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Inner Healing, Illumination or Illusion?
Way of Life Literature, P.O. Box 610368, Port Huron, MI 48061
Note from the FBIS editor: A couple of years ago I witnessed the sad breakup of a Christian home, and one of the problems which came out of--and perhaps helped lead to--the breakup was the "inner healing" confusion dealt with in the following article. The wife left a fundamental Baptist church and became involved with charismatics (a Wimber group). After going through inner healing sessions she became convinced that she remembered being sexually abused by her father. Not a hint of such a thing had ever come out before. She called her father and told him she knew dogmatically and without a doubt that he had abused her! What a shocker! How did she know such a thing? Her mind had been occultically manipulated by one of these false teachers. And just as the Bobgan's testify, this wife will not listen to the voice of reason. What wickedness, confusion, and division this inner healing movement is creating. North America, having turned away from the Word of God, is being engulfed with Freudianism and other forms of self-worship. We are thankful for the Bobgans and others who are exposing this wickedness. The Bobgans' address is Eastgate Publishers, 4137 Primavera Rd., Santa Barbara, CA 93110, http://www.psychoheresy-aware.org/
INNER HEALING: ILLUMINATION OR ILLUSION?
By Martin and Deidre Bobgan
Across America parents are receiving phone calls and correspondence that plunge them into a nightmare of accusations of abuse and incest. These are not parents of young children or teenagers. They are parents of grown children who throughout their lives had had no recollection of being sexually molested by their mother or father. Now, seemingly out of the blue, their bizarre stories are stunning their parents. These adult children, usually daughters, now claim to remember precise details of one of their parents sexually abusing them. Where do they get such ideas? Where do those sordid memories come from? What brings them to the surface? Inner healing and other forms of regressive-type therapy lurk behind this surge of family horror stories.
At first the parents are stunned. They are being accused of sexual exploits that they declare they would never even think of doing. But when they try to talk to their son or daughter, their words fall on deaf ears. They are accused and condemned without a trial--all based upon alleged memories discovered through inner healing. And now they are helpless in their concern over the welfare of their adult child who will have nothing to do with them.
With the media accentuating and exaggerating the numbers of women who have been molested, nearly anyone who cries "incest" is believed beyond a doubt. And why should anyone doubt a grown woman's sudden "recall" of a memory hidden in her unconscious? After all, isn't the memory like a tape recorder or computer that faithfully records and retains every event in some deep unconscious vault of the mind? Aren't there reliable techniques that enable a person to recall past events accurately? Or, are there some problems with those assumptions?
IS THE MIND A COMPUTER?
While many writers of pop psychology continue to equate the human mind with a tape recorder or computer, those are poor and misleading analogies. Dr. John Searle, in his Reith Lecture "Minds, Brains, and Science," explained:
"Because we don't understand the brain very well we're constantly tempted to use the latest technology as a model for trying to understand it.
"In my childhood we were always assured that the brain was a telephone switchboard. ("What else could it be?") And I was amused to see that Sherrington, the great British neuroscientist, thought that the brain worked like a telegraph system. Freud often compared the brain to hydraulic and electromagnetic systems. Leibniz compared it to a mill, and now, obviously, the metaphor is the digital computer. ...
"The computer is probably no better and no worse as a metaphor for the brain than earlier mechanical metaphors. We learn as much about the brain by saying it's a computer as we do by saying it's a telephone switchboard, a telegraph system, a water pump, or a steam engine" (John Searle, "Minds, Brains, and Science," The 1984 Reith Lectures, London: British Broadcasting Corp., 1984, pp. 44,55,56).
What Searle is getting at is the fact that the brain is not a mechanical piece of technology.
Medical doctor-researcher Nancy Andreasen, in her book The Broken Brain, declares that "there is no accurate model or metaphor to describe how [the brain] works." She concludes that "the human brain is probably too complex to lend itself to any single metaphor" (Nancy Andreasen, The Broken Brain, New York: Harper & Row, 1984, p. 90).
Current research demonstrates that computer memory and biological memory are significantly different. In his book Remembering and Forgetting: Inquiries into the Nature of Memory, Edmund Bolles refers to the human brain as "the most complicated structure in the known universe" (Edmund Bolles, Remembering and Forgetting, New York: Walker and Company, 1988, p. 139). He says,
"For several thousand years people have believed that remembering retrieves information stored somewhere in the mind. The metaphors of memory have always been metaphors of storage: We preserve images on wax; we carve them in stone; we write memories as with a pencil on paper; we file memories away; we have photographic memories; we retain facts so firmly they seem held in a steel trap. Each of these images proposes a memory warehouse where the past lies preserved like childhood souvenirs in an attic. This book reports a revolution that has overturned that vision of memory. Remembering is a creative, constructive process. There is no storehouse of information about the past anywhere in our brain" (Ibid., p. xi). [Emphasis added by authors]
After discussing the scientific basis for memory and how the brain functions, he says:
"The biggest loser in this notion of how memory works is the idea that computer memories and human memories have anything in common" (Ibid., p. 165).
He goes on to say, "Human and computer memories are as distinct as life and lightning" (Ibid.).
IS MEMORY RELIABLE?
Unlike a computer, the memory does not store everything that goes into it. First, the mind sifts through the multitude of stimuli that enter it during an actual event. then time, later events, and even later recall color or alter memories. During the creative process of recall, sketchy memories of events may be filled in with imagined details. And, an amazing amount of information is simply forgotten--gone, not just hidden away in some deep cavern of the mind. Memory is neither complete nor fixed. Nor is it accurate. As researcher Carol Tavris so aptly describes it:
"Memory is, in a word, lousy. It is a traitor at worst, a mischief-maker at best. It gives us vivid recollections of events that could never have happened, and it obscures critical details of events that did" (Carol Tavris, "The Freedom to Change," Prime Time, Oct. 1990, p. 28).
Yes, memories can even be created, not from remembering true events, but by implanting imagined events onto the mind. In fact, it is possible for implanted and enhanced memories to seem even more vivid than memories of actual past events.
Under certain conditions a person's mind is open to suggestion in such a way that illusions of memory can be received, believed, and remembered as true memories. Hypnosis, guided imagery, and inner healing are as likely to cause a person to dredge up false information as true accounts of past events. In a state of heightened suggestibility a person's memory can easily be altered and enhanced. This happens under hypnosis, through guided imagery, in age regression therapies (such as primal therapy) and during certain forms of inner healing.
THE POWER OF SUGGESTION
Bernard Diamond, a professor of law and clinical professor of psychiatry, says that hypnotized persons "graft onto their memories fantasies or suggestions deliberately or unwittingly communicated by the hypnotist." Not only may they have new memories, but Diamond declares that "after hypnosis the subject cannot differentiate between a true recollection and a fantasy or a suggested detail." He notes that court witnesses who have been hypnotized "often develop a certitude about their memories that ordinary witnesses seldom exhibit." Diamond declares, "No one, regardless of experience, can verify the accuracy of the hypnotically enhanced memory" (Bernard Diamond, "Inherent Problems in the Use of Pretrial Hypnosis on a Prospective Witness," California Law Review, Mar. 1980, pp. 314,333-337,348).
The certainty of pseudomemories and the uncertainty of real memories render such activities as hypnosis and inner healing questionable at best and dangerous at worst. Because memory is so unreliable, methods of cure that rely on unearthing so-called hidden memories not only open up the possibility of human creativity but also expose the mind to possible demonic suggestion. Even though the hypnotist or inner healer may wish to protect the person from receiving false material, he cannot avoid implanting human suggestion. Nor can he prevent demonic suggestions from entering the vulnerable mind of the person who is in a heightened state of suggestibility.
Even if there are people in the room praying for the person undergoing hypnosis or inner healing, the possibility of lies and fantasies being engrafted into the memory remains. That is because of the involvement in occult activity, which is forbidden in the Bible. Hypnosis and guided imagery are both occult activities, and inner healing may involve hypnotic suggestion, guided imagery, and occult visualization. Hypnotherapist Dr. Joe M. Persinger says that the field of hypnosis "includes meditation, visualization, guided imagery, relaxation, biofeedback, and breathing techniques" (Joe M. Persinger, quoted by Sheri Graves, "Hypnosis: Exploring Deep Levels of the Mind," Santa Barbara News-Press, Sept. 20, 1989, p. D1).
Regarding the relationship between guided imagery and hypnosis, Dr. David Bressler, an authority in the field of hypnosis and imagery says, "I think they're the same thing. It's that simple." He also says, "Imagery is at the heart of all magic" (David Bressler, "The Inner Adviser Technique: The Healer Within," InfoMedix tape, Garden Grove, Calif., 1983).
John Weldon and Zola Levitt say, "We would expect that most if not all of those who are occultly healed are likely to suffer either psychologically or spiritually in some way" (John Weldon and Zola Levitt, Psychic Healing, Chicago: Moody Press, 1982, p. 195).
REALITY OR ILLUSION?
Those who practice inner healing should not be surprised at the possibility of altering or enhancing the memory, because there are times when they purposely attempt to replace bad memories with good memories. They do this through guided imagery and visualization. In fact, one of the seemingly attractive forms of inner healing is to have Jesus enter a painful scene from the past. The inner healer helps the person recreate the memory by having Jesus do or say things that will make the person feel better about the situation. For instance, if a man's dad had neglected him when he was a boy, an inner healer may help that man create a new memory of Jesus having played baseball with him when he was a boy. Through verbal encouragement he would regress him back to his childhood and encourage him to visualize Jesus pitching the ball and praising him for hitting a home run. Some inner healers regress people back to the womb and lead them through rebirthing by guided imagery and imagination. Thus inner healers should recognize the danger of unwittingly enhancing or engrafting memories through words or actions that mean one thing to the inner healer but may communicate something else to the highly vulnerable subject.
It is very likely that people who remember sexual abuse and incest through inner healing are remembering an illusion or distortion of reality, a destructive suggestion accidentally placed there by the inner healer, or created through a combination of stimuli, such as in a nightmare, or worse yet, implanted by demonic influence. Yet they have no doubts about their newly discovered dark memory. In fact, the certainty of the alleged memory has the mark of an hypnotically engrafted memory rather than of a distant reality. And who can or will reveal the truth to them? Probably not their church or other Christians if they have been either supportive or ignorant of inner healing.
THE TRAGIC INFLUENCE OF INNER HEALING
Many Christians have been influenced by such best-selling authors and inner healers as John and Paula Sandford, Rita Bennett, and David Seamonds. Unfortunately those Christians believe such statements as this one from Seamands:
"The realization of grace cannot be maintained in some people without an inner healing of the past. God's care cannot be felt without a deep, inner reprogramming of all the bad conditioning that has been put into them by parents and family and teachers and preachers and the church" (David Seamands, Healing for Damaged Emotions, Wheaton: Victor Books, 1981, p. 85).
Such Christian writers perpetrate false information and encourage erroneous beliefs. In spite of brain research to the contrary, they teach that the mind is like a computer and that there is an unconscious reservoir of hidden, but very powerful memories that highly influence a person's thoughts, attitudes, and actions. And they are convinced that the memories they dredge up are accurate.
This tragic example of people with newly unearthed "memories, caught in a black hole of anger, resentment, unforgiveness, accusations, separation, and confusion, is part of the picture of the damage wrought by those who honestly believe they are helping people. Inner healing practices of regressing into the past, fossicking about in the unconscious for hidden memories, conjuring up images, acting out fantasies and nightmares, and believing lies, resemble the world of the occult, not the work of the Holy Spirit. An imaginary memory created under a highly suggestible, hypnotic-like state will only bring imaginary healing. It may also plunge people into a living nightmare.
We were approached by a woman one day who asked if we knew of a Christian psychiatrist. Months earlier she had enthusiastically exclaimed how she and her daughter had attended an inner healing seminar and had been healed of all kinds of things that they did not even know existed. Now she was desperate. Her daughter was trying to deal with all of the rot that had materialized during inner healing.
The people who are most vulnerable to inner healers are those who are at a low point in their spiritual walk or who are experiencing difficult circumstances. The inner healers entice through all kinds of direct and implied promises for healing damaged emotions, healing roots in the past that prevent personal growth, and enabling a person to have a closer walk with God. They circle about congregations like vultures, waiting for the opportunity to swoop down on those who are near to dropping from spiritual exhaustion. They assure their prospective victims of their sincere desire to help and they communicate a biblical facade by using butchered Bible verses and Christian-sounding conversation.
However, once their talons pierce the person, a penetrating parasitic process begins. And the host/parasite relationship continues as long as the host continues to look to the inner healer to make him emotionally well and spiritually whole.
Instead of being healed, however, there is a very strong possibility that the recipients of inner healing are now living on the basis of a lie from the pit of hell. Inner healing is not based upon truth. It is based upon faulty memory, guided imagery, fantasy, visualization, and hypnotic-like suggestibility. And while the inner healers may conjure up a Jesus and recite Bible verses, such inner healing is not biblical. Jesus said, "If ye continue in my word, then are ye my disciples indeed; and ye shall know the truth, and the truth shall make you free" (John 8:31-32).
We pray that those who have suffered under the abuse of inner healing will be set free through the truth that is in Christ Jesus.
Portrait of Christ


Provides classes for the capture of photos, audio recordings, and videos.
Represents a photo captured using system-provided computational photography techniques provided by the AdvancedPhotoCapture class.
Provides methods for capturing photos using system-provided computational photography techniques.
Provides an interface between the broadcasting UWP app and the system-hosted broadcast service. This class provides access to objects that facilitate broadcast service authentication, test the bandwidth capabilities of the device's internet to the broadcasting provider service, and allow your task to acquire captured audio and video frames so that they can be sent to the broadcast provider service.
This API requires the appBroadcast and appBroadcastSettings capability which is not available to all Windows apps. Unless your developer account is specially provisioned by Microsoft, calls to this API will fail at runtime.
Represents the sign-in information for the app broadcast background service.
Manages the stream state of the app broadcast background service.
Provides data for the AppBroadcast.CameraCaptureStateChanged event.
Specifies global broadcasting settings that persist across all broadcasting UWP apps.
Provides data for the AppBroadcastBackgroundService.HeartbeatRequested event which is raised by the system periodically to confirm that the broadcasting background task is currently active.
Provides access to global broadcast settings for the current device and broadcast provider settings.
Provides data for the AppBroadcastState.MicrophoneCaptureStateChanged event.
Provides information about the app broadcast plugin.
Provides data for the AppBroadcastState.PlugInStateChanged event.
Provides status information and access to the app broadcast preview.
Provides data for the AppBroadcastPreview.PreviewStateChanged event.
Provides information about and access to the app broadcast preview stream.
Represents a video frame from the app broadcast preview stream.
Represents metadata about an app broadcast preview stream video frame.
Provides access to the settings of the remote broadcast provider service. These settings can be viewed and changed by the broadcast provider.
Manages the state of app broadcasts.
Provides data for the AppBroadcastBackgroundServiceSignInInfo.SignInStateChanged event.
Represents and manages the state of an app broadcast.
Represents a frame of audio samples in a broadcast stream.
Provides metadata about a broadcast audio frame.
Provides methods and events for obtaining audio and video frames from an app broadcast stream.
Provides data for the AppBroadcastState.StreamStateChanged event.
Represents a video frame in a broadcast stream.
Provides metadata about a broadcast video frame.
Provides details associated with a broadcast app background task.
Provides data for the AppBroadcastViewerCountChanged event.
Provides information about the app capture feature.
Defines alternate shortcut keys for app capture.
This API is not available to all Windows apps. Unless your developer account is specially provisioned by Microsoft, calls to these APIs will fail at runtime.
Provides data for the AppCaptureRecordOperation.DurationGenerated event.
Provides data for the AppCaptureRecordOperation.FileGenerated event.
Provides access to app capture settings.
Enables an app to store metadata that the system will insert into captured video files or broadcast streams of app content.
Provides data for the AppCaptureState.MicrophoneCaptureStateChanged event.
Provides data for the AppCaptureRecordOperation.StateChanged event.
Represents an app capture record operation.
Manages the state of app captures.
Represents the state of app capture.
Provides a full window UI for capturing audio, video, and photos from a camera. As well as controls for trimming video, time delayed capture, and camera settings.
Provides settings for capturing photos with CameraCaptureUI. The settings include aspect ratio, image size, format, resolution, and whether or not cropping is allowed by the user interface (UI).
Provides settings for capturing videos. The settings include format, maximum resolution, maximum duration, and whether or not to allow trimming.
Provides a method for displaying a UI, by which the UI contains options for the capture of photos, audio recordings and videos.
Represents a captured video frame.
Provides information about the capture device settings that were used for a frame in a variable photo sequence.
Represents a photo taken from a capture device such as a webcam attached.
Manages the state of the Game Bar.
Provides data for the GameBarServices.CommandReceived event.
Manages the Game Bar services.
Provides data for the GameBarServicesManager.GameBarServicesCreated event.
Provides metadata about a Game Bar services target.
Provides methods for taking a low lag media recording.
Provides methods for taking a low shutter lag photo.
Provides methods for taking a rapid sequence of low shutter lag photos.
Provides data for the MediaCapture.CaptureDeviceExclusiveControlStatusChanged event.
Provides data for the MediaCapture.Failed event.
Provides data for the FocusChanged event.
Contains initialization settings for the MediaCapture object which are passed to the MediaCapture.InitializeAsync method.
Provides the last frame captured and the recorded duration of a media capture operation that has been paused.
Contains read-only configuration settings for the MediaCapture object.
Provides the last frame captured and the recorded duration of a media capture operation that has been stopped.
Represents a video profile that indicates a configuration supported by the video capture device.
Represents a description of media that is supported by a video profile.
Provides data for the AdvancedPhotoCapture.OptionalReferencePhotoCaptured event.
Provides data for the photo sequence PhotoCaptured event.
Provides data for the PhotoConfirmationCaptured event.
Enables an app to capture audio and video of the contents being displayed on the device.
Provides information about a SourceSuspensionChanged event which is triggered when the capture of audio or video is suspended or resumed.
Represents the red, green, and blue values of a white balance gain setting.
Specifies the state of app broadcast camera capture.
Specifies the location of the camera overlay within the broadcast video frame.
Specifies the size of the camera overlay within the broadcast video frame.
Specifies the type of target being captured for app broadcast.
Gets a value that specifies the reason that broadcast mode was exited.
Specifies the state of app broadcast microphone capture.
Specifies the current state of the broadcast background task.
Specifies the state of the app broadcast preview.
Specifies the result of a sign-in operation.
Specifies the current sign-in state for a broadcast app.
Specifies the state of an app broadcast stream.
Specifies the reason that an app broadcast was terminated.
Specifies the mode for setting the bitrate for broadcast video encoding.
Specifies the mode for setting the resolution for broadcast video encoding.
Specifies the units of the app capture historical buffer.
Specifies the relative importance of an app capture metadata item stored using AppCaptureMetadataWriter. When the storage space allotted for accumulated metadata is low, the system will use the priority and age of metadata items to determine the order in which metadata is purged to free storage space.
Specifies the state of microphone capture for app capture.
Specifies the state of an app capture recording.
Specifies the app capture video encoding bitrate mode.
Specifies the video encoding frame rate mode.
Specifies the app capture video encoding resolution mode.
Determines the highest resolution the user can select for capturing photos.
Determines the highest resolution the user can select for capturing video.
Determines whether the user interface for capturing from the attached camera allows capture of photos, videos, or both photos and videos.
Determines the format for photos captured with CameraCaptureUI.
Determines the format for saving captured videos.
Specifies the reason that an app broadcast plugin was activated in the foreground.
Specifies the set of Game Bar commands.
Specifies the origin of a Game Bar command.
Specifies the display mode for the Game Bar.
Provides information around the allowable actions for this application.
Specifies the names of video recording profiles that are known by the system.
Specifies the exclusive control status of the media capture device. Exclusive control is required to modify the settings of the capture device, but is not required to obtain media frames from the device.
Specifies the preferred memory location for captured video frames.
Specifies the media frame source sharing mode for a MediaCapture object.
Specifies the thermal status of a media capture device.
Defines values for types of media categories.
Specifies a type of stream on a media capture device.
Specifies which stream on a video camera is used to capture photos.
Specifies the local power line frequency.
Specifies the streaming mode for a media capture device.
Indicates which video streams are independent of each other.
Specifies the rotation of the video stream.
Represents the method that will handle the MediaCapture.Failed event.
Represents the method that will handle RecordLimitationExceeded and related events.
To get started quickly adding photo, video, or audio capture to your app, see Basic photo, video, and audio capture with MediaCapture. To learn about the different media capture features you can use in your Universal Windows app, including how-to guidance and samples, see Camera.


Miami's upcoming Rolling Loud festival is an event worth taking the drive for, with huge names in hip-hop bypassing Orlando for the all-day event on Saturday, Feb. 28. The anticipation among hip-hop fans for what could easily become one of Florida's paramount hip-hop events is the equivalent to children on Christmas morning.
In a recent conversation with Tariq Cherif of Dope Entertainment, the promoters behind Rolling Loud, we asked the very same questions many other fans have been asking. Why is this the first Rolling Loud? What took Dope Entertainment so long to create something of this magnitude?
With 32 acts and counting, it's no small temptation. With major headliners including SchoolBoy Q, Juicy J, A$AP Ferg, Action Bronson, Curren$y and Travi$ Scott, you'd have to wonder what went into cooking up this kind of lineup. "Our formula was to create a balance between diverse artists with different fan bases and artists with crossover fan bases in order to appeal to a large number of people while still being able to demand a high ticket price because each fan is likely going to be a fan of at least four artists on our lineup," Cherif says.
If you can't make it to Miami, Dope Entertainment also brings Logic to Venue 578, performing Wednesday, Feb. 25, but since we're only two months into 2015, we have to wonder what other kind of events the hip-hop gurus have coming up in Orlando. Cherif leaves it vague, but we know one thing: Nothing Dope does is an understated effort.


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Little Venice and Venezuela
I said yesterday that there would be more on Venezuela and I am, occassionally, good for my promises. It's even topical for me, and Inky Fool will go to any lengths to maintain the illusion of relevancy.
I'm off to a birthday party tonight in a pub in West London. More specifically, it's in an area between Maida Vale and Paddington called Little Venice. This preposterously ambitious name is based on the fact that two canals meet. There is no Rialto, no St Mark's Square and no campanile, but there is a small island with ducks on it.
Anyway, calling it Little Venice is a bit ridiculous and there was once a man called Amerigo Vespucci who had a distant cousin who married a preposterously good looking girl called Simonetta who looked like this:
I mean, seriously, imagine going to bed with Venus. I know I do. Anyway, Amerigo, rather than trying to seduce his cousin's wife, had a cold shower and sailed off to discover things. He came to a place where there were lots of palafitos, which is to say huts built on stilts in the water. Like this:
It was, he thought, just like Venice, only littler. So he decided to call it Little Venice, or in Italian Venezuela.
Which means that I am going to a party in Venezuela this evening, and Hugo Chavez rules a small part of West London with an iron fist.
Incidentally, in order to name the whole continent in which Venezuela was found, a far simpler course was followed: Amerigo was latinized to Americus. All other continents are feminine and end with an A, so it was called America. Which means that Native Americans (like Mrs Malaprop) are just as neocoloniolinguistically subjugated as Red Indians.
Now watch this:
Read more about: Etymology, Place names
but you did find the other one on Queensway, which is important. we should go back to little venice tho, I quite like.
Hilary.
M.H. Forsyth 8 March 2010 at 18:21
We should. And to all Inky Fool readers with a childlike trust in my infallibility I should say that it turned out that I had the wrong pub and it was the King Alfred on Bayswater. So I did not go to Little Venice. There's a lesson to learn from this, especially involving Red Lions in Mayfair/St James, Coach and Horses in Soho and Flasks by Hampstead Heath.
Bonvicino 9 March 2010 at 10:13
And Blue Posts in Soho.
Children Inside Trees
Chryselephantine
There and Then
Old Nick the Quisling
Wamblecropt
Peaky Peaks
Indiana Jones and Stephen Dedalus
You Pigeoning Pigeon
Join The Majority
Hat-Cheque-Point-Charlie
Inconstant as the Northern Star
Baited Breath
Wlonc ond Wingal
Mizzle
Parenthetical Codpieces
A Word Cloud of The Four Quartets
Horripilation
When Did You Stop Beating Your Choirboy?
The Emperor's Crown and Other Enigmatic Perversions
Apostrophes and 'Bus[es]
Peter, Petrels, Parrots and No Farting
Three Equine Etymologies
Revisionist Alice

redpajama_set_name: RedPajamaCommonCrawl


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Home > The Sinclair Industry > Programmers > Pete Cooke > CRASH 7/87
Stonehenge In Space
CRASH, July 1987
With two major hits to his record, Tau Ceti and Academy, PETE COOKE remains an enigmatic figure. RICHARD EDDY went to talk to him on the eve of Micronaut One being released by Nexus, and discovered same facts behind the man.
When Tau Ceti burst onto our screens in December 1985, most people had never heard of its programmer. We all tend to think stars are born with a hit on their hands: and for some strange reason CRASH credited the program to a Steve Cooke! (It was a Smash in the December 1985 issue.)
But in fact Pete Cooke's pedigree goes way back to 82/83. Hearing that he was about to complete a new game for Nexus called Micronaut One, I decided to visit the man at his home in Leicester and find out more about his work.
Pete Cooke's house is a modest two up/two down in a long terrace in the Highfields district. His programming area is an upper room, crammed with computers and synthesizers (he once played keyboards in a band). And it was here on a hot sunny day toward the end of April that we sat down to talk, together with Ian Ellery from Nexus, who'd popped over to see how Micronaut One was coming along.
It can be fascinating the way programmers who work on their own arrive at a game design - which arrives first, the chicken or the egg? For instance, where did Tau Ceti come from?
'It came from a technical idea, I suppose,' Pete began hesitantly. 'I'd seen Gyron, and for along while it had puzzled me how on earth they did the spheres. It obviously couldn't be a sprite because they didn't have enough memory to have that many sprites.
'I finally twigged that they must have used a table of line widths, and I thought about it a bit, then realised I could split it three quarters and a quarter, and then it would look like a shadow.
'I just went away and played with that for quite a long while and got it so that I had the sun in the sky and the shadow in the right place. And it sort of came from that, really.'
Ian, who was Creative Director at CRL in Tau Ceti days, remembers his first sight of the hit: 'Tau Ceti was this funny little square that arrived one day with a horizon and some objects - that's all there was - just a little square in the middle of the screen and it had a line in the middle and some little boxes.'
It's not always a routine that sparks off Pete Cooke's imagination, though he works from a routine back to a game as often as the other way round.
I generally start by thinking technically what I would like to see on the screen, what would look nice that hasn't all been done before. You think whether it's achievable, technically how will you do it and how could you plan it into a game? If you can't, then obviously it's a demo and you forget it - or it pops up later on when you've worked out how you can use it.'
With Tau Ceti the light-and-shade routine worked out, but obviously there's a lot more to the game than light and shade. What about the setting, and the little histories?
'It was all made up as I went along. I know a bit about astronomy, so I looked around for a likely location - because the way the routine works meant it couldn't be in space; you couldn't have the sun above because the line-draw routine wouldn't work, it would have to be on the surface of a planet.
'And I thought 'Right, it can't be Earth because it looks a bit barren for Earth, it's got to be another planet.' So I looked round for nearby stars that might be inhabited and Tau Ceti had a nice-sounding name.'
The display looked rather science fictional, with the controls and the flashing lights - how did it come about?
'An awful lot was determined by technical things, really. I thought 'How fast am I going to be able to do this?' Because filling solid areas of the screen takes an enormous amount of time.'
Pete came up with a clever cheat. The problem was sorting lots of objects into order of distance first, updating their positions each frame, and doing it quick enough to give an illusion of movement. Using a full screen, or even half a screen, proved to be too slow and horrible to play. The solution was for the display to take up about a third of the screen.
But, as Pete says, 'that brings you to the question of what goes elsewhere, and the obvious thing at that point is to say that you need some other information in the game. Then you say 'Well, the game has got to use these charts' - but they've got to mean something if they're filling up half the display area, so you have a lot of things going on that you need the charts for... and using the charts doesn't take anything like as much time as it would to copy the top two thirds of the main display down.'
So technical restraints actually helped Pete design much of the gameplay in Tau Ceti. But with the follow-up, Academy, Pete seemed to have overcome even those restraints.
'It used a lot of similar routines, but essentially I rewrote it all, because it's amazing how much better you can do things in a year. For instance, in Tau Ceti you've got the list of objects and, because there's a lot of things they can do, I needed 20 bytes for each one to tell it various flags about whether it was running away, whether it was shot, whether it had a door and so on.
'At that point it started to become fixed - I had all the routines to step through it and sort it, and at the end I found I'd left a byte unused. Well, you just say 'Sod it', it's just not worth it; to times it by 20 is not too difficult (times by four and add one and then times by four again, which is all quite easy SHIFTs and ANDs), but to times it by 19 is actually slower, so it's better to be 20 long.
'I wanted it to be 16, just four SHIFTs, but given that it wouldn't fit, it was worth throwing that space away. When you start you don't know what it's going to need at the end, you're always guesstimating along the way - 'How much space is that going to take?' You think about how much memory there is and think 'Well, the code is going to be roughly this much and the data has got to fit in that much'.
'Continually, as you're working along, you're thinking 'Maybe I can compress a bit of it somewhere', or 'I'm going to have to rewrite the code to save some space'. Second time round, of course, you've got the hindsight of having done it and knowing that it fitted in this much space. It saves a lot of fiddling, so that speeds the game up.
Was that why Academy turned out much more of an arcade game than an adventure?
'Yes. I mean, the code's more efficient. There's a couple of basic things I did that speeded it up an awful lot that I should have done in Tau Ceti. I spent a lot of time optimising Ceti routines, but it still scanned every object, every frame, to see whether to draw it.
'But I flagged each one based on a field of view, so if you flag each one in that area, once each pass-round; then you know it couldn't possibly get from there to there in the 15 times round, and you've eliminated most of the processing straight away. It's immediately 60 per cent faster for that.'
With the experience of Tau Ceti and Academy behind him, Pete might have drawn heavily on the same routines for his next game, Micronaut One. But...
'No, basically I ditched the lot. It works in a totally different way. It got to the point where I thought I could do another 'safe' game, but it gets less challenging after a certain point.
'And there was the move to Nexus - I thought it would be better, having moved, to do something different. It wouldn't annoy CRL as much, for certain; and it would look a lot better, and yeah, I was bored with doing another Ceti game.
'In fact, I'd got another one sketched out which was going to be a bit like Psytron, in that you were defending something. But I didn't think I could make it different enough using the same sort of display, and I'd long wanted to do something with tunnels, cos there's been a lot of things attempted but they haven't quite worked, right back from New Gen's 3D Tunnel.
'There's I, Of The Mask, which again looks stunning, but actually it was just a set of frames - it must have been because you couldn't actually do anything in the tunnels but go forward and back.'
Did Realtime's Starstrike II help?
'It gave me a few ideas, but it suffered awfully from being a subsection in a larger game. I looked at it and thought 'The big problem is junctions', and that's what none of them had, cos you can't do them that way. Drawing a tunnel is a doddle - it's four lines converging to a vanishing point, and you just move it around. But branching tunnels is totally different, and I spent ages thinking about it.'
Needless to say, Pete cracked it. Micronaut One's routine has a list for the tunnels; it starts in the section you're in and says 'that's the visible window at that tunnel'. Then, using what he describes as a 'recursive descent', it stacks that as the visible window of the screen and looks to the next two sections, gets two visible windows, and down it goes. By the time it gets to the far section it's got a tiny window and then it clips all the lines to that window.
'Effectively what happens,' says Pete, 'is that the program is doing hidden lines, but not having to actually draw solid surfaces - so it's just lines, which means it can be very fast. I thought Starstrike II was too slow and too simple, and stuff like 3D Tunnel with attributes just didn't work, so it had to be fast, and the way to do that isn't to draw solid shapes all over the screen, but to find some way of working out which areas you can see and which you can't, and just clip the line to it.
'It looks about four sections ahead and then it simply stops. After about two sections it stops drawing the floor because that looks cluttered and horrible, you just get a black mess.'
At this point we paused, partly to look at Micronaut One (for last month's CRASH preview), and partly to go for lunch at the local Indian. Over the poppadoms I asked Pete about his background, and how he got into computing.
Is there a dreaded ZX81 skeleton in his cupboard? Laughing, Pete admits it all.
'I used to be a maths teacher you see. The whole thing started when I was teaching - I got hold of a ZX81 in 1981 and then a Spectrum and took it up as a hobby. I ran a little club for various of the kids sort of 14, 15, who were dead keen, and I'd bring stuff along I'd done and say 'Have a look'. Eventually some of them turned round and told me I ought to sell them. They just hassled me till I sent one off, and it got snapped up and from then on...'
Pete knew very little about programming - just what he'd picked up doing his maths degree. He played around with BASIC, and started learning machine-code routines. But what was that first game he sent off?
'Invincible Island.'
Invincible Island? The Richard Shepherd adventure? So long ago! And indeed CRASH Issue One's LIVING GUIDE does credit Pete Cooke with the game's authorship.
He followed it up with another adventure for Shepherd, the well-loved Urban Upstart.
Was he well paid for those early efforts?
'Yes, I think I was. Comparatively, it hasn't gone up a lot since then! I got a lot from Urban Upstart - it sold a lot and it kept selling. But after that the market bottomed out for adventures, though I did a couple more for Shepherd... one was called Inferno, based on Dante's Inferno.
'It was interesting, but it was a bad project to get into, it didn't work as I had wanted it to. The constraints of the book were too much in the end. For an adventure it became very linear.
'The other I wrote on the 64, Up A Gum Tree. It was the best adventure I did.'
He'd packed up teaching to become a full-time programmer - but, having earned lots, he spent six months on Up A Gum Tree and got just £500 for it.
'I thought I'd better look round for a job. I gave up work at exactly the wrong point - when the real drop-out came.'
But he did another project with Richard Shepherd - Ski Star 2000.
'Fighter Pilot had been out long before then, but Ski Star was the first 3-D vector-graphics game that wasn't a Battlezone or a flight simulator. You could design the courses and pick things up and drag them with this cursor stuff - I think it was one of the first games to use icons as well. I scrapped icons after that - they're terrible.
'I've played too many games where it's 'What's this icon doing then?' In the end language is the best way of communicating we've got, so why don't we use it? I'd like to write a game with no words in it, something that's so transparent you don't have to use language at all.
'But I don't think that the in-between ground works - you have a weird mishmash of these wiggly, squiggly symbols. They've put me off the Atari ST a bit. I keep thinking I'd like to get rid of this and get a good on-line interpreter back where you can do things quickly rather than having to wander round endlessly.
After Ski Star 2000, Richard Shepherd went under and disappeared from the software world, leaving Pete as a struggling freelance without a software house to market his games. Enter Ian Ellery and the company he then worked for - CRL. Ian takes up the story...
'I got this little cassette,' he recalls, 'through the post with this little letter (adopting kiddie's reading voice) - 'Dear CRL, I've written this game called Jackknife, which is a lorry-driving simulation. From Pete Cooke' - and I expected 'aged 13¾' after that. The first one didn't load. He sent me another and I still thought it was a kid sending me a program. I loaded it up and I saw what was a very original game - I wasn't sure how commercial it was, but it was still very playable.'
The game was, of course, renamed Juggernaut - presumably a more commercial title.
How did Pete come up with the weird idea?
'I had a mate,' he says, 'a mechanic-cum-car buff, who wanted to be a long-distance lorry driver. He saved up for this £100-a-week course, went away to Birmingham on it, and came back having failed it. The problem was reversing - it's impossible.
'I thought about it and played with little models, and it is a bit strange - when you push it one way it goes the other and it just buckles up.
'There seemed to be an idea in that and it gradually metamorphosed into a game all because he said how difficult it was to reverse an articulated lorry. I put loads of stuff in about ferrying freight around so you didn't have to do too much reversing. But that was essentially it.'
Juggernaut wasn't a commercial hit, but it covered its costs sufficiently to encourage an Amstrad conversion which Pete did himself, and fire CRL's enthusiasm for Tau Ceti.
In between Tau Ceti and Academy, Pete did Room 10, a Ping-Pong game, on the Amstrad.
'I wanted CRL to put it out as a budget game and they wouldn't. I said it ought to be around £4 cos that's what I thought it was worth. I did it on the Amstrad because it was a chance to use the colour display - you can have a coloured floor and a coloured ball over it without attribute problems. It's the simplest game there is.'
Finally, the time had come to ask the Big Question - why did Pete move from CRL to Nexus?
'I like Clement Chambers, the boss of CRL,' says Pete carefully. 'He's a nice bloke and I get on well with him, but the reason I joined CRL was an advert that Ian Ellery put out, and the thing that worked at CRL was me working with Ian.
'Essentially it wasn't much to do with Clement. Clement would come in and ask how things were, and he'd be pleased when the product turned up. But it wasn't Clement who'd seen the demos and seen what the potential was.
'When Ian left CRL I thought, 'What I've got is a fairly good relationship with Clement, but it isn't a working relationship'. Obviously Ian, who had gone to Nexus, was interested in working with me again as things had worked out alright before.'
Perhaps Ian enjoys working with Pete because he delivers programs on time...
'I'm always late, but never terribly late,' Pete replies, laughing.
'If there was ever a wait it was worth it,' adds Ian agreeably.
'No, I've never been six months late but then you can't when you're freelance because there's no wage, you know - if it's late I don't eat!'
All Pete Cooke's games have been original, developed from ideas of his own. Has he ever considered doing an arcade licensed conversion, or working within a team?
'No, I'm not interested. Well, I can't say that about any arcade licence, but I can't think of any offhand. I don't like the philosophy behind them - the philosophy of the quick buck - and games I play are not like that. My favourite game to play is Revs, and it took me six months to crack it. Now that isn't going to appear on an arcade machine, is it?
'As for programming teams on such projects, I think they're actually graphic designers, and looking at the games I don't see any programming in them. When I looked at Jack The Nipper I thought 'This looks really nice, very pretty', and then I saw it moving and they all move in diagonals and I thought, 'Oh no, why?' It's a trivial thing to have a look-up table and a shallow diagonal, so it looks realistic rather than bouncing off walls.'
'I wouldn't work with another programmer, but a graphics designer - I can't draw so somebody else has to do it, and that's Ian.'
And what's next after Micronaut One?
'There are three ideas waiting in the queue. One's about nine months long. I've got a routine that'll do solid 3-D. If you say 'Let's remove the need to do updates ten times a second' - say something like Lords of Midnight, where the frame rate is slow but very effective - then you could do an incredibly detailed 3-D display with solid surfaces, and you could move around it. I suppose it could be very interesting as a sort of graphic adventure. Again in first-person perspective.
'Second on my list, I suppose, is converting Micronaut One for the Atari ST, which Nexus really want me to do. I'm looking forward to learning the 68000.
'And the third one is quite a simple idea - I don't know whether I should give it away. It's a shoot-'em-up. There's a lot of parallax scrolling games - this is the ultimate - perspective scrolling. You can have shadows - you've seen pictures of Stonehenge at sunset - imagine shadows of rocks and boulders actually changing like that as you go by, and just a spaceship over the top with a shadow, zapping things. It's something simple like that.'
'To be written in coffee breaks!' Ian retorts.
'It baffles me that there's so much stuff around that you've seen before,' muses Pete. 'I've got millions and millions of game ideas floating around waiting for somebody to land on. I've never found it difficult thinking of ideas - it's more difficult limiting them. Picking and choosing, I suppose.'


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The Most Fun Way to Do Yoga Is... A Yoga Obstacle Course!
A Yoga obstacle course is made up of different stations which the students do in a particular order. Each station consists of a yoga assignment, breathing assignment or just something fun. You can use yoga mats to define the stations.
You can create a very big Yoga obstacle course which will take a whole hour to complete. Some of the ones we have made had over 40 stations. Alternatively, you can construct a small one made up of three or four stations as an activity to do in the middle of the class as part of your Yoga Journey. You can repeat going through those stations as many times as you wish.
If it's a big yoga obstacle course, you will need to set it up before class. Be prepared for this to take half an hour or more to do well.
You can create the obstacle course using whatever you have in the classroom and in your Magic Yoga Suitcase. I usually use everything I have in the class room and in my yoga suitcase!
Soap bubbles – Blow soap bubbles. Great breathing exercise!
Musical instruments – Play and dance!
Three balls or handkerchiefs – For juggling!
Face paints – Have a friend paint your face as a yoga animal, then do the pose of course!
An empty yoga mat – Invent a pose that was never seen before!
Stickers – Pick one and put it on your shirt to take home!
The possibilities are endless! Here are some tips.
Organize the obstacle course in a spiral and have the children walk the stations in order. When you build the obstacle course, vary the stations; one with a yoga assignment, then one with breathing, then something just for fun. And don't forget to put really fun dance music on!
It is always more fun to do yoga together. So it is best to walk the yoga obstacle course in pairs or groups of three. It is also great for parents and kids to do together.
I always demonstrate first how to go through the obstacle course and then the children/groups go one at a time. Have the children count to ten or wait until the person in front of them has reached a certain station before they start the course. You can have the children walk through the obstacle course more than once if time permits.
Make your obstacle course age appropriate. When your group is familiar with the obstacle course concept, you can ask each child to create a station.
You'll need to keep the children busy before and after. For example, they can color Mandalas, make crafts from things you recycle, make their own prayer flags, make eye pillows, make yoga t-shirts, make pinwheels, decorate yoga mats or do another yoga art project.


After her husband died, Ruth, a Moabite, moved in with Naomi, her mother-in-law. They were poor and living on leased land so they were using guile to survive. When it came time to harvest the grain, Naomi sent Ruth into the fields to help in the harvest. And it was there that Ruth was noticed by the land-owner, Boaz, who was immediately attracted to her.
We know this because Boaz instructed his men to make sure Ruth was given light tasks and special favors as the people worked under the heat of the sun.
Ruth did as she was instructed. The moment she opened the blanket and laid at his feet, Boaz was awakened and he asked who was in his bed. She answered. He made sure she was covered and they slept together that night. It was after this that Boaz married Ruth.
The Bible story carefully states that she laid at his feet. Hard line Bible thumpers would like to believe this is all that happened. But we all know that (1.) there already was a physical attraction shared between Boez and Ruth after they met in the grain field, and (2.) just crawling into bed and laying at a man's feet in the night can quickly lead to much more.
Some scholars suggest that the term "feet" can be easily translated as "legs" and if Ruth opened the blanket to lie over Boez's legs, we can be sure that hanky-panky occurred that night. This explains why the encounter quickly led to a marriage.


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text:
Zinat un-Nisa (* 5. Oktober 1643 in Aurangabad; † 7. Mai 1721 in Delhi) war eine mogulische Prinzessin und die Tochter Aurangzeb des indischen Großmoguls Aurangzeb.

Später führte sie den  Namenszusatz Begum oder den Titel Padshah Begum, der ihr vom Vater verliehen worden war.

Familie
Zinat un-Nisa war die zweite Tochter des Herrschers Aurangzeb und seiner Hauptfrau Dilras Banu Begum. Die Erstgeborene, Zeb un-nisa, war fünf Jahre älter als sie. Weitere Geschwister waren ihre Schwester Zubdat-un-Nissa Begum (1651–1707), der Bruder Muhammad Azam Shah (*1653–1707) und der Bruder Muhammad Akbar (1657–1706).

Zu ihren Halbgeschwistern zählte der Erstgeborene ihres Vaters, ihr gleichalter Halbbruder Bahadur Shah I. (1643–1712) sowie ihr jüngster Halbbruder Kambaksh (1667–1709).

Nach dem Tod ihres Vaters wurde zuerst ihr Bruder Muhammad Azam Shah Großmogul von Indien, nachdem er jedoch in einer Schlacht im selben Jahr getötet wurde, bestieg ihr Halbbruder
Bahadur Shah I. (1707) den Thron. Die Beziehung zum dessen Sohn und Nachfolger, ihrem Neffen Jahandar Shah, soll wegen dessen Vergnügungssucht schlecht gewesen sein.

Leben und Wirken
Ebenso wie ihre Schwester Zeb un-nisa blieb Zinat un-Nisa ihr Leben lang unverheiratet und beschäftigte sich mit dem Studium des Koran und dem Errichten von Bauten.

In Delhi ließ sie die Moschee Zeenat-ul-Masajid (Schmuck der Moscheen) erbauen, die später zu einem Treffpunkt von Dichtern wurde. Auch schuf sie Wohnungen für Sufis und half hochrangigen Marathenfrauen in Gefangenschaft.

Zinat un-Nisa starb im Alter von 77 Jahren in Delhi, wo sie im Roten Fort beigesetzt wurde.

Literatur
 Annemarie Schimmel: Im Reich der Großmoguln. Geschichte, Kunst, Kultur. Beck, München 2000, ISBN 3-406-46486-6.

Einzelnachweise

Mäzen
Inder
Geboren 1643
Gestorben 1721
Frau

redpajama_set_name: RedPajamaWikipedia


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According to the recent Cabinet meeting, the administrative reforms department's proposal to charge a "facilitation fee" of Rs 50 by intermediary agency has been approved.
For an extra fee of Rs 50, Delhi government will provide 100 public services, such as birth certificate, caste certificate, driving licence, ration card, at people's doorstep from next month.
According to the minutes of recent Cabinet meeting, the administrative reforms department's proposal to charge a "facilitation fee" of Rs 50 from the citizens for "each successful transaction" by intermediary agency has been approved.
Earlier this month, the Delhi government had approved Administrative Reform's proposal to give the work to a firm, which will work as an intermediary agency, to execute the project in the national capital.
Under the doorstep delivery of services to be launched in August, the AAP government will provide around 100 public services of its various departments at the doorstep of Delhi's citizens. The government has claimed that no citizen of Delhi would have to stand in queues for the services listed under the scheme.
According to the plan, Mobile Sahayaks (facilitators) will be hired through the agency that would set up call centres.
Various certificates such as caste, new water connection, income, driving licence, ration card, domicile, marriage registration, duplicate RC and change of address in RC, among others, will be covered under the scheme.
If a person want to apply for driving licence, he or she would have to call a designated call centre and give the details. Thereafter, the agency would assign a Mobile Sahayak, who will visit the applicant's residence and get the required details and documents.
The applicant will have to visit the MLO office once for a driving test.
In November last year, Deputy Chief Minister Mr Manish Sisodia had said that the Mobile Sahayak would be equipped with all necessary equipment such as biometric devices and a camera, adding that for doorstep delivery of services, the applicant would be charged a nominal fee.


text:
Why Good People Can't Get Jobs
The Skills Gap and What Companies Can Do About It
Peter Cappelli
Wharton School Press
Peter Cappelli confronts the myth of the skills gap and provides an actionable path forward to put people back to work.
Even in a time of perilously high unemployment, companies contend that they cannot find the employees they need. Pointing to a skills gap, employers argue applicants are simply not qualified; schools aren't preparing students for jobs; the government isn't letting in enough high-skill immigrants; and even when the match is right, prospective employees won't accept jobs at the wages offered.
In this powerful and fast-reading book, Peter Cappelli, Wharton management professor and director of Wharton's Center for Human Resources, debunks the arguments and exposes the real reasons good people can't get hired. Drawing on jobs data, anecdotes from all sides of the employer-employee divide, and interviews with jobs professionals, he explores the paradoxical forces bearing down on the American workplace and lays out solutions that can help us break through what has become a crippling employer-employee stand-off.
Among the questions he confronts: Is there really a skills gap? To what extent is the hiring process being held hostage by automated software that can crunch thousands of applications an hour? What kind of training could best bridge the gap between employer expectations and applicant realities, and who should foot the bill for it? Are schools really at fault?
Named one of HR Magazine's Top 20 Most Influential Thinkers of 2011, Cappelli not only changes the way we think about hiring but points the way forward to rev America's job engine again.
Peter Cappelli is the George W. Taylor Professor of Management at The Wharton School and Director of Whartonand#8217;s Center for Human Resources. His recent research examines changes in employment relations in the U.S. and their implications. Cappelli writes a monthly column on workforce issues for Human Resource Executive Online and has contributed to the Wall Street Journal, the Washington Post, Bloomberg Businessweek, and other news venues. His books include Why Good People Can't Get Jobs: The Skills Gap and What Companies Can Do About It, Managing the Older Worker: How to Prepare for the New Organizational Order (with Harbir Singh, Jitendra Singh, and Michael Useem), The India Way: How Indiaand#8217;s Business Leaders are Revolutionizing Management, Talent on Demand: Managing Talent in the Age of Uncertainty, and The New Deal at Work: Managing the Market-Driven Workforce.
"Provocative."
" —Rick Wartzman, Forbes
"Explodes the 'skills gap' explanation favored by many corporate leaders and human resources consultants."
" —Jena McGregor, The Washington Post
"Peter Cappelli's new book addresses one of today's major conundrums: why do so many jobs in America remain unfilled in the face of persistently high unemployment? With so many concerned observers looking to the government to solve the jobs crisis, Cappelli's book is a refreshing and highly readable treatise on the roles and responsibilities of the private sector in matching job seekers to jobs. A must-read for those interested in how to get US employment back on track."
" —Jennifer Blanke, Lead Economist, World Economic Forum
"Peter Cappelli has produced a valuable and very readable examination of the important, but often misunderstood, skills gap problem. He punctures many common myths and outlines a sensible way to better match the demand for, and supply of, skills."
" —Ray Marshall, Rapoport Centennial Chair of Economics and Public Affairs, University of Texas at Austin, and Former Secretary of Labor
"It is high time to dismiss a silo approach to education and workforce and focus on the overall objective of these efforts, which is ensuring that every American has access to a training mechanism that will allow them to maximize their human potential. Such an approach requires greater engagement of corporate human resource departments, training providers and government leaders. Bravo to Dr. Cappelli for highlighting the importance of taking a supply chain approach to worker training and public-private partnerships."
" —Cordell Carter, Former Vice President, Public Policy, Business Roundtable
"Peter Cappelli's book provides a compelling diagnosis of why the common skill gap complaint masks the true situation and what needs to be done. It should be recommended reading for any U.S. employer complaining about difficulties in recruiting the right staff."
" —John P. Martin, Director for Employment, Labour and Social Affairs, Organisation for Economic Co-Operation and Development (OECD)
"Peter offers a provocative and fresh perspective on one of the most crucial issues facing the global economy. Improving the quality of the global workforce will require that business, government, and academia work side-by-side. Why Good People Can't Get Jobs makes a significant contribution to this effort."
" —Frederick Kempe, President and CEO, Atlantic Council


1. Florida State Seminoles – 8 returning starters on offense including Jameis Winston and 6 on defense…no reason that they won't be back at the dance this year.
2. Alabama Crimson Tide – They have a machine in Tuscaloosa. They just reload.
3. Auburn Tigers – Will the 2013 luck continue into 2014?
4. Oklahoma Sooners – Sophomore QB Trevor Knight is the real deal, folks.
5. Oregon Ducks – An easy schedule and Heisman frontrunner QB Mariota.
6. Michigan State Spartans – Wins over Ohio State and Stanford in 2013 will provide some serious momentum.
7. Stanford Cardinals – They've played in four straight BCS games, and don't show any signs of slowing down.
8. UCLA Bruins – Averaging almost 10 wins a year and a strong returning offense.
9. Baylor Bears – They may rack up a million yards on offense this year.
As I mentioned, the good folks at State Traditions want to give away a hat and a koozie of their choice to ten lucky readers. Leave a comment to this post with your thoughts to enter.
Entries must be in by midnight on Monday, March 31st. I'll announce the ten winners on Tuesday, April 1st around lunchtime, who gets a State Traditions hat and koozie from the school of their choice.
What no LSU is the mix?
1) Florida State Seminoles – As long as Winston doesn't get injured while playing baseball, there's no reason FSU shouldn't be the top team.
3) Michigan State Spartans – Bringing back key offensive players and having a solid defense could make the Spartans a National Title team this year.
4) Oklahoma Sooners – After the win against Bama, the Sooners have the momentum to keep themselves in the top 5.
5) Alabama Crimson Tide – It will be hard to replace McCarron, but there is so much talent elsewhere on the field that the Tide shouldn't have a problem competing.
6) Oregon Ducks – With Mariota returning, the Ducks should be able to contend for another Conference Title, if not National Title.
7) Georgia Bulldogs – With the 2013 season behind them, Hutson Mason should be able to do big things with the Bulldogs. Assuming players stay healthy and out of trouble.
8) UCLA Bruins – Shoube be a good offensive year with Hundly returning. Defense could be a problem, but some spots were filled with solid players.
9) Ohio State Buckeyes – Assuming Braxton Miller stays healthy, the Buckeyes should be able to make it back to where they have been the past two years.


Workplace safety concerns all companies today; it translates both in the protection of the health of the personnel, and in the safeguarding of the work sites, the materials and the equipment stored there.
The innovative CIMA galvanized case perfectly meets all these requirements.
First of all, the case, made entirely of iron, a fireproof and inert material, is not affected by microorganisms; it is non-toxic and does not develop vapour and above all is non-flammable: in this way the risk of fire is completely eliminated in warehouses and storage containers, thus representing the best solution to safeguard the safety of the personnel and to preserve the products contained inside.
Secondly, the case, due to its technological and design characteristics, is easily manoeuvrable and perfectly stackable one on the other: thanks to its geometry and the joints specially made between the component elements, stacking is comfortable and easy, thus avoiding the risk of overturning the trays.


Three Motley Fool analysts weigh in with what they believe to be the best investing moves ahead of year end.
Although the holidays are cramped for time, making a few savvy moves before the New Year can have a profit-friendly impact on portfolios next year. With that in mind, we asked three Motley Fool analysts to weigh in on what kind of housekeeping they think investors should be doing to their portfolios ahead of 2015. Read on to learn what they think.
Matt Frankel: As the end of the year approaches, you may want to consider cutting your losses on losing investments, even if you haven't sold anything in your portfolio at a profit.
The IRS allows you to use investment losses to offset capital gains for tax purposes, and even allows you to deduct them against your other taxable income if your losses are larger than your gains. Currently, this amount is capped at $3,000, but any excess amount can be carried over to the next tax year.
Depending on your marginal tax rate and whether or not you held your profitable investments for a year or more, your capital gains will be taxed at a rate between 0% and 39.6%. And, if you don't have any capital gains to report, the tax savings produced by capital losses are equal to the amount of losses times your marginal tax rate.
For example, if your marginal tax rate is 28% and you sell investments at a loss of $2,000, it could mean tax savings of $560. In a way, the government is subsidizing your bad investments, so maybe you should take advantage.
Leo Sun: At the end of every year, investors should see if any of their holdings in a single company have grown too large in proportion to the rest of their portfolios. This practice, known as portfolio rebalancing, is basically an oil change for your investments.
For example, a soaring stock's weight over the past year might have caused the investment to rise from 10% to 20% of your portfolio. While that's great news, one overweight stock can greatly increase a portfolio's volatility. Therefore, it can be smart to sell part of the position, take some of the profit, and reduce the weight of the stock to its original percentage of the portfolio. With those profits, you can buy more shares of your portfolio laggards to take advantage of dollar-cost averaging. Selling the winners to buy the losers might feel very unnatural, but over time hot stocks inevitably stall out or decline, while underappreciated losers can suddenly impress Wall Street.
Yet portfolio rebalancing should never be done blindly. If there are catalysts for an overweight stock on the horizon, it might be wise to hold on for a bit longer. It's also important to identify which fallen stocks are undervalued, and which are lost causes to cut loose as tax-reducing capital losses.
Todd Campbell: Reminding investors not to buy or sell their positions blindly is great advice, so I'm just going to add to that suggestion and recommend that before year end investors review every one of their holdings through the lenses of a long term investor.
It's been proven time and time again that investing for the long-haul outperforms short term trading, so investors may want to focus less attention on whether returns are up or down this year and more attention on whether or not the reasons they invested in the company in the first place remain intact.
All companies can struggle at one time or another, but that doesn't mean investors should head for the exits. For instance, long term winners including Amazon, Netflix, and Priceline have had their fair share of drops over the years, but each has proven itself to be a great long term investment.
That suggests taking a hard look at each company in your portfolio and asking whether the market opportunity for its business is the same or better than it was last year. If it is the same or better, it may be worth sitting tight, or even adding to your position, regardless of this year's return.


Make 2013 "A Year of Failure." It may be the quickest road to success.
Walking on the Moon.…Armstrong, Hero or Villain ?
It hasn't been a good weekend if you are a household name with the surname Armstrong. On Friday, Lance Armstrong officially threw in the towel in his fight to maintain the seven Tour de France titles he had won by effectively pleading guilty to using drugs. He thus gained the status of villain or fallen hero. Then yesterday, Neil Armstrong, the first man on the moon died in hospital.
The Olympics is the fabulous event because each nation can find its own heros. Last night in the 400m women's final Camille Muffat became one of France's new heroines by taking gold. She narrowly defeated Allison Schmitt of the USA.
Britain's Rebecca Adlington took the bronze medal in the same race adding to her two golds in the Beijing Olympics. Last November, I posted an article about the inspiration that I had found from sources such as my own students, Howard Schultz the CEO of Starbucks and the young British swimmer.
Time to reflect once more on those thoughts.


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text:
Fragments of a Cale Season
a heap of broken images
I Wanna Be Around
Me? I'm in great shape; here's the latest thing from the workshop.
I Wanna Be Around was a Tony Bennett hit back in 1963. The song was written by Johnny Mercer and Sadie Vimmerstedt, a cosmetician from Youngstown Ohio who sent a note to "Johnny Mercer-Songwriter-New York" containing a lyric she thought would make a good song: I wanna be around to pick up the pieces when somebody breaks your heart. Mercer wrote the song, and, being a supreme gentleman, gave her a 50% co-credit, guaranteeing her a few thousand dollars a year in royalties for the rest of her life.
And it might never have made its way to John Cale's music stand if Brian Wilson hadn't penciled it into the SMiLE tracklist back in 1966. But he did (even if he got the lyrics wrong). I have no evidence that Cale had a stack of SMiLE bootlegs, but I will assume he did, and shame on him if he didn't.
But the version he recorded with Jools Holland's big band owes little to either Wilson's gentle version or Bennett's slow croon. Cale takes the song fast, hard, and - you can hear this in the vocal - with a sharklike smile. The growl in Cale's voice on "I wanna be around to see how he does it, when he breaks your heart to bits" raises hackles.
Shame, though, that there's so much boilerplate big-band pyrotechnics going on around him. It's fun enough, sure, but a sparer arrangement with a vocal so venomous would be an essential part of the canon. But, hey, the album is cheap and you get great songs by dead guys. For pocket change, I recommend it.
Posted by Inverarity at 2:27 PM
Labels: Live, Non-album
A trying-hard-to-be-critical review of the works of John Cale.
Fragments on Facebook
RPI on Twitter
Checklist - Songwriter Albums
Checklist - Instrumental Albums
Checklist - Live Albums
Checklist - Compilations
Vintage Violence
Church of Anthrax
The Academy in Peril
Slow Dazzle
Even Cowgirls Get The Blues
Sabotage/Live
Honi Soit
Music for a New Society
Live at Rockpalast
John Cale Comes Alive
Words for the Dying
Songs for Drella
Wrong Way Up
Fragments of a Rainy Season
Last Day on Earth
Walking on Locusts
HoboSapiens
blackAcetate
Circus Live
Extra Playful
Shifty Adventures in Nookie Wood
Non-album Tracks
Essential Cale Resources
Fear is a Man's Best Friend (is #1)
FIAMBF (Facebook)
I Bet I Can't Find 100,000 People Who Know John Cale! (great Facebook page)
We Know John Cale (twitter)
Cale official site
Cale official Facebook page
The John Cale Homepage (useful older site)
The making of Honi Soit (fascinating)
Cale on Wikipedia
Other Single-Artist Blogs
Talking Heads (Defunct!)
Fragments of a Cale Season by Inverarity is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License.
CONTACT: phonetically, arr dot pii dot in-ver-rar-i-ty. At geemail.


text:
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  <author email="salvo.virga@tum.de">Salvo Virga</author>
  <maintainer email="salvo.virga@tum.de">Salvo Virga</maintainer>

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text:
» "Once in a Blue Moon" 2.343 carat, Brian Gavin Blue with Very Strong Blue Fluorescence. YUM!
"Once in a Blue Moon" 2.343 carat, Brian Gavin Blue with Very Strong Blue Fluorescence. YUM!
Once in a Blue Moon" is a phrase used to describe a rare atmospheric event which causes the moon to appear bluish, this phenomena is usually due to smoke or dust particles in the air, such as those caused by forest fire or volcanic eruption. Blue fluorescence in diamonds is caused by the presence of the chemical boron. When the molecules are excited by exposure to black light or strong ultra violet light, the glow blue, green, yellow, white and sometimes red. The most common color of fluorescence in diamonds is blue, like the blue fluorescence which is visible in this diamond from the Brian Gavin Blue collection pictured below.
One of the cool things about diamonds with blue fluorescence, is that under normal lighting they appear perfectly normal. But they glow this beautiful neon blue color when exposed to black light, and sometimes if you look at them very closely in strong direct sunlight, they might give off a slight lavender blue hue. The 2.25 carat, I-color diamond which I wore in my wedding ring did this and it was really cool!"
I'm certain that this 2.343 carat, G-color, VS-1 clarity, round brilliant ideal cut diamond from the Brian Gavin Blue collection is absolutely breathtaking with because of the very strong blue fluorescence. It is graded on the AGS Platinum Light Performance grading platform with an overall cut grade of AGS Ideal-0 and as you can see from the image on the lab report pictured to the left, the diamond looks phenomenal and exhibits lots of contrast when viewed through an ASET scope, which is designed to judge the light return of the diamond! Do you see all that red? That's what you want, lots of red, with a hint of green and dark blue arrows! The green area in the center of the table facet is nothing to worry about, it merely indicates that the diamond is pulling light from 45° out to the horizon at that point.
This diamond is cut to zero ideal cut proportions, more specifically, it is cut to the center range of the spectrum of proportions designated for the zero proportions rating, so it's cut to the "sweet spot" in light performance… to use the words of legendary diamond cutter Marcel Tolkowsky, the proportions of this diamond have been optimized for light return!
The diamond has also been optimized to exhibit incredible visual performance in terms of brilliance, dispersion and scintillation. It was cut by the same cutters who produce all of the Brian Gavin Signature Diamonds. The only real difference between the two lines of Brian Gavin Diamonds is the presence or absence of blue fluorescence.
In terms of inclusions, this diamond contains a few crystals, clouds, needle and pinpoint size diamond crystals, all of which are insignificant, the diamond is going to be completely eye clean from a top down perspective, which is how diamonds are graded for clarity. According to the AGSL, the diamond has a total depth of 61.3% with a 55.8% table diameter and a 34.9° crown angle which is offset by a pavilion angle of 40.7° with a thin to medium, faceted girdle and a pointed culet… it's going to be howling at the moon every time it catches even the smallest glimpse of light!