos. What sets this "self-study" apart is the participation and interaction with the students. For a once a week class, these students busted out a large volume of quality work, and Sam really rose to the challenge to provide them feedback. It's great to watch a master at work, but I also get a lot out of watching a master break down and rework student paintings. It made the information more accessible. It brought Sam's expertise more down onto my level where I can use it.
Sam does a great job of consolidating a large amount of instruction in a very fast paced and demanding 8 weeks. He makes the process both fun, inspiring and motivating. The critiques of the student work that he gives is a wonderful way to learn from the mistakes of others. He demonstrates how to solve the common pitfalls and improve the painting significantly. This class is well suited for self-study given that it is already an online class and Sam makes you feel as though you are a participant even though the video was recorded a year ago. The instruction is specifically designed for the entertainment industry, but any painter could benefit from his teaching.
I took the self-paced course. I'm very happy with the visible difference in my personal work and my thought process about colour and finding 'opportunities for colour'. The course was packed with information and I found myself watching each video a few times to absorb the information before I did each lesson. It was fun, enjoyable, and I did not realize how much work I was doing until I saw the significant improvement in the art I produced from the start of the class to the end. I will apply these principles to all my work. My new personal favourite phrase is "sneaking up on colour!" This class was well worth it and I honestly find more to think about and apply each time I watch the videos.


Whether you like transparent floating modulations with a touch of metal in the tone, or extreme, particularly effective jet sounds, Palmer Pocket Flanger leads the way. Three controllers for Rate, Depth and Mix offer extensive configuration options for classic and modern flanging effects.
Power supply via an external 9 volt power supply, e.g. Palmer PW9V, or block battery.