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Home / Spoken Word / Spoken Word / Jude the Obscure (Unabridged)
Jude the Obscure (Unabridged)
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Classical Artist Jason, Neville
1 Jude the Obscure 00:05:47 Jason, Neville
2 The cart creaked across the green… 00:03:51 Jason, Neville
3 Chapter 2 00:06:21 Jason, Neville
4 The boy stood under the rick before mentioned… 00:06:26 Jason, Neville
5 On entering the cottage… 00:05:34 Jason, Neville
7 Some way within the limits of the stretch of lands 00:06:00 Jason, Neville
8 He had become entirely lost to his bodily situatio 00:07:15 Jason, Neville
10 'Well, my boy?' said the latter abstractedly. 00:07:09 Jason, Neville
11 Chapter 5 00:05:44 Jason, Neville
12 On a day when Fawley was getting quite advanced… 00:06:00 Jason, Neville
1 In his deep concentration on these transactions… 00:08:33 Jason, Neville
2 By this time she had managed to get back one dimpl 00:03:55 Jason, Neville
4 They reached the brown house barn… 00:08:16 Jason, Neville
5 When he got back to the house his aunt had gone to 00:06:09 Jason, Neville
7 On Sunday morning… 00:06:24 Jason, Neville
9 A new-made wife can usually manage to excite inter 00:07:47 Jason, Neville
10 Chapter 10 00:08:05 Jason, Neville
11 Suddenly they became aware of a voice at hand. 00:06:14 Jason, Neville
1 Chapter 11 00:09:21 Jason, Neville
2 All the next day he remained at home… 00:07:34 Jason, Neville
3 Part Second: At Christminster 00:05:29 Jason, Neville
4 It was a windy, whispering, moonless night. 00:07:30 Jason, Neville
5 Jude went home and to bed… 00:04:59 Jason, Neville
7 For many days he haunted the cloisters and quadran 00:05:21 Jason, Neville
8 At this time he received a nervously anxious lette 00:08:50 Jason, Neville
10 When they were paid for, and the man had gone… 00:07:07 Jason, Neville
1 A cold sweat overspread Jude at the news… 00:06:57 Jason, Neville
2 They entered the parlour of the school-house… 00:06:30 Jason, Neville
4 Jude started up from his reverie… 00:07:57 Jason, Neville
6 Still, the remark was sufficient to withdraw Jude' 00:08:09 Jason, Neville
7 He always remembered the appearance of the afterno 00:07:59 Jason, Neville
9 The barmaid concocted the mixture… 00:06:14 Jason, Neville
10 Almost immediately he fell into a heavy slumber… 00:06:46 Jason, Neville
11 Part Third: At Melchester 00:08:18 Jason, Neville
1 He went down the broad gravel path towards the bui 00:04:43 Jason, Neville
2 She had touched the subject at last. 00:06:57 Jason, Neville
5 They went and looked at the empty room… 00:08:06 Jason, Neville
7 Jude looked round upon the arm-chair and its occup 00:08:14 Jason, Neville
8 'Jude,' she said brightly… 00:06:44 Jason, Neville
10 After the lapse of a few days he found himself hop 00:08:31 Jason, Neville
1 Such silent proceedings as those of this evening… 00:06:32 Jason, Neville
2 The schoolmaster rose. 00:06:53 Jason, Neville
3 When she saw how wretched he was, she softened… 00:05:02 Jason, Neville
5 She arrived by the ten o'clock train on the day af 00:07:26 Jason, Neville
6 Jude soon joined them at his rooms… 00:04:36 Jason, Neville
8 Jude went on to the stone-yard where he had worked 00:05:55 Jason, Neville
9 The compartment that she served emptied itself of 00:09:00 Jason, Neville
11 They looked away from each other to hide their emo 00:08:15 Jason, Neville
12 When they reached the lone cottage under the firs… 00:06:06 Jason, Neville
1 He passed the evening and following days… 00:02:15 Jason, Neville
3 Jude accordingly rang the bell, and was admitted. 00:04:43 Jason, Neville
4 Part Fourth: At Shaston 00:07:33 Jason, Neville
5 Jude went into the empty schoolroom and sat down… 00:07:10 Jason, Neville
6 There was a momentary pause, till she suddenly jum 00:07:38 Jason, Neville
8 Jude threw a troubled look at her. 00:08:57 Jason, Neville
9 Instead of replying she rose quickly… 00:07:32 Jason, Neville
11 At dusk that evening he went into the garden… 00:05:15 Jason, Neville
12 After tea that evening Phillotson sat… 00:08:23 Jason, Neville
1 'I am bound in honesty to tell you…' 00:09:29 Jason, Neville
3 Though well-trained and even proficient masters… 00:09:36 Jason, Neville
4 Gillingham accompanied his friend a mile on his wa 00:09:35 Jason, Neville
6 Even at this obvious moment for candour… 00:09:14 Jason, Neville
7 When Jude came back and sat down to supper… 00:08:16 Jason, Neville
9 All the respectable inhabitants and well-to-do fel 00:08:02 Jason, Neville
1 It grew dusk quickly in the gloomy room… 00:07:27 Jason, Neville
2 Part Fifth: At Aldbrickham and Elsewhere 00:05:11 Jason, Neville
3 They rambled out of the town… 00:08:44 Jason, Neville
5 There was that in his manner… 00:09:09 Jason, Neville
6 She walked along the muddy street… 00:06:58 Jason, Neville
8 The Three Horns, Lambeth. 00:08:22 Jason, Neville
9 He was Age masquerading as Juvenility… 00:09:02 Jason, Neville
Disc: 10
1 A small slow voice rose from the shade of the fire 00:08:02 Jason, Neville
2 They stepped in, and entered a back seat… 00:07:16 Jason, Neville
4 All continued to move ahead. 00:08:11 Jason, Neville
5 The trio followed across the green and entered. 00:07:51 Jason, Neville
7 Next day Jude went out to the church… 00:07:19 Jason, Neville
8 Sue and Jude, who had not stopped working… 00:07:51 Jason, Neville
9 They soon found that, instead of the furniture… 00:07:55 Jason, Neville
1 'Perhaps my husband has altered a little since the 00:04:50 Jason, Neville
3 The wayfarer faced round and regarded her in turn. 00:06:27 Jason, Neville
4 They had now reached the low levels bordering 00:05:24 Jason, Neville
5 Part Sixth: At Christminster Again 00:05:12 Jason, Neville
6 While they waited big drops of rain fell… 00:08:10 Jason, Neville
7 As a sort of objective commentary on Jude's remark 00:06:10 Jason, Neville
8 They found a second place hard by… 00:06:13 Jason, Neville
10 Half-paralyzed by the strange and consummate horro 00:04:30 Jason, Neville
11 When the house was silent… 00:08:02 Jason, Neville
12 The jury duly came and viewed the bodies… 00:05:22 Jason, Neville
1 'I have seemed to myself lately,' he said… 00:08:14 Jason, Neville
2 'There is a strange, indescribable perfume or atmo 00:08:32 Jason, Neville
3 Jude's former wife had maintained a stereotyped ma 00:09:36 Jason, Neville
4 He flung his arms round her and kissed her passion 00:09:40 Jason, Neville
6 Meanwhile Phillotson ascended to Marygreen… 00:05:38 Jason, Neville
7 A few days after a figure moved through the white 00:08:23 Jason, Neville
9 Phillotson in the interval had gone back to his fr 00:06:30 Jason, Neville
10 When Mrs. Edlin had gone back to her cottage… 00:06:01 Jason, Neville
2 Arabella, meanwhile, had gone back. 00:08:48 Jason, Neville
4 Another man they knew, Tinker Taylor… 00:06:38 Jason, Neville
5 When Arabella, Jude, and Donn had disappeared… 00:04:55 Jason, Neville
7 She did not come… 00:03:58 Jason, Neville
8 A light footstep… 00:09:20 Jason, Neville
10 It was night at Marygreen… 00:05:56 Jason, Neville
11 Sue unlatched the other chamber door… 00:07:46 Jason, Neville
3 Meanwhile Arabella, in her journey… 00:08:57 Jason, Neville
4 Two days later… 00:03:45 Jason, Neville
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text:
Chu-ma () je okres v prefektuře Ta-sing-an-ling v severní části provincie Chej-lung-ťiang v Čínské lidové republice. Okres leží na pravém (jihozápadním břehu Amuru v údolí řeky Kumary. Rozloha okresu je 14 285 čtverečních kilometrů a v roce 1999 v něm žilo 344 tisíc obyvatel.

Historie
Roku 1654 na soutoku Kumary a Amuru ruští kozáci pod vedením Onufrije Stěpanova postavili dobře opevněný Kumarský ostroh, v němž přezimovali. Na jaře 1655 byli napadeni armádou říše Čching vedenou vojevůdcem Mingandalim, její obléhání Kumarského ostrohu však bylo neúspěšné a po několika týdnech se čchingské vojsko stáhlo. I Rusové však ostroh opustili, v okolí totiž nezůstali domorodci, od kterých by bylo možno brát potraviny.

Města v Chej-lung-ťiangu
Okresy v Číně
Ta-sing-an-ling

redpajama_set_name: RedPajamaWikipedia


• Comprehensive knowledge of the complex anatomy of the cerebellopontine (CP) angle is a prerequisite for achieving good surgical results. The crucial neurovascular structures should be identified as early as possible during surgery, which enables their preservation and guides subsequent operative steps. Whatever the tumor size and extension, the anatomical relationships of the cranial nerves in the area of the fundus of the internal auditory canal and in the brainstem exit/entry zone are constant.
• Most of the CP angle tumors are benign and their complete removal leads to excellent long-term outcomes. The only exception to complete tumor removal is the attempt to preserve function, such as in surgery for vestibular schwannoma in the only hearing ear.
• The major principles of CP angle tumor removal include the following: important neural structures, such as the cochlear and facial nerves, should be identified early; the tumor should be initially debulked; the dissection from the surrounding structures should be performed only after sufficient internal decompression is achieved; the dissection should always be performed in the arachnoid plane; bipolar coagulation, especially in the vicinity of a cranial nerve, should be avoided.
• Our preferred approach is the retrosigmoid approach. It is safe, relatively simple, and provides a panoramic view of the CP angle and petroclival area. Importantly, it is related to a very low procedure-related morbidity rate. The additional removal of the suprameatal tubercle provides access to tumors with extensions into Meckel's cave, into the petroclival area, and even into the posterior cavernous sinus.
Tumors of the cerebellopontine (CP) angle are usually benign and their complete removal leads to the healing of the patient. However, because of the very complex anatomical structure of the area and the severity of the neurological dysfunction in case of iatrogenic damage, surgery in the CP angle has always been a challenge. The first successful complete removal of a CP angle tumor was performed in 1894 by Sir Charles Balance. The tumor was approached via a right posterior fossa craniectomy and removed with the finger inserted in an unsterile fashion between the pons and the tumor. Although the patient had facial anesthesia and complete facial palsy, he recovered from surgery and was alive for at least 18 years.1 The pathological nature of this tumor is a matter of controversy and the credit for the first removal of a vestibular schwannoma (VS) probably belongs to Thomas Annandale of Edinburgh. In 1895 he removed a tumor "the size of a pigeon's egg" via a unilateral suboccipital craniotomy. Later, major contributions to the surgery of CP angle tumors were made by V. Horsley, von Eiselsberg, and F. Krause. Krause used for the first time faradic stimulation to differentiate the facial from the audiovestibular nerve.2 H. Cushing was the first to reduce the complication and mortality rates of VS surgery to an acceptable level by performing intracapsular tumor removal. Expectedly, the tumor recurrence rate in his series was very high. W. Dandy introduced the currently widely accepted concept of VS management. He argued that benign tumors should be removed completely in order to prevent recurrence at a later stage, even at the expense of a somewhat higher perioperative mortality rate. In the following decades, morbidity and mortality rates progressively improved with increased experience and knowledge of the normal and pathological anatomy of the CP angle, earlier detection of such tumors with the introduction of computed tomography (CT) and magnetic resonance imaging (MRI), routine use of intraoperative electrophysiological monitoring, and more reliable and safe anesthetic and operative techniques. Initial efforts at preservation of facial nerve function have expanded to preservation of hearing with increasing success. As a result of these efforts, modern CP angle surgery has been refined to a routine, safe, and low morbidity procedure.
The CP angle is a triangular space located posterior to the pyramid, inferior to the tentorium, lateral to the pons, and ventral to the cerebellum.3 It is defined by the superior and inferior limbs of the CP fissure (Fig. 38.1).
FIGURE 38.1 Schematic diagram demonstrating the cerebellopontine angle formed by the superior and inferior limbs of the cerebellopontine fissure with the apex oriented laterally. Also demonstrated are the three neurovascular complexes, the upper, middle, and lower complex and the elements that form each of these complexes.
The CP angle cistern is located between the anterolateral surface of the pons and cerebellum and the posterior surface of the petrous bone and contains the trigeminal, abducent, facial, and vestibulocochlear nerves, the superior cerebellar and anterior inferior cerebellar arteries, a variable number of draining veins, the flocculus of the cerebellum, and the choroid plexus that protrudes through the foramen of Luschka. The facial nerve exits from the brainstem in the lateral part of the pontomedullary sulcus, 1 to 2 mm anterior to the entry zone of the vestibulocochlear nerve. The ninth, tenth, and eleventh cranial nerves are located in the lower part of the CP angle (Fig. 38.2A and B).
FIGURE 38.2 A, The upper neurovascular complex consisting of the trigeminal nerve (CN V, cranial nerve V) contained within the superior cerebellopontine cistern, the superior cerebellar artery (SCA), and the superior petrosal vein (Sup. Pet. V). The trigeminal nerve courses toward the petrous apex anterior to the superior petrosal vein, which is identified by its typical inverted Y configuration at its entrance into the superior petrosal sinus at the tentorial-petrosal dural junction. The superior cerebellar artery usually runs along the superior aspect of the fifth cranial nerve. The middle neurovascular complex consists of the facial nerve (CN VII) and vestibulocochlear nerve (CN VIII), which arise from the lateral part of the pontomedullary sulcus, and the anterior inferior cerebellar artery (AICA). The seventh and eighth cranial nerves course in the cerebellopontine cistern and enter the internal auditory canal. Also seen are the glossopharyngeal nerve (CN IX), vagal nerve (CN X), and the flocculus (Flocc.) of the cerebellum. B, Intraoperative view demonstrating the relationship of the anterior inferior cerebellar artery and its two major branches in the CPA, the internal auditory artery (Labyr. A), and the subarcuate artery (Subarc. A). The internal auditory artery travels into the internal auditory canal (IAC) and provides a blood supply to the inner ear and nerves in the IAC. Also demonstrated are the vestibulocochlear nerve (CN VIII), facial nerve (CN VII), the glossopharyngeal nerve (CN IX), vagal nerve (CN X), and the flocculus (Flocc.).
In the area of the fundus of the IAC, the nerves have constant location: the facial nerve occupies the anterosuperior quadrant, the cochlear nerve occupies the anteroinferior quadrant, the superior vestibular nerve is in the posterosuperior quadrant, and the inferior vestibular nerve is in the posteroinferior quadrant (Fig. 38.3). Knowledge of these anatomical relationships is of utmost importance for the surgeon because early identification of the main neurovascular structures is a prerequisite for their preservation.
FIGURE 38.3 A schematic diagram of the right internal acoustic meatus demonstrating the facial nerve and cranial nerve VIII dividing into its three parts, the superior vestibular nerve above the transverse crest and the cochlear and inferior vestibular nerves below the crest.
Bone window thin slice CT shows the bony changes of the pyramid and of the IAC and is essential for surgical planning. Erosion or dilatation of the IAC is seen in 70% to 90% of the patients with VS. Nevertheless, the diagnostic tool of choice for all CP angle tumors is MRI.7,10,11 On T1-weighted sequences VSs are isointense to slightly hypointense and on T2-weighted sequences they are hyperintense. They enhance intensely and homogeneously after contrast application, with the exception of cystic portions of the tumors. Intrameatal VSs are best visualized with gadolinium enhancement. Meningiomas are most frequently isointense to slightly hypointense to brain parenchyma on T1-weighted MRI studies. On T2-weighted MRI studies they have higher intensity than that of VS and show a homogeneous contrast enhancement. The radiological differential diagnosis between VS and CP angle meningioma is based on several criteria. Meningiomas are centered usually away from the IAC and have broad contact with the petrous bone or the tentorium (Fig. 38.4A and B). The angle between the tumor and the pyramid is obtuse. The IAC is not widened and the tumor very rarely extends into the IAC. Although secondary invasion of the IAC might be observed in 10% to 20%,12 primarily IAC meningiomas are exceedingly rare.6,13 Calcification and cystic changes are frequent findings. A tail of enhancement along the dura (the dural "tail" sign), although not pathognomonic, is visible in 60% to 72% of meningiomas. VSs are centered at the widened IAC. They form an acute angle with the posterior surface of the petrous bone and almost always extend into the IAC (Fig. 38.5). In VS, calcifications are extremely rarely found.
FIGURE 38.4 A and B, T1-weighted magnetic resonance images following contrast application of a retromeatal (A) and a premeatal (B) cerebellopontine angle meningioma.
FIGURE 38.5 A to G, Stages of vestibular schwannoma growth: from grade T1 to grade T5 (T1-weighted contrast-enhanced coronal images). A, Grade T1, purely intrameatal. B, Grade T2, intraextrameatal. C, Grade T3a, filling the CPA cistern. D, Grade T3b, reaching the brainstem. E, Grade T4a, compressing the brainstem. F, Grade T4b, severe compression and dislocation of the brainstem and fourth ventricle. G, Grade T5, giant tumors with extension over the midline. See Table 38.2 for corresponding classification.
Epidermoids are hypodense on CT and in up to 25% rim calcification is observed. On T1- and T2-weighted MRI they are usually isointense to cerebrospinal fluid (CSF).6,11 The signal intensity is related to the contents of the cyst: if cholesterol predominates, the cysts are hyperintense on T1-weighted images and hypointense on T2-weighted images. Fluid-attenuated inversion recovery imaging, diffusion-weighted imaging, and CISS spin-echo MRIs are more precise imaging modalities. Because of their similar characteristics it might be difficult to differentiate epidermoid cysts from arachnoid cysts. Two of the main differences between them are the smaller mass effect caused by the arachnoid cysts and their more homogeneous signal intensity on T2-weighted images.
Several factors have to be considered when selecting the surgical approach: tumor type, size, and origin; extension in the CP angle or in the IAC; patient's age and general and neurological status, especially hearing level; and surgeon's experience and institutional tradition. The approach should adhere to the following principles: it should provide sufficient exposure of the tumor; it should not be related to significant morbidity; the neural structures should not be at increased risk; any injury to the venous outflow system should be avoided. Most of the CP angle tumors are benign and their complete removal leads to healing of the patient. The preservation and even the recovery of neurological functions and of the patient's quality of life should always be the first priority. The only exception to complete tumor removal is the attempt to preserve function, such as in surgery for VS in the only hearing ear. Excellent results have been achieved with different operative approaches, which depend more on the individual surgeon's experience than on the advantages or disadvantages of each particular approach. Still, an ever growing amount of evidence suggests that the goals of CP angle surgery are best achieved with the retrosigmoid suboccipital approach (RSA).3,14–16 It is safe and relatively simple and provides a panoramic view of the whole CP angle and petroclival area. Importantly, it is associated with a very low procedure-related morbidity rate. The additional removal of the suprameatal tubercle—the Samii technique, developed and introduced by the senior author in 1982—provides access to tumor extensions into Meckel's cave, the petroclival area, and even the posterior cavernous sinus.
Each of the possible positions of the patient on the operating table—semisitting, lateral, or supine with the head rotated 90 degrees to the contralateral side—has its advantages and drawbacks in terms of providing sufficient access and avoiding complications. It remains, however, a matter of surgeon's preference and institutional tradition. We prefer the semisitting position that allows the surgeon to work bimanually because there is no need for constant suction. Further, frequent coagulation during tumor removal is evaded thanks to the continuous irrigation of the operative field performed by the assistant. The head is held with a three-point head fixation frame; then it is flexed and rotated approximately 30 degrees to the involved side, avoiding occlusion of venous jugular outflow or hyperflexion of the cervical spine.
A drawback of this patient position is the risk of venous air embolism, paradoxical air embolism, tension pneumocephalus, or circulatory instability. However, in experienced hands these effects are not related to any lasting morbidity.17 Transesophageal echocardiography is the most specific and sensitive method in detection of air embolism but the combined monitoring of end-tidal carbon dioxide and precordial Doppler echocardiography yield similar results. If immediate measures are carried out at the first sign of venous air embolism, the related morbidity is insignificant.
Continuous neurophysiological monitoring should be performed throughout the surgery from the time of positioning of the patient to the skin closure. It includes monitoring of somatosensory evoked potentials (important during patient positioning in order to prevent spinal cord compression); electromyography of the facial nerve; and monitoring of the brainstem auditory evoked potentials in the case of preoperatively available hearing.18,19 Monitoring of the oculomotor, trochlear, abducens, and caudal cranial nerves is performed if needed according to the particular tumor extension and clinical presentation.
A slightly curved skin incision approximately 2 cm medial to the mastoid process is performed and the underlying muscles are incised in line with the skin. We make the bur hole approximately 2 to 2.5 cm below the superior nuchal line, two thirds behind and one third in front of the occipitomastoid suture. The asterion is not an absolutely reliable anatomical landmark and is variable both in the cranial-caudal plane and in the anterior-posterior plane.20 The sigmoid sinus descends along an axis defined by the mastoid tip and the squamosal-parietomastoid suture junction or over the mastoid groove. The course of the transverse sinus is more variable and the superior nuchal line gives a rough orientation of its location. The issue of whether to make a craniectomy or craniotomy is a matter of individual preference but we avoid making one-piece craniotomy due to the related high risk of injury to the underlying sinuses and the risk of tearing the dura by the craniotome. Excessive traction to the mastoid emissary vein/veins could lead to sinus laceration and increases the risk of venous air embolism. The vein should be skeletonized with a diamond drill until it is free of any bony encasement and can be safely coagulated. The lateral and superior limits of the approach are the borders of the sigmoid and of the transverse sinuses; their edges have to be exposed. Inferiorly, enough bone should be removed in order to provide access to the lateral cerebellomedullary cistern and allow a continuous egress of the CSF or irrigation fluid throughout the surgery.
The important neural structures, such as the cochlear and facial nerves, should be identified early.
The tumor should be initially debulked.
The dissection from the surrounding structures should be performed only after sufficient internal decompression is achieved.
The dissection should always be performed in the arachnoid plane.
Bipolar coagulation, especially in the vicinity of a cranial nerve, should be avoided.
Following tumor removal, the opened mastoid air cells are sealed with multiple pieces of fat tissue that are fixed with fibrin glue. If necessary, fat pieces are glued on the sutured dura. Bone wax is avoided, except in case of significant bleeding from the bone edges.


This course introduces participants to the basics of planning, hydraulic- and engineering design, construction, operation and maintenance of water transport and distribution systems.
Mid-career professionals dealing with technical aspects of drinking water transport & distribution, working for municipal assemblies, water supply companies or consulting bureau's.
understand the basic corrosion mechanisms and suggest the list of preventive and reactive measures.
Introduction: Main objectives and components of water transport and distribution systems.
Water Demand: Categories, patterns, calculation, forecasting.
Hydraulics of Pressurised Flows: Basic equations, single pipe calculation, branched and looped networks, system- and pump characteristics, pressure related demand. Hydraulics of storage and pumps.
Main Components of Hydraulic Design: Design parameters, choice of supply scheme, network layouts.
Engineering design: Choice of pipe materials, valves and other equipment.
Pumps and Mechanical Equipment: Review of pump types and their applications, design of pumping stations, power requirements and energy consumption, auxiliary equipment.
Network construction: pipe laying, testing and disinfection.
Operation and Maintenance: Regular and irregular supply, unaccounted-for water and leakage, network cleaning and rehabilitation procedures, water demand management.


Samantha is a passionate and dedicated equity champion committed to liberating and channeling capital into under-resourced communities.
As the Grants and Program Manager, Samantha supports grantmaking at LCF. She is dedicated to social justice and advancing equitable strategies to enhance social, environmental, and economic impact in Latino communities.
Samantha has over ten years of experience in philanthropy, public health, and public policy. Prior to joining LCF, she served as grants manager for Youth UpRising, an Oakland-based organization investing in youth leadership, where she managed over $5.5 million in grants and contracts. She also worked at New Door Ventures, supporting the San Francisco-based organization's $4 million annual fundraising campaign designed to help disconnected youth prepare for life and work. Previously, she worked at The California Wellness Foundation, where she supported grantmaking for two health portfolios totaling $18 million annually.
Samantha holds a BS from Santa Clara University and is currently completing her MA from Tufts University. In her free time, Samantha enjoys hiking, yoga, live music, and cheering on the Oakland Raiders.


text:
Q: Oauth 2.0 validity of refresh_token in Box v2 API The oauth docs says
Each access_token is valid for 1 hour and each refresh token is valid for 14 days. To use the refresh_token to get a new access_token, make a POST request to https://api.box.com/oauth2/token
In this response, you'll receive both a new access_token and refresh_token. The refresh_token you used to make this request is no longer valid.
Questions:
1) If by chance I am not able to store this new refresh_token then the old refresh_token is invalidated?
2) Can't there be refresh token which is valid always and we generate only access_token?

A: *

*Yes, when a new refresh_token is created, the previous one is invalidated.

*Part of the OAuth 2 spec includes invalidating old refresh_tokens in exchange for a new one. It's not the most gripping read, but you can see all of that here: https://datatracker.ietf.org/doc/html/draft-ietf-oauth-v2-31

A: Actually, we just changed this so that we don't get rid of your old refresh token until you've used the new access token.

redpajama_set_name: RedPajamaStackExchange


Top reasons why people uninstall apps from their mobile phone?
Need a reason why people uninstall apps? We give you more than 10.
Why would you uninstall a mobile app?
With their limitless use, mobile apps help us in every chore we can image, right from checking our pulse rates to checking into a hotel. A 2015 study by Google says that an average user has 36 applications installed in his device out of which only 9 are used on a daily basis. And why is that only 48% of installed apps manage to impress us for a month? What leads to only 4% of them lasting with us for more than a year.
These figures compel us to find out why people uninstall apps so frequently. It necessitates understanding their average life cycle, especially if you are planning to develop a mobile app for your business. The points below can serve as a ready reckoner around the most common pitfalls you should avoid during your mobile journey.
The description of an app is the first thing a user sees and if it doesn't deliver what it claims, it's wiped away. Avoid buttons or links that don't generate any call to action nor provide any function. 55% users interact regularly with their apps which falls to 35% if it fails to deliver in terms of functionality, interface and purpose described. Therefore, the app is eventually labelled as "misleading" and this counts as a big reason why people uninstall apps.
A user wants an app that takes no longer than a few seconds to load. An app that takes forever and ever to start and then takes them through pages of tutorials is not something that is going to retain them for long. Time is precious and to save it is why people uninstall apps so frequently. That it why apps that launch within 2 to 3 seconds of tapping their icon are generally approved by most users.
If you constantly feel the need to restart an app due to sluggish performance or unresponsiveness, you will discard it very soon. An online coverage by Forbes suggests that 71% users complain of crashing and 76% claim freezing as a major reason why they uninstall their mobile apps.
Too many advertisements is also a reason why people uninstall apps from their phones. There are plenty of free options around us. An app that doesn't let you skip the promotional video in a single tap will be dropped in favour of the one that does.
Too many and too frequent push notifications will eventually result in a user being disturbed and then the obvious uninstall happens. Therefore, it becomes necessary for any developer to know how to best use push notifications for their benefit.
No user goes about killing every application every time he exits it. A faster charge depletion becomes a big reason why people uninstall their apps. If it causes unusual battery drain, it will be removed sooner.
I like'm pretty but not dumb. An app that is beauty with brains provides a user-friendly design and full on functionality. Lack of it drive users to uninstall them. Negative reviews about the general interface and app experience too play an important role here.
Like pointed out earlier, with abundant free apps around us, scope for paid apps is rather limited. Experts say that it is essentially true in case of business related apps. They lose about 24.6% of their users because of paid features that are otherwise not available.
A trait in many apps that is not mandatory but still in use is social media profile linking. Many users do not find it worthy of much "likes," mostly because they don't want to share their intimate details. Since there is no alternative to register for it, this becomes a big reason why you would want to uninstall that app.
For a once in a while traveler, an airline app for mobile check-in would be rendered uselss once he returns from his trip and there are studies to back it up. 1 out of every 4 apps is abandoned the moment its purpose is solved and this is a big reason why a user would uninstall their app. But the key here is to keep them engaged. By providing them with useful travel trivia, for instance, they can be persuaded to retain the mobile app and re-convert to a paying customer in future.
Newer options replace the older ones and that is a major reason why people uninstall mobile apps. This helps them gain new and additional features, upgrades and wider compatibility. Close to 29% of business apps are uninstalled when users find a better alternative.


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Studio Visit: Studio Moross
From vibrant illustrations to sexed-up music videos, how this London original tackles the creative industry at large
Posted by Karen Day
Posted on 16 September 2013 24 August 2018
Look — Design
In an industry that has been known to label its constituents with simply one ability or another, the enigmatically artistic Kate Moross is genuinely defining a term that is so often gratuitously applied: Creative. The shift toward owning a diverse skill set is quickly becoming more commonplace among makers and imaginative thinkers, but Moross is surely leading the way—and armed with a vibrant color palette, an eye for seduction and an extreme dexterity for striking visuals, the hard-working London-based artist is setting the benchmark for original, multifarious talent.
Studio Moross' achievements span the areas of branding, filmmaking, packaging, print and digital, with music at the heart of most projects. A brief look at her portfolio demonstrates the flexibility in her work—watch any of the music videos Moross directed for Jessie Ware and it's easy to see her usual penchant for a rainbow of bold colors and geometric shapes is sharply kept at bay in favor of more muted tones and coquettish panning. Moross' work never ceases to surprise and inspire, so we recently stopped by her Camden studio to learn more about her fascination with color and how she never seems to miss a beat.
Can you tell us more about the Jessie Ware + Benzel video you shot?
I just worked on another Benzel video which is coming out this week. They're like a mystery project. I'd like to think they let us do whatever we want but there have been occasions where I've done that and they've canned what I've done so… But that video was such an amazing sort of process because the managers who I work with a lot, PMR, are Jessie's managers. They kind of called us in like, "Look we've got this amazing track and we need a video but we've got basically nothing to do it with. Can you just make something sick?" And I was like, "Yeah sure!" [laughs] We literally shot Jessie at the end of a press shoot she was doing, no lights, nothing. We just said, "OK, five seconds Jessie, come on, wrap this vocal." And she's so good, she gets it right every time. We shot all of the content ourselves in the studio, with microscopes and stuff. It was really good fun. At the time you're like, "Oh God, I'm doing all this for nothing," but then the next time something comes along like that you're like, "Yeah!"
How did you make the liquid effects?
It's glitter, paint and oils—different viscosities—shot with a macro lens. The ink sort of falling down was shot by a photographer friend that we work with. I told him the brief: I said, "Go home, shoot the shit out of as many liquids as you can." Because Jessie had that sort of feel to a lot of her artwork already, but the Benzel artwork had been very colorful, bright, we wanted to bring the two of them together. Those processes are always just super experimental.
What is it about color that fascinates you so much?
I don't know, it's funny because my mum recently said to me, "Do you remember that time we let you paint your bedroom?" I was probably about nine or ten, and she said I could decorate my room however I like. And I bought lime green, magenta, bright blue, bright orange, bright yellow and painted my room a hundred different colors. She's like, "That is exactly the color palette you use now, isn't it strange that you've had it in you for so long?" But I think London can be quite gray sometimes—or any Western society that's kind of suits and stuff like that. And also, I think it just makes people feel good to see colorful things, and I like to use color in a way that's interesting and playful. I just enjoy it, it's another medium.
Do you methodically work with color? Or is it more emotional?
I don't know. It's difficult to say sort of how and when we make those decisions, but they're definitely present. It's just an internal conversation that you're having with yourself, like, "Oh, maybe I should put more of this here." It's really difficult to say. The use of color is something that just comes with experience and lots of trial and error. And then also understanding the perception of it, which is something I studied a lot when I was at art school. There is not necessarily any set of rules, but it's just a question of your internal conversation. Yesterday I had a whole drama with this picture I'm working on, because I accidentally picked up the wrong purple and used it and I was just like, "Oh no." The biggest thing about being a creative person, the most important skill is, learning how to cover up your mistakes. Because then they don't look like mistakes anymore. I spent about two hours yesterday working out how to hide this purple in the picture without having to start again—which I succeeded.
How do you cover up mistakes when you're using markers, as opposed to paint?
You kind of just have to mix markers together. So I mixed two or three markers together to make it look like another color. But also, there's no forgiving with pens, you just have to have a mistake. Which is kind of fine, I'm not precious about things. I just let them go, if there's a mistake there's a mistake and hopefully it adds character to it.
Do you have to keep using the amalgamated color now?
I have to keep using it. It's now just part of the work. It took two days just to draw the grids, but after working on this for a bit yesterday, I finally got it to a place where I like it, which means I'm enthusiastic to carry on going, but before then it's more just like, "OK, let's just see what it's gonna look like." I've never ever worked like this before. I do isometric work but only on a computer, I've never done it by hand. I've done it by hand very loosely, just drawing, but I've never done a piece, fully handmade from start to finish—hand-drawn lines, hand-drawn illustration, no plan, just free-styling—that's very novel for me.
How did you move from doing illustration and graphic design to videos?
It's kind of weird because, for me, illustration was kind of a "job." I was studying graphics at school but I had started illustration freelancing around my first year. I just got more and more work, and then more, and then I started doing advertising and actually feasibly making a living out of it. It was hard for me, because I really wanted to do things other than just draw pictures as a career, and the industry can be quite close-minded on what you can or can't do, like what box you fit in.
I felt kind of pigeon-holed into this illustrator thing, which I fought against quite a lot. Throughout my life there's been areas like that; I've been put in a box and I have to work around it. I kept doing graphics, kept doing illustration and kept them quite separate from each other. And then as the industry and creative world became a bit more open-minded, it started to mix together a bit more. That's really what I've been waiting for. And as for filmmaking, I've kind of always been one of those people that says I can do something and people believe me. [laughs] And then I do it and it works and then other people ask me to do it. I think that's just a bit of luck though, really. And balls, basically. Just like, "You want to make this film? I can make a film."
I want to be 80 and building 3D models, I want to be ahead of the curve—or at least understanding it.
Did you teach yourself all of these skills?
Yeah, every technical skill I own is self-taught. I didn't get taught software at school, I didn't get taught many things at school, especially art school. Even now I'm teaching myself new software, it's a never-ending curve of keeping ahead of technology. I feel sorry for creatives that have reached a point where they can't keep up with technology anymore. I'm just hoping that will never happen to me. I want to be 80 and building 3D models, I want to be ahead of the curve—or at least understanding it. I'm not saying I'm an expert in using Cinema4D or After Effects, but I know my way around a program well enough to do what I want to do. Or to even understand what a professional that I might wanna hire to work on something is doing, so I can talk to them about it too. So that's something that's really important to me, and learning software is something I enjoy so I just keep doing it.
How do you balance client work with room for personal experimentation?
Now that we've started this studio, a lot of my day is managing our client base. All of our music clients have regular work, so it depends on where they're at in their schedule. If they're in the middle of their album release then there's a lot of work to do, but if they're on tour for a bit then we might have a break and work on a new client. The music industry has its own activity periods where it gets really busy, like festival season, then it gets quieter. But I'm trying to make more time for trying new things, and experimenting and committing to things that force me to take time away from the computer. So this piece for the Breed exhibition is an opportunity for me to try out something completely new that I've never done before, and I think creating work for shows allows you to do those kinds of things. And then, the studio and I are going away in a couple of weeks just to work on ideas and generate content. We have a very healthy balance of work life but it feels very busy at the moment.
How do you choose who to work with?
Most of our choices are based on, "Is the music good?" Not just, "Is this band cool?" because that's not really a question for us—it's our job to make them cool. What's really exciting is working with new artists, because part of our job as a studio is sort of being like A&R, looking out for music that we can get behind and think that we can make even better through visuals. I really like listening to the artists we work with, and we get to hear stuff before anyone else does, before it's even mixed sometimes, and that's really exciting because it makes you feel like you're part of the industry.
Though entirely different, the Arthur Beatrice video and the Washed Out videos are similar in the way they pan. What do you like about that approach?
I think for me, video is kind of image-making more than storytelling. For some filmmakers storytelling is their reason to make a film, but for me it's more about reactive imagery to music. That's kind of my approach to making music videos, and having a variety of approaches is healthy in the industry, because at the moment I feel like it's heavily narrative-based. There's a lot of short film-esque music videos, which if they're done well are great, but in the big spectrum of what MTV used to be in the '90s, that should only be a fraction and the rest should be much more experimental. So for me I'm using the sort of smaller budget and the more creative artists to experiment really in terms of what will pass as a music video. Everyone is so used to seeing a lead character and a twist, or a suspenseful thing; I'm like "lets just shoot animals up this close and see if people get into it."
The Washed Out video was in collaboration with Ernest from Washed Out—his ideas and my ideas sort of mixed together. And Arthur Beatrice, their concept was this A-B, male-female singer—almost like they wanted to create a hermaphrodite—that represented the band. We didn't have CG budget, so my idea was to shoot all of them really macro and create this illusion of a human being that's made up of all of them. There's always a concept even if the visual is really simple at the end. I just really like detail shots, color or a lack of color; shadow, shape and form I find interesting because of my background in illustration and graphic design; and camera movements are just essential in those areas otherwise everything's too static. I'm really glad those videos were well-received, because I worry everyone just wants to watch a short movie, they won't just sit back and enjoy the psychedelics while listening to the music. From the beginning, with my first-ever music video for Simian [Ghost], it was all about making the music and the visual fit together.
How does all of that sexiness go with triangles and playful shapes?
It's difficult to explain what things are or how they link together, but in reality they just do. I do lots of different things and I don't necessarily like to inherently jump between the other. A lot of the time I'm trying to make work that links them just so people can understand; so from here I'm doing isometric drawings, here I'm doing very minimal, classic graphic design, then I'm making psychedelic music videos and then I'm doing hand-drawn type—they're just separate but in my head they work together.
Do you have a favorite medium?
No. My favorite is doing all of them at the same time. Being able to jump from doing an HTML email to editing a video. And that's what the studio's like, we're constantly shifting between projects and that's what I enjoy.
Do you think that London particularly embraces eccentricities and creativity more than say, New York?
I know New York not as well as I know London, but pretty close because I've spent so much time out there, but I think London has another level of individuality beyond just not being like everyone else. I think there is, in every society or mainstream culture, a level of rebellion, but London has lots of sub-rebellions. There's loads of tiny little niches that you can borrow from or fit into. In London I feel like there are even more layers between who you can be and I think we naturally have a lot of eccentric people—not to say fashionably eccentric, I mean genuinely eccentric people, whether it's the guy who sells coffee beans or the art school student. There is a general kind of acceptance for weirdness that I didn't really think about, but I don't get any bother and I look like a clown most of the time, but people are really open-minded. But if you go to the north of England it wouldn't be the same, you might get some funny looks. But that said, I went to the middle of nowhere, Kerry, in Ireland, and blended in—nobody even blinked an eye at me. So you never know. But you know, people that come to my house would say I was eccentric, but I wouldn't say I was eccentric.
The Breed Exhibition opens 24 September and runs through 9 October 2013 at the Tramshed—Cock 'n' Bull Gallery, London.
See more images in the slideshow.
Photos by Karen Day
Click to share on Copy URL (Opens in new window)
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Categories Posted in DesignTags Color, Graphic Design, Illustration, Interviews, Kate Moross, Music Videos, Studio Moross, Studio Visits
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Discussion in 'Scenic, Architecture, and Travel' started by dbuckle, Apr 27, 2011.
Taken with a Konica Hexanon 50mm 1.4 on an E-PL1.
Nice shots, I envy your backyard! Mine is just a concrete lot.
I used to have the f1.7 version of that Hexanon fiddy, used it with the Oly E-300 I had years ago. It had been modified to mount in standard 4/3 without an adapter, though it didn;t lock, which was pretty annoying.
The second one must've been fairly wide open - it maxed out the camera's exposure settings at 1/2000 and iso 100.
Almost as many as you!


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text:
How To Tell When A Laugh Is Real: The Answer Is In A Breath
And now, strictly in the interests of evolutionary psychology, the nurse asked me to sit down and asked me if I was comfortable and I said, well, I make a living.
SIEGEL: Now, did that person really find that funny because what we're going to hear about now is laughter. There's new research showing that people can often tell fake laughs from real laughs. Real laughter apparently has a set of unique acoustic features that fake laughs do not fully duplicate so people can often tell the difference between this...
(SOUNDBITE OF LAUGH)
SIEGEL: ...and this.
SIEGEL: But which is which? Greg Bryant of UCLA is going to tell us. He is an evolutionary psychologist and he is co-author of this study. Welcome to the program.
GREG BRYANT: Thank you.
SIEGEL: I just played two laughs from your study. Let's hear the first one again.
SIEGEL: Is that a real laugh or a fake laugh?
BRYANT: That, in our study, was a real laugh.
SIEGEL: Real laugh. Meaning?
BRYANT: Meaning that we recorded it in a conversation between two friends, as opposed to our fake laughs, which we asked people to produce on command.
SIEGEL: OK. Let's hear our fake laugh again.
SIEGEL: Now, if you played those two laughs and this is, I gather, what your study was, you played them for a number of people, how commonly could people say the first one was a genuine, authentic expression of humor and the second was a fake?
BRYANT: Right. So we played people both fake laughs and real laughs and when the correct answer was a real laugh, they got that correct answer over two-thirds of the time. But when they heard fake laughs, they also thought sometimes those were real so they were tricked about a third of the time.
SIEGEL: So there are false positives when it comes to fake laughs.
BRYANT: That's right.
SIEGEL: I see. And what is it? How do you figure it is that we somehow know or so many of us know that a laugh is not genuine?
BRYANT: Well, I think there are a number of acoustic features that people unconsciously pay attention to, things like higher pitch and loudness, but there also seems to be something that has to do with the breathing. In a real laugh, the proportion of breathiness to valve sound is higher. So there's more breathiness in a real laugh than there is in a fake laugh.
And we believe that that has to do with the fact that laughs are produced by different vocal systems so genuine laughs are produced by an emotional vocal system that we share with other animals and fake laughs are produced by the speech system which is human specific.
SIEGEL: Which is human specific.
BRYANT: Right.
SIEGEL: But a really good actor, you know, who could tell himself a great joke, a method actor would be able to do a convincing fake laugh, wouldn't he?
BRYANT: Right. That's a great question. I think that when people are able to use something like method acting, they are producing what I would call a real laugh. So people can sort of conjure up the real thing. I actually don't like the terminology real and fake, technically, because I think all laughs are real at some level.
But the question is, which vocal system is actually producing it.
SIEGEL: So really, what we're distinguishing between here are fake laughs and on the one hand and real and really good fake laughs on the other hand.
BRYANT: Right. Well, yeah, so there's emotional laughs. There are good fake laughs and there are bad fake laughs.
SIEGEL: Laughter is not your only academic interest. You've researched many things. But is there more to do with laughs?
BRYANT: Absolutely. I'm working on some studies showing that people can recognize if people laughing together know each other or not and I'm also interested in various kinds of laughs. So for example, I think that laughs generated when somebody's being tickled, those are different than polite laughs in conversation.
SIEGEL: I can only imagine the experiment that's coming to test that one.
SIEGEL: Well, Professor Bryant, thank you very much for talking with us about laughs.
BRYANT: Thanks for having me.
SIEGEL: That's Greg Bryant. He's associate professor of communication studies at UCLA. His study appears in the journal Evolution and Human Behavior. Transcript provided by NPR, Copyright NPR.


text:
Alex Gushurst-Moore
Research & Impact Coordinator, Fitzwilliam Museum
Data visualisation, Data collection, Database design, Licensing, Copyright, Sensitive data, Research data ethics, Data protection and research, Data policies, Data storage, Institutional repositories, Open data, Digitisation, Social media & digital communications, Website development
alg82@cam.ac.uk
@speculady
Alexandra Gushurst-Moore is the Research & Impact Coordinator of the Fitzwilliam Museum and Coordinator of Cambridge Visual Culture. Her doctoral thesis, entitled "The Making of Modern Fantasy in the Visual Arts of England, ca. 1850–1920", was supervised by Elizabeth Prettejohn at the University of York. She holds an MA(Hons) from the University of Edinburgh and an MSt from the University of Oxford. Beyond her research, she has professional experience of and interest in British educational policy, the strategy and operation of HEIs and the facilitation of inclusive and supportive research cultures.
Claire Sewell
Research Support Librarian
Data management, Copyright, Data Management Plans, Data collection, Research data ethics, Data storage, Data sharing, Open data, Workshop delivery, Social media and digital communications, Video editing
ces43@cam.ac.uk
@ces43
I'm the Research Support Librarian for the Physical Sciences at the University of Cambridge where I oversee training and support for the research community across a range of disciplines. I've worked in research support for seven years and have recently published my first book - "The No-Nonsense Guide to Research Support and Scholarly Communication" (Facet Publishing).
RDM for librarians, presentation skills.
Non-School Institutions (2) Apply Non-School Institutions filter


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text:
Takuma Sato won the NTT IndyCar Series at the Honda Indy Grand Prix of Alabama
Starting from pole Car 30 Takuma Sato, Honda, won the NTT IndyCar Series at Honda Indy Grand Prix of Alabama for his 1st win & 2nd Top 10 of 2019. 2nd Place Car 9 Scott Dixon, Honda, started from 3rd place posted his 2nd Top 10 of 2019. 3rd Place Car 18 Sebastien Bourdais, Honda, started from 5th place posted his 2nd Top 10 of 2019.
4th Place Car 2 Josef Newgarden, Chevrolet, started from 16th place followed by 5th place Car 27 Alexander Rossi, Honda, started from 27th place. 6th Place Canadian Car 5 James Hinchcliffe, Honda, started from 4th place followed by 7th place Car 7 Marcus Ericsson, Honda, started from 20th place. 8th Place Car 28 Ryan Hunter-Reay, Honda, started from 11th place followed by 9th place Car 22 Simon Pagenaud, Chevrolet, started from 14th place. Lastly in the Top 10 was Car 10 Felix Rosenqvist, Honda, started from 17th place.
The race had 1 Full Course Cautions: 1 for 7 laps: 1st Caution on lap 58 for Off Course Car 15; Contact Car 59 in Turn 15.
The race had 11 Lead changes among six drivers. Lap Leaders: Sato, Takuma 1 – 16, Rahal, Graham 17, Hinchcliffe, James 18, Rossi, Alexander 19, Bourdais, Sebastien 20 – 27, Sato, Takuma 28 – 36, Dixon, Scott 37, Hinchcliffe, James 38, Rossi, Alexander 39 – 40, Sato, Takuma 41 – 56, Dixon, Scott 57, Sato, Takuma 58 – 90.
NTT IndyCar Series point standings: Newgarden 125, Dixon 98, Sato 91, Rossi 84, Herta 81, Bourdais 72, Hinchcliffe 71, Hunter-Reay 66, Power 66, Andretti 61.
Near-flawless performance takes Sato to victory at Barber
BIRMINGHAM, Alabama (Sunday, April 7, 2019) – Takuma Sato drove flawlessly – almost – to win the Honda Indy Grand Prix of Alabama presented by AmFirst and throw his name firmly into the NTT IndyCar Series championship conversation.
The Rahal Letterman Lanigan Racing driver made Scott Dixon a Barber Motorsports Park bridesmaid for a record sixth time, beating the reigning series champion to the finish line by 2.3874 seconds.
It was the fourth win of Sato's 10-year NTT IndyCar Series career, with the 42-year-old from Tokyo becoming the third different driver – each from a different team – to pull into victory lane in three races this season.
"This is because of the team, they did a fantastic effort," Sato said. "My car was superb! (On alternate) red tires, (primary) black tires, I didn't have to worry about it.
"It's probably the cleanest race I ever won. … I think we come here with the hopes, always do, but honestly never really, really expected to be this much of a domination."
Starting from pole position after winning the NTT P1 Award the day before, Sato led 74 of 90 laps on the 17-turn, 2.3-mile permanent road course that hosted the NTT IndyCar Series for a 10th straight year. Track officials announced a healthy three-day weekend attendance of 82,889.
About the only time Sato turned a wheel wrong came with five laps to go, when his No. 30 Mi-Jack/Panasonic Honda went wide in Turn 8, going airborne briefly as it rattled through the grass. His car undamaged from the off-track excursion, Sato gathered himself and kept Dixon at bay to the checkered flag.
"Outside, (it) probably looked easy winning from the cruising and the pole position, but it wasn't really cruising," said Sato, the 2017 Indianapolis 500 winner. "So I was really pushing hard using push-to-pass on everything the last 10 laps. So it was tough, and I had a little moment into Turn 8.
"Anyway, it was not necessary to give the little bit sort of heart attack to the body."
The win was the 27th for Rahal Letterman Lanigan Racing in its 27th year as an Indy car team. Co-owners Bobby Rahal, the three-time Indy car champion and 1986 Indy 500 winner, and David Letterman, the iconic late-night talk-show host, were on hand and overjoyed with the result.
"I'm really pleased for Takuma, he drove beautifully," Rahal said. "The team did a fabulous job, pit stops were great, strategy was great. But I honestly think Takuma was in a league of his own."
Dixon was thwarted again in his effort to win at Barber, finishing on the podium at the track for the eighth time. Still, the result was the 42nd second-place finish of his 19-year career, moving Dixon ahead of Helio Castroneves and alone behind only Mario Andretti's 56 career runner-up finishes.
"We've got to be happy with that," Dixon said. "It's always tough competition. We come here to win, but second place (was) great for points. … Hopefully, we can try and get a win here one day."
Sebastien Bourdais successfully employed a two-pit-stop strategy to finish third in the No. 18 SealMaster Honda for Dale Coyne Racing with Vasser-Sullivan. It was the 57th podium finish for the four-time Indy car champion and his best showing in nine Barber races.
"Hats off to that Team SealMaster Honda crew, they really gave me a great car," Bourdais said. "I guess we were one of the rare teams to stick to the two-stop strategy. It means that Dale (Coyne, team co-owner) has a heck of a lot more faith in me than I have in myself, that's for sure.
"On Lap 18, I said, 'I don't think I can hang onto the car for another 10 laps,' and he was like, 'Well, you're committed now.' So, I wasn't quite sure about it, but it worked out and I finished third."
Sato had never finished better than eighth in nine previous races at Barber, but became the fifth driver to convert a pole position at the track into victory. He leapt 10 spots in the season standings into third place, 34 points behind leader Josef Newgarden. Dixon is second, 27 points behind Newgarden.
A three-time Barber winner, Newgarden struggled all weekend until the race. The 2017 NTT IndyCar Series champion drove his No. 2 Fitzgerald USA Team Penske Chevrolet from 16th starting position to finish fourth.
"We had a good car today, we just started too far back," Newgarden said. "That was kind of our story this weekend, couldn't really get going really enough … so nice to get a fourth today and Chevy did a nice job getting us what we needed."
There was just one full-course caution to tie the track record for fewest in a race. Graham Rahal, Sato's teammate who started second in the No. 15 One Cure Honda, stopped on course on Lap 57 and Carlin's Max Chilton slid into a tire barrier shortly after while avoiding Tony Kanaan of AJ Foyt Racing as both attempted to enter pit lane.
Sato joins Newgarden (Firestone Grand Prix of St. Petersburg) and rookie Colton Herta (INDYCAR Classic at Circuit of The Americas) as race winners in 2019. Sunday's race will receive an encore telecast at noon ET Monday on NBCSN.
The next NTT IndyCar Series race is the Acura Grand Prix of Long Beach on Sunday, April 14. Race coverage begins at 4 p.m. ET on NBCSN and the Advance Auto Parts INDYCAR Radio Network.
'What They're Saying' from the Honda Indy Grand Prix of Alabama
JOSEF NEWGARDEN (No. 2 Fitzgerald USA Team Penske Chevrolet): "I didn't mean to push (Alexander) Rossi as much as I did. He braked really deep. I had a good run on him and he went pretty deep into the corner and I locked the front up and just went into him a little too aggressively. Honestly, he gave me a ton of room there and let me do my thing. Hats off to him for making it work. We had a good car today. We just started too far back – that was kind of our story this weekend, couldn't really get going really enough. Our Fitzgerald car, it's good to have those guys on board. We got a race win here (with Fitzgerald) in 2017, so nice to get a fourth today and Chevy did a nice job getting us what we needed."
MATHEUS LEIST (No. 4 ABC Supply AJ Foyt Racing Chevrolet): "Tough race here at Barber. Unfortunately, not the result we wanted. We were struggling a lot with both Firestone tires, red (alternate tires) and black (primary tires). We just didn't have the pace today. Our tire degradation was higher than the other drivers and when you have a high tire degradation there's not much you can do. Unfortunately, we got a lap down when we pitted before the yellow (flag). Nothing we could do from there on, just a disappointing day here at Barber considering that we finished 12th here last year and we probably could have done a better job this year. Let's see what we can do at Long Beach."
JAMES HINCHCLIFFE (No. 5 Arrow Schmidt Peterson Motorsports Honda): "Obviously, with the pace we had all weekend, sixth is a bit of a disappointment, for sure. The Arrow car had a solid podium going there until that yellow (flag) caught us off guard. We were all over (Scott) Dixon's gearbox in that third stint. We were quite a bit quicker, just couldn't get past. We were looking to make a move during that cycle, but that restart just threw us for a loop. We had a little bit too much understeer in the car in that last stint. We had a good long-run car, but we weren't the quickest getting up to speed. I don't think our out laps were great, and the first lap or so on the restart, we weren't awesome. Certainly, a bit disappointed. I feel like we left a couple of positions out there today. It is what it is. The pace was good all weekend, and if we keep doing that, eventually our day will come."
MARCUS ERICSSON (No. 7 Arrow Schmidt Peterson Motorsports Honda): "It was another great race for us. I think like St. Pete and COTA, we've shown how strong we are in the races. Going from an obviously disappointing qualifying starting from P20 going all the way up to P7, I think that shows the potential we have and the whole package that we've got. So, I'm really, really happy with my race; we got the strategy perfect again like we have done the last couple of times, as well. It was really nice to finally get the result as well. We should've been in the top five in COTA without that penalty and also in St. Pete we were in for a top-eight finish. It's so nice to finally bring it home and not get that bad luck to cause our problems like the last two rounds. It's really positive and really happy for the Arrow guys – they did a great job again this weekend. We can definitely build on this performance. Now we just need to sort it out so that we can qualify a bit higher, because if we can do that, we can really challenge for podiums and wins."
SCOTT DIXON (No. 9 PNC Bank Chip Ganassi Racing Honda): "We had a lot of (tire degradation). We started off where we could push really hard and be really quick and close the gap, even on some of those crossovers in the pits we were able to hone in on both Graham (Rahal) and (Takuma) Sato early on in the race. But the last 10 laps were just miserable. On that last run, I just tried to hold a steady gap to (Sato), and from there, I have to thank the team. The PNC Bank guys were very strong in the pits (and) we jumped Sebastien (Bourdais) in the pits. He drove a hell of a race and went really far on that first stint. (Bourdais) was good on (tire degradation). Another second (at Barber) and now second in points. Hopefully, we can try and get a win here one day."
FELIX ROSENQVIST (No. 10 NTT DATA Chip Ganassi Racing Honda): "It was a long race. I went out on the reds (Firestone alternate tires) in the beginning, which felt OK to begin with, but they fell off quite a lot because we were fighting other guys and there was some big action going on in the first couple of laps. I think that took a bit out of the tires. Then we pitted for new blacks (Firestone primary tires), and that was initially good, but then my rear (tires) started to fall off a lot and we had a lot oversteer in the NTT DATA car. So that was probably my worst run, I would say; I couldn't really push anyone that stint. My second stint was a bit better but then someone stopped the race and we pitted. Just as I pitted, the pits closed light came on, so I had to pass through the pit and we lost, luckily, only two spots. Normally if that happens you can basically be last. That was a big shame, it could have been a really good move maybe for top five or top six finish. Anyways, the final stint was OK and we got (Will) Power in the end and we got (Tony) Kanaan, so I think we salvaged some good points from starting P17 today. Not the weekend I wanted, and we still have a lot to work on. At least we had one car on the podium and one with seven positions gained from the start position, so good day."
WILL POWER (No. 12 Verizon Team Penske Chevrolet): "It was a tough day, but we did the best we could with the Verizon Chevy. We just didn't have the right tire setup for the race and it cost us. Barber is hard on the tires and it was difficult to hold on at times. We had to save fuel quite a bit on the last stint and that actually helped us take care of the tires a bit more. We'll take the 11th place result here, but we know we can get a better result next week in Long Beach."
TONY KANAAN (No. 14 ABC Supply AJ Foyt Racing Chevrolet): "We shot ourselves in the foot. We need to do a better job. We had a top-12 car and they miscalculated the fuel twice – that's a very bad mistake that shouldn't happen and it cost us."
GRAHAM RAHAL (No. 15 One Cure Honda): "About Lap 3, the throttle started to stick and I tried to make it hang on. We did, I don't know, 15 laps that way. Finally, it was going to put me in a gravel trap or something; for sure, I was hanging on way too much. The car just died, completely shut off. We had this (problem) in qualifying, luckily it was on my cool-down lap from the lap where I (qualified second). But these have to be connected. Last night, we changed the throttle pedal, we changed the sensors, we checked all the tuning. I don't know, but it has to be something in the loom. It's just a shame. One Cure, this whole team was working really good. Takuma (Sato) and I were running away there at the start. I thought it was our day, man, I thought it was our weekend. Here and at St. Pete, with the flat tire, man, c'mon. At some point (our luck) has got to change."
SEBASTIEN BOURDAIS (No. 18 SealMaster Honda): "The team guys did a great job, so hats off to that Team Sealmaster Honda crew, they really gave me a great car. I guess we were one of the rare teams to stick to the two-stop strategy. It means that Dale (Coyne team owner) has a heck of a lot more faith in me than I have in myself, that's for sure. On Lap 18, I said, 'I don't think I can hang on to the car for another 10 laps,' and he was like, 'Well, you're committed now.' So, I wasn't quite sure about it, but it worked out and I finished third."
SANTINO FERRUCCI (No. 19 David Yurman Honda): "I kind of got boxed in at the start since I was on the outside, so I had to go through the grass. Fortunately, we didn't lose too many spots, but it took us out of the top 10. I managed to gain back a few positions and we had a good strategy going, but then the yellow (flag) caught us out as I was unable to pit before the pits closed and that really hurt us. The No. 19 David Yurman car was pretty good today, so it's unfortunate that we couldn't get a better result out of it. Once again, I can't thank the guys enough for their hard work this weekend."
ED JONES (No. 20 Ed Carpenter Racing Scuderia Corsa Chevrolet): "We struggled the whole weekend. We made changes this morning for the race to see if we could make some improvements. In the warmup, it felt quite good, but I think we were struggling a bit for the balance in the race. We didn't ultimately have the pace. It was a long, not very eventful race for us, which is not that fun. I made a mistake at the start. People checked up and I got out of line then jumped the start. We got a penalty for that. In the pits at the end, there was an unsafe release situation which cost us probably 30 or 40 seconds there. So, probably not an ideal race. I'm happy to have this weekend out of the way after the struggles. It can only get better from here."
SPENCER PIGOT (No. 21 Ed Carpenter Racing Chevrolet): "It ended up being a really unfortunate race. We went for a two-stop strategy, which proved to be difficult, but we thought we would still make it inside the top 10 at the end. Unfortunately, the yellow (flag) came out and we were hit with the pit lane penalty that dropped us to the back. After that, our race was kind of ruined and we only salvaged 17th. We do have some really good things to take away from this weekend and we are looking forward to having a smoother race next week in Long Beach."
SIMON PAGENAUD (No. 22 Menards Team Penske Chevrolet): "It was actually pretty fun out there – a lot of passing, side-by-side racing and a lot of strategy going on. The Menards Chevy was good today, but we weren't able to start up front and we had to work really hard to try and make up ground. We know we have the pace to win a race. I guess we have to be a little more patient. Our next race at Long Beach is one of my favorite tracks, and hopefully, we can get back on the podium there."
ZACH VEACH (No. 26 Gainbridge Honda): "Overall from where we started (P23), I think it was a pretty good day. This weekend was a bit of a mess on my part, I was just pushing a little too hard when we had the speed to begin with. We were able to pull things around in the race, which I am thankful for. I can't thank my crew and everyone at Gainbridge enough for making this happen. I feel like we finally started to get our feet back under us in the middle of the race, so I am hoping that carries over into Long Beach and we can get back to where we are supposed to be."
ALEXANDER ROSSI (No. 27 NAPA AUTO PARTS Honda): "The red (Firestone alternate) tires were definitely a step better – just disappointing that we really didn't find this out until the race, but that is a topic for another day. A good job by the No. 27 NAPA Andretti Honda boys and we will take a top five. We are still looking for a podium, but we are sure it is around the corner. We started eighth, finished fifth. We didn't really have a car to fight for the win, which was disappointing. We need to get our game together and regroup for Long Beach next weekend."
RYAN HUNTER-REAY (No. 28 DHL Honda): "We soldiered on today. Went from 11th to eighth. I really think that was about all we had considering the tire strategy that the others had with newer reds (Firestone alternate tires) at the end of the race. We'll take our eighth place and move on."
TAKUMA SATO (No. 30 Mi-Jack / Panasonic Honda, NTT P1 Award winner and race winner): "It's a great turnout. A really big thank you for Bobby (Rahal) and Mike Lanigan to make this (possible) for me. And big thank you to Graham Rahal; we were working so closely together. I mean today, either of us was going to be competitive. It was very unfortunate what happened to him, but this is great for the team." (About issues in his first pit stop): "I think on the No. 30 car, we have new boys and are always learning and (slow stops) happen; it's racing. You know, I make mistakes, too. It's OK. I think we were back in the lead after that, and the car superb today." (About the late mistake in Turn 8): "Maybe I shouldn't have pushed that hard. It was a very intense battle; it was good."
PATRICIO O'WARD (No. 31 Carlin Chevrolet): "That was definitely a hard one to take. We were working our way through the field and making up a lot of ground, but when we came in for our second stop we had an issue with the fuel that we just never recovered from. The No. 31 Carlin Chevrolet was better than 16th, for sure. I think we were actually looking at seventh or eighth, so it's a tough pill to swallow. Regardless of how frustrated I am, we were able to take some positives out of today's race with the progress I made with fuel saving from COTA. It's obviously disappointing that we didn't get another top 10, but thankfully we're going straight into Long Beach, which I'm really excited about."
MAX CHILTON (No. 59 Gallagher Carlin Chevrolet): "It was an unfortunate day for the No. 59 Gallagher Carlin Chevrolet and the whole Carlin team really. We were on pace most of the race and we decided to go with an alternate strategy to shake things up coming from the back. When that yellow (flag) came out for (Graham) Rahal stopped on-track, we were coming straight into the pits putting us right back in the hunt, but (Tony Kanaan) ran us into the grass and into the wall at the pit entrance. We had some front wing damage and lost a few laps, which obviously took us out of it completely. It was just really disappointing because with the fuel saving I did for the rest of the race, I think I was headed at least to an 11th place finish, if not higher."
JACK HARVEY (No. 60 AutoNation/Sirius XM Honda): "I think it's encouraging that we keep getting decent results, we always just end up a bit disappointed. I was a bit disappointed in the drive-through penalty; I wasn't sure what happened there. My pit lane speed limiter just didn't latch all the way in. I don't think we nailed the strategy, so it was a bit of a frustrating day. We took away a 13th place result. In the end, it's all encouraging because we are knocking at the door of transferring into the Firestone Fast Six in qualifying and we've had two top tens (in qualifying) and a 13th place result, so we are right where we want to be. We just have yet to put together a perfect weekend."
COLTON HERTA (No. 88 GESS International Honda): "It was a frustrating day. We had an issue that hampered us while on track. It was something that to do with the fueling causing the engine to keep cutting out. Unfortunately, we didn't have the best of days. I just want to give a special thank you to everyone at GESS International; I feel very honored to be in the GESS RNG Biogas circle of drivers and I'm looking forward to having them on board for (Acura Grand Prix of) Long Beach. Super thankful for them. And thank you to all the No. 88 boys, they worked so hard during the race in order to get the car fixed. They got the car back out, which is very important because we got to learn some crucial information about the car. It really sucks, but at least we only have to wait a week before the next race."
Honda Indy Grand Prix of Alabama results
BIRMINGHAM, Alabama – Results Sunday of the Honda Indy Grand Prix of Alabama NTT IndyCar Series event on the 2.3-mile Barber Motorsports Park, with order of finish, starting position in parentheses, driver, engine, laps completed and reason out (if any):
1. (1) Car 30 Takuma Sato, Honda, 90, Running
2. (3) Car 9 Scott Dixon, Honda, 90, Running
3. (5) Car 18 Sebastien Bourdais, Honda, 90, Running
4. (16) Car 2 Josef Newgarden, Chevrolet, 90, Running
5. (8) Car 27 Alexander Rossi, Honda, 90, Running
6. (4) Car 5 James Hinchcliffe, Honda, 90, Running – Canadian
7. (20) Car 7 Marcus Ericsson, Honda, 90, Running
8. (11) Car 28 Ryan Hunter-Reay, Honda, 90, Running
9. (14) Car 22 Simon Pagenaud, Chevrolet, 90, Running
10. (17) Car 10 Felix Rosenqvist, Honda, 90, Running
11. (7) Car 12 Will Power, Chevrolet, 90, Running
12. (23) Car 26 Zach Veach, Honda, 90, Running
13. (12) Car 60 Jack Harvey, Honda, 90, Running
14. (13) Car 98 Marco Andretti, Honda, 90, Running
15. (10) Car 19 Santino Ferrucci, Honda, 90, Running
16. (18) Car 31 Patricio O'Ward, Chevrolet, 90, Running
17. (6) Car 21 Spencer Pigot, Chevrolet, 90, Running
18. (19) Car 14 Tony Kanaan, Chevrolet, 89, Running
19. (21) Car 20 Ed Jones, Chevrolet, 89, Running
20. (15) Car 4 Matheus Leist, Chevrolet, 89, Running
21. (24) Car 81 Ben Hanley, Chevrolet, 88, Running
22. (22) Car 59 Max Chilton, Chevrolet, 88, Running
23. (2) Car 15 Graham Rahal, Honda, 55, Off Course
24. (9) Car 88 Colton Herta, Honda, 51, Running
Race Statistics:
Fastest Lap: 117.477 mph ( 70.4818 sec) on lap 12 by 12 – Will Power
Fastest Leader Lap:116.605 mph ( 71.0090 sec) on lap 7 by 30 – Takuma Sato
Winner's average speed: 107.272 mph
Time of Race: 1:55:46.8076
Margin of victory: 2.3874 seconds
Cautions: 1 for 7 laps
Lead changes: 11 among six drivers
http://www.indycar.com/
Graphics & Photos Courtesy of INDYCAR
Tags: Honda Indy Grand Prix of Alabama INDYCAR Indycar News NTT IndyCar Series Open Wheel Racing
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2019 Acura Grand Prix of Long Beach April 12 – 14 →


I've been watching the construction of a major new building in Glasgow over recent weeks.
One of the crazy aspects of this process is that they use an enormous and costly pump to raise concrete to the upper floors.
Today's invention is a simple alternative for low flowrates of concrete.
A simple calculation shows that it would be possible to raise liquid concrete to about 100m, using only the weight of the mixer lorry itself.
This would have to be driven onto a hinged ramp under which would be a piston with cross-sectional area of about 100cm^2.
Valves would be needed of course to coordinate the inflow at the bottom and the small bursts of outflow to the upper storeys.


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Andrew Ronald Edward Surman (Johannesburg, 20 augustus 1986) is een Engels voormalig voetballer die doorgaans speelde als middenvelder. Tussen 2005 en 2021 speelde hij voor Southampton, Walsall, Bournemouth, Wolverhampton Wanderers, Norwich City, opnieuw Bournemouth en MK Dons.

Spelerscarrière
Surman werd geboren in Zuid-Afrika, maar hij verhuisde al op jonge leeftijd met zijn ouders naar Groot-Brittannië. Hier werd hij opgenomen in de jeugdopleiding van Southampton. In 2005 werd hij op huurbasis gestald bij Walsall. Voor die club kwam hij veertien wedstrijden uit voor hij weer terugkeerde bij Southampton. In de zomer van 2005 wilde Walsall de middenvelder graag voor het tweede opeenvolgende seizoen huren, maar Southampton twijfelde. Voorzitter Rupert Lowe wilde graag met meer jeugdspelers werken waardoor hij Surman niet wilde verhuren, terwijl manager Harry Redknapp de voorkeur gaf aan meer ervaren spelers. Die zomer werd Surman wel verhuurd, maar niet aan Walsall. Bournemouth nam hem voor één seizoen over. Tot aan de winterstop speelde de middenvelder alle wedstrijden en hij kwam tot zes doelpunten. In januari 2006 werd hij teruggehaald door Southampton.

Op 25 januari 2006 debuteerde Surman in de hoofdmacht van Southampton. Op die dag werd met 0–0 gelijkgespeeld tegen Crystal Palace en Surman speelde het volledige duel mee. Van de negen wedstrijden erna mocht hij acht maal de negentig minuten volmaken. In zijn tweede duel, met Plymouth Argyle tekende de middenvelder tevens voor zijn eerste doelpunt. Op 17 februari 2007 maakte Surman zijn eerste hattrick, toen met 5–2 werd gewonnen van Barnsley. Hij schoot tweemaal de bal van buiten het zestienmetergebied in het doel en hij completeerde de hattrick met een benutte strafschop. In het seizoen 2006/07 werd promotie misgelopen, toen in de finale van de play-offs na strafschoppen verloren werd van Derby County.

In de zomer van 2009, nadat Southampton gedegradeerd was naar de League One, verkaste Surman naar het naar de Premier League gepromoveerde Wolverhampton Wanderers. Hier ondertekende hij een contract voor drie jaar, met een optie op een vierde jaar. Hij verklaarde later moeite te hebben om Southampton achter zich te laten. De middenvelder maakte zijn debuut op het hoogste niveau op 18 augustus 2009, toen met 0–1 gewonnen werd op bezoek bij Wigan Athletic. Tijdens dit duel mocht hij invallen voor Greg Halford. Zijn eerste basisplaats had Surman op 21 november 2009, toen Chelsea (4–0 nederlaag) de tegenstander was. Uiteindelijk kon hij geen vaste rol afdwingen en na zeven competitiewedstrijden verliet hij Wolves.

Op 22 juni 2010 verbond Surman zich voor drie jaar aan Norwich City, dat net gepromoveerd was naar het Championship. Zijn eerste wedstrijd speelde hij op 6 augustus, toen in de seizoensopenener met 2–3 verloren werd van Watford. Aan het einde van het seizoen werd promotie naar de Premier League behaald. Op het hoogste niveau zei Surman dat 'spelen in de Premier League zorgt voor de beste prestaties in zijn carrière'. Op 14 april 2012 zorgde hij voor het enige doelpunt tijdens een 1–6 nederlaag tegen Manchester City. De middenvelder verklaarde na het duel dat die nederlaag hen zou helpen zich te handhaven in de Premier League. Uiteindelijk bleef Norwich inderdaad op het hoogste niveau actief en daarop verlengde Surman zijn contract tot medio 2015.

Op 31 juli 2013 werd Surman voor één seizoen gehuurd door Bournemouth. In het seizoen 2013/14 speelde hij in vijfendertig wedstrijden mee voor de club en op 1 september 2014 besloten ze hem definitief aan te trekken. Op 27 april 2015 bereikte hij promotie met Bournemouth. Na een 3–0 overwinning op Bolton Wanderers was promotie nog niet officieel zeker, maar tenzij nummer drie Middlesbrough negentien doelpunten verschil in zou halen, promoveert Bournemouth voor het eerst in de clubgeschiedenis naar de Premier League. Op 2 mei won Bournemouth met 0–3 van Charlton Athletic, waarmee de titel in het Championship werd gepakt. Na twee jaar in de Premier League verliep zijn verbintenis, maar met meer dan honderd competitieduels voor Bournemouth op zak kreeg Surman een nieuw contract tot medio 2019. Deze verbintenis werd medio 2018 verlengd met nog een seizoen extra. Nadat dit laatste contract was afgelopen, verliet Surman de club. Drie maanden later vond hij in MK Dons een nieuwe club. Surman zette aan het einde van het seizoen 2020/21 op 34-jarige leeftijd een punt achter zijn actieve loopbaan.

Clubstatistieken

Erelijst

Referenties

Engels voetballer


Home > Announcements > Drumroll Please… Meet eLumine 2.1.0 with New & Improved Features!
At WisdmLabs, we're never done improving our products. Hence, after every update, we go back to our thinking boards and work on adding new features and bettering the existing ones.
So, here you have us, back again, bringing you a brand new update to your favorite learning theme eLumine!
This is a feature update for those of you looking to get more from your students. It's sure to transform an otherwise seemingly normal LearnDash site into a live and active learning system. With v2.1.0, eLumine now integrates seamlessly with MyCRED – a points management plugin. With MyCRED, you can award LearnDash users points on the actions they take.
Think of it as a new way to gamify your LearnDash site. You can award points on course, lesson, topic, or quiz completion. These points will be displayed on the student profile page and can be managed by the LearnDash admin. If you're code-savvy, that is, if you're a developer who can understand how to write rules on a hook, you can write rules to award points on various other user actions, such as course purchase, course enrollments, assignment completion and more.
A points system is bound to engage users and keep them interacting with your website.
This eLumine update is about making the theme more functional. With the option to add a sidebar on the WooCommerce shop page, you have a brand new real estate to market your courses. You can use this sidebar to list your most popular courses, courses on sale, popular teachers or course categories or a whole lot more. Just let your marketing brain do the thinking.
One can never have too many options to customize the theme. With the latest version of eLumine, you can choose a page loading icon, that can be displayed when a page is refreshed or takes time to load. Load icons can kill boredom when internet speeds are slow and are perfect to keep students glued to the screen.
This version of eLumine adds a change to the LearnDash course layout. It makes the start course option intuitive by adding an explicit button on each course page. Once students signs up for a course, they'll be able to see a "Start Course" button. This change makes it easy for new users to figure out how to begin their learning session.
What's an update that doesn't include fixing some pesky bugs? You'll have to keep wondering ;-). Because this update packs some important fixes.
Button alignment issues on mobile screens fixed… and minor tweaks.
You can find all the details and technical fine-print in the changelog.
Given the fast-changing learning ecosystem, we are a part of, it's only natural that eLumine keeps up with the pace. The points system is sure to make your students take more action on your LearnDash website and be more active. You can also take advantage of the sidebar on your shop page to direct students to popular courses.
We hope you enjoy this update and all the benefits it has to offer. Time to update eLumine now!


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Flinn Scholars Menu
Connections & Community
Flinn Scholarship Applicants
Parents of Applicants
Alumni Mentor Hour
Summer Public Policy Institute
Study-Abroad Policy
Mayes named spokesperson for Governor-elect Napolitano
Kris Mayes, a '90 Flinn Scholar, has been named the Director of Communications for Arizona Governor-Elect Janet Napolitano. Mayes served as the press secretary for Napolitano's successful campaign.
Mayes will handle the assignment while juggling her third year of law school at Arizona State University, as she did with her campaign duties. Before attending law school, she covered the legislature for the Arizona Republic and also reported for the Phoenix Gazette. She received a master's degree in public administration from Columbia University.
As an undergraduate, Mayes served as editor of the State Press at ASU as well as an internship with the Johannesburg Star in South Africa, which included assignments covering political and civil unrest in the days of apartheid. Mayes graduated summa cum laude in 1994 with a degree in political science. She won a Truman Scholarship and was named the Outstanding Graduate in the College of Liberal Arts and Sciences.