text:
Collections and MarksUli Spitznagel2018-08-15T16:33:51+01:00
Collections and marks
ACHENBACH Foundation for Graphic Arts, San Francisco, CA
Ackland Art Museum, The University of North Carolina at Chapel Hill, NC
ADHEMAR, Jean
ADRIANI - Collection, partly at Achenbach Institute of Art, San Francisco, CA
Albright-Knox Art Gallery, Buffalo, N.Y.
ALLEN, William G. Russel - Collection, now mainly at Boston Museum of Fine Art, Boston, MA
Angladon - Dubrujeaud Foundation, Avignon, France
Association des Amis d'Honoré Daumier, Paris, France (partially DEGAS - Collection)
Atelier Cézanne, Aix-en-Provence, France
Art Gallery of Greater Victoria, Victoria, British Columbia, Canada
Art Gallery of Ontario, Canada
Art Institute of Chicago, Chicago, IL
BABCOCK, W.P. - Collection, partly Metropolitan Museum of Art, New York, NY and Boston Museum of Fine Art, Boston, MA. Lugt 208
Baltimore Museum of Art, Baltimore, MD (part.LUCAS, GUERIN, HOFER – Collections)
BARRION, A. - Collection (dissipated) (Lugt 767), partly Cleveland Museum of Art, OH
BECHTEL, E.de T. – Collection, partly at Metropolitan Museum of Art, New York, NY. Lugt 347a
BECHTEL, H. He gave his important collection to the Metropolitan Museum of Art in New York
Berkeley University Museum of Art, Berkeley, CA
Bibliothèque de l'École Nationale Supérieure des Beaux-Arts, Paris, France (WASSET – Collection)
Bibliothèque Historique de la Ville de Paris, France
Bibliothèque Nationale de France, Cabinet d'Estampes, Paris, France (CURTIS, LAFONT, DE VINCK –Coll.)
BLISS, F.E. - Collection (Lugt 265) partially at Cleveland Museum of Art, OH
BLOCH, A. - Collection (liquidated) Lugt 68a suppl.
Mary and Leigh BLOCK Museum of Art, Northwestern University, Evanston, IL
BOURDELEY – Collection
BORLETTI, Aldo, Count - Collection (liquidated), partly in Saint-Denis, France
Boston Public Library, Boston, MA (major part of MARONI – Collection, WIGGIN - Collection)
Boston Museum of Fine Art, Boston, MA (W.G. Allen RUSSEL, BABCOCK – Collections)
BOUVY, E. - Collection, Paris, France, partly in R. Gaston-Dreyfus - Collection. Lugt 828b
Brandeis University Libraries: TRUSTMAN - Collection, Waltham, MA
British Museum, London, UK
BROMBERG, André – Collection, Paris, France
BRUCK, Z. – Collection, Buenos Aires, Argentina
BUGNION - Collection, now in Fondation de l'Hermitage, Lausanne, Switzerland
BÜHRLE, E.G. - Collection, Zürich, Switzerland
BUREAU - Collection, (painter) Paris, France (liquidated)
BURTY, Ph.- Collection (Lugt 413)
BURY, John Patrick Tuer – Collection at Northwestern University, Evanston, IL
Carnegie Museum of Art, Pittsburgh, PA
CARTER CHURCH FUND, Myra - Collection, Metropolitan Museum of Art, New York, NY
CHAMPFLEURY - Collection, (later IRVINS - Collection) partially at Metropolitan Museum of Art, New York, NY
CHERPIN, Jean
Clark Art Institute, Williamstown, MA
Cleveland Museum of Art, Cleveland, OH
COGNACQ, G.- Collection, Graphische Sammlung Stuttgart, Germany (Lugt 538d)
Conseil Général du Val-d'Oise, Cergy-Pontoise, France
CUMMINGS, Nathan - Collection, Art Gallery of Ontario, Toronto, Canada
CURTIS, A. - Collection, at Bibliothèque Nationale, Paris, France. Lugt 94
DAVIES, G.& M. - Collection, National Museum & Gallery, Cardiff, UK
DEGAS, E. - Collection, liquidated 1918 in Paris, France (total of 1800 prints). Lugt 657
DEGOUVE - Collection
DELAROCHE, L.- Collection, Paris, France (Lugt 1721a)
DELTEIL, L.- Collection, partly at Metropolitan Museum, New York, NY ( Lugt 666, 773, 1723)
Des Moines Art Center, Des Moines, IO
DEMANY, P. - Collection, (partly PASSERON - Collection, DREYFUS - Collection) (Lugt 780b)
DICK, H.B. - Collection, Metropolitan Museum of Art, New York, NY. Lugt 1297
DOLLFUSS, J. - Collection, liquidated 1912 in Paris, France
DORIA, Comte – Collection,partly in R. Gaston-Dreyfus – Collection(not in Lugt)
Elvehjem Museum of Art, University of Wisconsin-Madison, WI
ESCHOLIER, Raymond
ESPINO/SANCHEZ - Collection, Madrid, Spain
FEYDEAU, G. - Collection, liquidated 1901 in Paris, France
Finnish National Gallery, Helsinki, Finland
Fogg Art Museum, Harvard University Art Museums, Cambridge, MA
FRANCK, B. – Collection (Lugt 948, 948a)
FRAPIER, E. - Collection (Lugt 2921 a to g)
FUCHS, E. - Collection, liquidated 5/23/1938 by C.G. Boerner, Leipzig, Germany
FÜRSTENBERG, M.E. Fürst zu - Library, partly in London trade. Lugt 995
GACHET - Collection (homeopath of van Gogh)
GARTENBERG, E.& B. - Collection, Pennsylvania Museum of Art Mont Alto, PA
GARNIER, L.R. - Collection, liquidated 1912 by Drouot, Paris, France. Lugt 2211
GASTON-DREYFUS, René - Collection, liquidated 1966 by Drouot, Paris, France
Le GARREC, Maurice
GAVARNI, Paul
GEOFFROY-DECHAUME - Collection, Paris, partly Cleveland Museum of Art, OH (Lugt 1146, Lugt 452)
GERBEAU- Collection (Lugt 1166)
GERSTENBERG, O. - Collection, liquidated 1969 by Laube, Zurich (former partially MALHERBE - Collection) Lugt2785
GHIRARDELLI, Y. – Collection, since 1970 at UC Berkeley, CA
Glynn Vivian Art Gallery, Swansea, UK (WRIGHT – Collection)
GOBIN, Maurice
GRANDVILLE – Collection, Paris, France (partially RAMUS – Collection)
GRASS-MICK, A. - Collection, (writer and painter) Marseilles and Paris, France
GREIZ - Sammlung, Schloss Greiz, Germany
GROULT, Camille - Collection
GRUNWALD, L. - Collection, Center for the Graphic Arts, UCLA Hammer Museum, Los Angeles, CA
GUERIN, M.L. - Collection, liquidated.Paris 1958 (partly at Baltimore Museum of Art, MD) (Lugt 1872b)
HABSBURG - Collection, now NOACK – Collection
Haggerty Museum of Art, Marquette University, Milwaukee, WI
HAMMER, The Armand Hammer Daumier and Contemporaries Collection. Gift of Armand Hammer, Los Angeles, CA
HARTMANN - Collection (Lugt 1243)
HAUTECOEUR, L. - Collection, Paris
HAZARD, N. A. - Collection, partly at Metropolitan Museum of Art, New York, NY (Lugt suppl.1279) (1975)
Hickory Museum of Art, Hickory, NC
HOFER, Ph. - Collection, (now at Baltimore Museum of Art, MD). Lugt 2087a
HOLZAPFEL – Collection, Paris ( until 1951 Salzburger Landesgalerie, Salzburg, Austria)
HORN - Collection, Bonn, Germany
HOYT, Anna C.
Hunterian Art Gallery, University of Glasgow, Scotland, UK
IRVINS - Collection, Metropolitan Museum of Art, New York, NY
Joslyn Art Museum, Omaha, NE
KLIPSTEIN - Collection, Switzerland (Lugt 2803)
KORNFELD, E.W. - Collection, Bern, Switzerland. Lugt 913b
Kresge Art Museum, Michigan State University, East Lansing, MI
Kunstsammlungen Chemnitz, Germany
LAFFON, E. - Collection. now partly at Bibliothèque Nationale, Paris. Lugt 877a France
LANDAU, Horace de - Collection, Paris, France
LARAN, Jean
LASSERAY - Collection, Paris, France (partly RAMUS - Collection)
LAWRENCE, C.J. - Collection, now at the New York Public Library, NY. Lugt 1662
LECOMTE, M. - Collection, Paris, France
LEJEUNE, R.- Collection, liquidated in 1978 by Kornfeld, Switzerland
LEMANN, Bernard
LEYS, M.N.H. - Collection, Utrecht, Netherlands, now partly NOACK - Collection. Lugt 1678
LIEBERMANN, M.- Collection (paintings), liquidated
LOCKHART, James H. - Collection (liquidated), partly Pittsburgh Museum, PA, and NOACK - Collection
LONCLE, Maurice - Collection (ex DELTEIL - Collection)
LONGSTREET, G. - Collection (now at UCLA at The Armand HAMMER Museum, Los Angeles, CA)
LONGSTREET, S. - Collection , now partly at private collection USA
ALBERT VAN LOOCK - Collection, Belgium. Lugt nr. L.3751
LUCAS, G.A.- Collection, partly at Baltimore Museum of Art, MD. Lugt 1695c
Maison de Balzac, Paris, France (mainly wood-engravings)
MAISON, K.E.
MALHERBE, Ch. - Collection, (Lugt 566) Metropolitan Museum of Art, New York, NY (partly) and GERSTENBERG, M.O. – Collection (see GERSTENBERG, O.- Collection)and GERSTENBERG, M.O. – Collection (see GERSTENBERG, O.- Collection)
MARILLIER - Collection, Paris
MARONI, A. – Collection, now at Metropolitan Museum of Art, New York, NY; UCLA Hammer Collection, Los Angeles, CA; Boston Public Library, Boston, MA (Lugt 150B)
MARX, Roger – Collection . Lugt 1800b, 2229
MASSEAU, F. - Collection, liquidated Paris 1958 (partially PASSERON - Collection)
Metropolitan Museum of Art, New York, NY
Milwaukee Art Museum, Milwaukee, WI
MIRAULT, M. - Collection, Paris (Lugt 1892 a)
Montreal Museum of Fine Arts / Musée des Beaux Arts deMontréal, Montreal, Quebec, Canada
MORSE, P.- Collection, Hawaii, (originally Tobu Museum of Art, Tokyo) now The National Museum of Western Art, Tokyo, Japan
Musée d'Art et d'Histoire, Saint Denis, France (PROVOST, CORLETTI - Collections)
Musée d'Art Moderne, Troyes, France
Musée Carnavalet, Paris, France
Musée de la Publicité, Paris, France
Musée des Beaux-Arts, Lyons, France
Musée des Beaux-Arts, Marseille, France
Musée des Beaux-Arts, Reims, France
Musée des Beaux-Arts et de la Dentelle, Calais, France
Musée d'Orsay, Paris, France
Musée du Louvre, Paris, France (MARX – Collection)
Musée du Petit Palais
Musée Municipal, Soissons, France
Musée National des Beaux-Arts du Québec, Québec, Canada
Musée Pierre Boucher, Québec, Canada
Museum of Art Rhode Island School of Design, Providence, RI,
Museum of Fine Arts, Houston, TX
Museum zu Allerheiligen, Schaffhausen, Switzerland
MUTIAUX, E. – Collection, Paris, France
National Gallery of Art, Washington, DC (ROSENWALD - Collection)
National Gallery of Canada / Musée des Beaux Arts du Canada, Ottawa, Ontario, Canada
New York Public Library, New York, NY (partly C.J. LAWRENCE – Collection)
NOACK, L. & D. - Collection, Ascona & New York (partly LEYS – Collection, Utrecht)
Norton Simon Museum, Pasadena, CA
Olaf-Gulbransson-Museum für Graphik und Karikatur Tegernsee, DE-83684 Tegernsee (Walter Kames Collection)
PASSERON, R. – Collection, (R.G. DREYFUS, C. BORLETTI, G.COGNACQ - Collections) Blois, France
Pennsylvania Museum of Art, Philadelphia, PA
PETIET, H. M. – Collection (Lugt supplement 2021 a), liquidated
PHILIPON, Charles - Collection, Paris, France
POTEL, G., Dr. – Collection, Paris, France (partially PASSERON - Collection)
PRAT - Collection, Paris, France
PROUTÉ, H. - Collection, Paris, France
PROVOST, Louis - Collection, St. Denis, France
RABOURDIN-GRIVOT- Collection, Paris, France
RAGAULT - Collection, Paris, France
RAMUS, Ch. F. - Collection. sold to R.G. Michel, Paris in 1977, now private collection USA
REINHART, O. - Collection, Am Stadtgarten, Winterthur, Switzerland (prints)
REINHART, O. - Collection, Am Römerholz, Winterthur, Switzerland (paintings & drawings)
REMARQUE, E.M. - Collection, Porto Ronco-Ascona, Switzerland (liquidated in 1979)
REY, Robert
RIM, Carlo
ROGER-MARX, C. - Collection, partly in the Musée du Louvre, Paris
ROGERS FUND - Collection, Metropolitan Museum of Art, New York, NY
ROMAND, J.-C. - Collection, Paris, France
ROSENWALD, L. J. – Collection, at National Gallery of Art, Washington, DC. Lugt 1760 b;c
ROTHE, H. - Collection, now at the UCLA Hammer Museum, Los Angeles, CA
ROUART, A. - Collection, Paris (Lugt 2187 a)
Royal Ontario Museum, Toronto, Ontario, Canada
RÜMANN, A. - Collection (dissipated)
SACHS, C. - Collection (Lugt 634 a)
SARGENT, J.O. - Collection, partly at Metropolitan Museum of Art, New York, NY. Lugt 2263a
SAUNIER, Ch. – Collection, partly at Metropolitan Museum of Art, New York, NY. Lugt 567a;b; 2363a
SCHMIDT-ROTLUFF, Karl – Collection
SCHNIEWIND, C.O. - Collection, liquidated 1933 by Boerner Leipzig and Gutekunst Bern. Lugt 641a; 638a; b
SCHOELLHORN - Collection, partially at SCHAUFELBERGER – Collection, Switzerland
SCHUYLER VAN RENSSELAER – Collection, partly at Metropolitan Museum of Art, New York, NY
Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln
SINSHEIMER - Collection, partly at Metropolitan Museum of Art, New York, NY
South London Gallery, London, UK
Speed Art Museum in Louisville, KY
Spencer Museum of Art, University of Kansas,Lawrence, KS
Stedelik Museum , den Haag ( The Hague )Netherlands, NY
STEINHARDT, Judy & Michael - Collection, New York, NY
Springfield Museum of Art, Springfield OH
STERN, L.E. – Collection, Philadelphia Museum of Art, PA
STINNES, Dr. H. - Collection, Hamburg, Germany (Lugt 1376 a; d)
STURZENEGGER - Collection, Museum zu Allerheiligen, Schaffhausen, Switzerland
SUTTON, Denys
The Armand Hammer Daumier and Contemporaries Collection. UCLA Hammer Museum
The Vivian and Gordon Gilkey Center for Graphic Arts, Portland Art Museum, Portland, OR
THOMAS, Henri-Jean - Collection, Paris, France (Lugt 1378)
TOBU Museum of Art, Tokyo, Japan (CLOSED)
TRUSTMAN - Collection at Brandeis University Libraries, Waltham, MA and Metropolitan Museum New York, NY
University of Arizona Museum of Arts, Tucson, AZ
University of Iowa, Museum of Art, Iowa City, Iowa
University of Kentucky Art Museum, Lexington, KY
University of North Carolina Museum of Art,
VASSEUR, André - Collection, Paris, France
VIGEAU – Collection
VINCK, Baron C. de - Collection, Bibliothèque Nationale de Paris, France. Lugt 2494
VOUAY, S. Mme - Collection (Lugt 2373c)
Wallraf – Richartz – Museum, Köln (Cologne), Germany
Walters Art Gallery, Baltimore, MD (no prints)
WEILL, D. – Collection, Paris (liquidated)
WHITTELSEY - Collection, partly at Metropolitan Museum of Art, New York, NY
WIGGIN, A.H. - Collection, Boston Public Library, Boston, MA. Lugt 2820a
Winnipeg Art Gallery, Winnipeg, Manitoba, Canada
WRIGHT, W. - Collection, London, now at South London Gallery, London, UK
YALE University Art Gallery, New Haven, CT
YOUNG - Collection, partly C. & J. Goodfriend, Drawings and Prints
ZILLER - Collection, now at Staatliche Kunstsammlung Dresden, Germany
Zimmerli Art Museum, The State University of NJ, Rutgers, NJ
Unknown collector's marks
Here are some collectors' marks which we cannot trace back to the owners.
If you know any of them, we would appreciate receiving your information in order to complete our list.
1. Monogram EEJ
2. Monogram WJS (Lugt 2631a)
3. Monogram
4. Monogram D.C.
5. Monogram J.N. (presumably German collector)


TOYOTA MR-2 HOODS FITS: 1991-1998 TOYOTA MR-2 WHITE RED BLACK YOU WILL BE RECEIVING THIS EXACT ITEM OR ITEMS. THESE ARE ACTUAL PICTURES. WE ARE NOT LIKE OTHER JDM IMPORTERS THAT LIST STOCK PHOTOS. WHAT YOU SEE IS WHAT YOU GET.


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Unique Management & Marketing Concepts
Neuroscientist Makes Oscar-Winning Film on Alzheimer's
Alzheimers May 1, 2019April 30, 2019 admin
Lisa Genova is a neuroscientist who writes novels! She recently gave a talk at UCSB Arts And Lectures entitled "Still Alice: Understanding Alzheimers"
Here are courtesy photos kindly provided by Dr. Genova's agent.
As a neuroscientist, Dr Genova knows that our brains are not very good at absorbing factual information directly. We do much better at understanding stories. As a result, she had to become a story teller to convey what she has learned about Alzheimer's Disease.
In particular, empathy is the best way to learn. Story telling was a whole new way of thinking for her and it was a bit scary.
Genova grew up in a big Italian family. Her beloved grandmother was diagnosed with Alzheimer's.
The statistics are staggering. About 5.7 million with Alzheimer's in the US now. A new one is diagnosed every minute. Half of all people aged 85 and over have Alzheimer's.
If you don't have it at some point, it is likely you will become a caregiver for someone who has it.
Alzheimer's often starts in the hippocampus which is an important brain center for memory. But then it spreads. The language centers are often affected after memory.
We are all familiar with the "tip of the tongue" phenomenon of knowing a word but not being able to access it. This is normal. But in Alzheimer's it shows up for every day words rather than for less-accessed words. Words like door, tree or pencil.
Alzheimer's can spread to the amygdala and limbic system which are the centers of emotion. The result can be grief, rage or even lust.
In the case of Genova's grandmother, the grandmother made a point of touching every attractive man in the supermarket!
Episodic memory is often what we mean when we say "memory". It is the memory of specific events or episodes. In contrast to "how-to" memory, for example. Alzheimer's attacks episodic memory. Her grandmother started to forget family members one by one.
It can spread to the cerebellum which controls bodily movement. The disease typically takes 8-10 years to end in death.
She showed images of brain loss that are dramatic. The shrinkage and rot are obvious.
Amyloid beta plaques accumulate for about fifteen years. They collect at the synapses. If you are over 40 you probably have these.
Memory problems are more about paying attention in the first place than about memory in normal cases. Were you actually noticing where you left your keys or your phone in the first place?
Alzheimer's is different. You may discover you left your keys or your phone in the microwave oven.
Genova realized she did not know how to be with her grandmother. Mirrors confused her grandmother. Who was that old woman in the mirror? Her memories were all before age 20.
She forgot all of her nine children. Starting with forgetting the daughters!
Her aunts took her grandmother to Italy for a final farewell. They were sitting on the plane at Boston Logan Airport. The jet engine puzzled her. She thought it looked like a car. She was surprised that car followed them all the way to Rome!
Genova wanted to emphasize the difference between sympathy and empathy.
She asked for a show of hands how many have done the ALS Ice Bucket Challenge. Quite a few. She said that is a show of sympathy. You may feel pity. But then you can move on. Empathy is about connection. For example, what does it feel like to have Alzheimer's?
There are 40 million unpaid caregivers taking care of adults in the US. 75% are female. This amounts to about 18 billion hours per year of unpaid work.
Genova showed a video of a son caring for his father who was a retired tugboat captain. The video was created by Gillette and shows the son shaving the father.
The neuroscience of empathy is improving. It is believed now to be related to mirror neurons. Mirror neurons activate in you when you see someone else take an action or feel joy or pain.
We are wired for empathy despite societal pressures to suppress it. Stories can activate empathy.
That moved Genova to write the book "Still Alice". Which was then made into an Oscar-winning Hollywood movie. But it did not start out as a successful idea.
She met with 27 early onset/early stage Alzheimer's people. She had deep conversations with them. Their fears and regrets. They worry about their legacy and will they lose their driver's license. Will they still matter?
Genova said we are turning out backs on 50 million people worldwide. We treat Alzheimer's patients as we used to treat cancer patients. It was just not spoken about.
It took her a year and a half to write "Still Alice". She contacted 100 agents. Every one turned it down. They said it was too scary. Too depressing.
Genova decided to self publish it. She sold it out of the back of her car. She went to book clubs to give out free copies in exchange for writing a review.
When Simon and Schuster saw her hard work and success they decided to pick it up for publication.
Alzheimer's is about "losing yesterdays". You can only guess what happened in your past as if you were trying to make a prediction about an unknown future.
Worse, you can't choose which memories are lost. Can't I keep my happy memories of my husband in exchange for forgetting the names of state capitals? Unfortunately, no.
It seems that one's "soul" stays. I am not what I say or do. There is still a "me" that remains. One lives in the moment.
Neurologist and author Oliver Sacks said that he learned from those with mental health disease.
Genova wanted to learn acting. It was about as far outside her comfort zone as she could imagine. The start of learning was improvisation.
She learned that the core of improvisation is "Yes, and". Someone starts an improvisation scene and hands it to you to continue. You have to accept the gift. You can't negate the reality that you have been offered.
Let's go to Bali on a magic carpet. OK. Let's go. Let's see what happens next.
This works for acting. And it works for relating to someone with Alzheimer's. She finds her grandmother waiting for her dead mother to arrive. OK. Let's have tea while we wait. An example of "Yes, and."
You may think there is no point to visiting your Alzheimer's father. After all, he never remembers your last visit. He won't remember this one either. But there is an emotional memory that does remain. This connection and emotional memory stays even in late stage Alzheimer's. They will remember how you made them feel.
In 2002 her grandmother died. Two years before the book was done.
In 10-15 years she expects preventative medicine. Think how far technology has advanced in the past 10-15 years. There were no smart phones just that far back. Research tools get better each year.
Amyloid plaque prevention drugs are in trials. There is a rare gene that produces Alzheimer's 100% of the time. This allows for research on this population.
Most Alzheimer's is a combination of genes and life behavior. APOE4 is a gene that increases the chance of Alzheimer's. But with proper lifestyle it may never develop.
Here are key risk factors for Alzheimer's:
Cholesterol, Heart Health, Diabetes, Blood Pressure, Smoking
Here are key help factors to reduce the risk of Alzheimer's:
A Mediterranean diet reduces risk by 1/3
Sleep promotes glial cleaning
There can be a vicious cycle of sleep deprivation. It can lead to difficulty sleeping and more deprivation. The solution is good "sleep hygiene".
Increasing cognitive reserve and neuroplasticity. The more routes you have in your brain, the more alternatives there are when a route is lost.
Solving crossword puzzles unfortunately does not seem to increase that cognitive reserve. What does help? Travel to new places. Learning a new musical instrument. Learning a new language.
Genova took questions that were prepared somehow in advance.
Someone wanted to know if it was true that Alzheimer's can only be diagnosed by autopsy. She said that is not quite true. Dementia is a symptom that can have other causes: Depression, stroke, vitamin deficiency for example. Alzheimer's is diagnosed by elimination of other causes.
One test is to count backwards by sevens. Another is to see if the subject can remember an address five minutes later.
There is a Pittsburgh Compound B Amyloid imaging technique using a PET scan. It costs $2,000 and is not covered by insurance.
It is also possible to do a Cerebral Spinal Fluid (CSF) tap which is invasive and expensive. In the future it would be ideal if a blood test were possible.
What about the role of the media? In general, not very helpful. Bad ideas spread quickly while correct information spreads more slowly.
She was on Dr Oz and felt he was an example of a bad influence. He talked of aluminum as a cause of Alzheimer's which has never been replicated.
A recent claim was that gum disease contributes to Alzheimer's. I had seen this in a reputable place just before her talk! It turns out it was funded by Pharma and was not true.
She does say that Maria Shriver does good work in the media.
What about 23 and me genetic testing? It can be good for some diseases. Huntington's is 100% genetic, for example.
Genova says she lives as if she is at risk. The lifestyle changes to reduce Alzheimer's risk are good for everyone anyway! It is good to eat a Mediterranean diet, to exercise and to get adequate sleep for a variety of reasons!
So far the Alzheimer's drugs have failed. She likens it to putting out a match after it has started a fire. The drugs will have to be given before the symptoms appear. Once the symptoms appear the damage will continue on its own.
Some have asked Genova why she made a film about people with early onset Alzheimer's given that they are a minority of Alzheimer's victims. She explained that there is an attitude that Alzheimer's is a disease of people who are already old and dying, so who cares about them.
She wanted to show people who were young and active who had a lot to lose. She hoped her book and film made a difference in showing people who we could empathize with. People who are aged 45-55 like those in "Still Alice" are people who others depend on. At work and at home.
Unfortunately, one of the first things to be lost with Alzheimer's is the awareness of something being lost. This is frustrating for those who have to be caregivers as well as difficult for the person with Alzheimer's.
One benefit of early diagnosis is to allow the person to make the best use of the limited time available.
What have we learned in recent research? Amyloid beta is not just a toxic mess in the brain. It is there for a purpose. It seems to be part of the immune system response to microbes and viruses that get into the brain.
Amyloid beta is known to attack the herpes virus. In its normal operation, it serves that purpose and is cleared from the brain with adequate sleep.
There is a blood/brain barrier that ordinarily keeps microbes and viruses out of the brain. But that barrier leaks with age. Neuro-inflammation is one area of research that is needed.
She was asked about the details of how the film got made from the book. At first she was offered the chance to have it made as a TV movie on Hallmark or Lifetime. She turned that down. She wanted it on the big screen as a "real" movie.
A pair from London who were complete unknowns offered to make it into a real movie. She Googled them and found many hits for gay porn. It seemed like a bad offer! But then she was assured that many good film makers make porn to survive.
She took the leap of trust and sold them the film rights. They found writers. They made the movie and it won an Oscar!
The experience took her into a whole new world of red carpets. She was warned to stay cool. To avoid taking selfies with movie stars.
She met actor Eddie Redmayne and forgot the rules and began to gush over him. But it turned out he was an even bigger fan of Genova!
For me it is frustrating that we face so many policy challenges in the world that require an educated public. I give credit to Genova to recognize as a neuroscientist that people are not going to change fast enough. She met people where they are by giving them the stories they need to support good policies.
Genova also wanted people to know about https://alz.org/ as a resource for those facing the disease and for those who need the resources to help those with Alzheimer's.
Click here to view original web page at www.edhat.com
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Have you ever heard someone say that personal beliefs and belief systems have no place in the professional workplace? The suggestion is that someone's beliefs can get in the way of business and productivity. However, modern conversations have been about wholeness, work-life balance and self expression. It seems like there are two competing trains of thought that should be further investigated.
Consider the changing workforce, with the reigns of corporations and small businesses being handed over to the Generation X'ers, a generation that is known for being, shall we say, a bit less conservative then that of their predecessors. We (yes, we) are known for taking jobs based on our interests, and staying with the job to gain specific experiences or knowledge, then taking that to the next position in the new company – creating what one might term, a very transient workforce.
Looking back to previous generations, we can see that people were defined by their job, or their profession. If one was asked what they do, it would be based on their job description. Now, based on that, what happens to a person if they lose that job? Do they define themselves as "unemployed?" It seems as though they are defining themselves as without (un) use (employ) or useless. Therefore, their job or position was what defines them, or what they believe in. It was their a belief system, of sorts, though not extremely promising nor rewarding, to most.
Could this lack of stability and personal definition be part of the reason that the Great Depression perpetuated for so long? Could this suppression of personal beliefs and belief systems be part of reason for the 60's insistence and outcry for personal freedom and expression? Could this be part of the reason that depression and suicide in the United States is so high, and increasing, yearly?
Take this to the workplace. Where do belief systems fit in? When we look at a workplace, we look at the belief system that the business is built upon, in concert with it's purpose and it's competencies in order to help it become as productive and profitable as it can be. Anything that does not work within the defined parameters is discarded, those that do fit are enhanced.
If we look at the human side of the equation, and encourage the identification of a person's belief systems, along with identifying their purpose and competencies, we are able to identify how that person will be most productive, and thus, contribute, both directly and personally to the company's initiatives and vision. With the individual's personal belief system, and the belief system of your business are aligned, the individual will most likely have a passion, not just for his job, but also, for the company.
How valuable is your human capital to you? Have you had key employees that burned out and left? Have you improperly hired or changed jobs of your employees that caused more harm then good? Have you missed opportunities to develop your team because you neglected to explore that side of the equation?
Consider defining the belief system for your business, along with a establishing a sense of purpose and competencies. This is one of the tools that we at Aepiphanni Business Solutions help businesses become more productive and profitable in our AGS Program.


Pay $6 or more for 6 rhythm games including Retro/Grade and its soundtrack! Here's the link!
I wasn't interested at first but following the developement of Neverending Nightmares i got curious... it's technically incredible! When i finish a song i love seeing the battle "reverse", the environment is so full of details and color effects!
Compliments, Matt, i enjoy a lot playing it.
No the regular Humble store thing doesn't include the soundtrack. We license the soundtrack from the composer, which is why we ordinarily sell it separately.
Albigiusti, I'm so glad to hear that you enjoy Retro/Grade! I hope the Humble Weekly Sale gets more people excited about Retro/Grade. We poured a lot of effort into the game, so we would love a larger audience to appreciate it.


One of the biggest and most popular Christmas Bazaars in Central Oregon is held in La Pine. Frontier Days holds an annual Bazaar and Holiday Light Parade to kick off the holiday season the first weekend in December. There will be over 60 vendors of quality gift items! Hot Beverages! Soup & Goodies for sale to benefit a local non-profit organization. For entertainment, there will be bands and choirs and a visit with Santa! The bazaar takes place at the La Pine Community Center on Friday Dec. 1st and Sat Dec. 2nd. On Friday at 4:30 the Desert Sage Band will take the stage. On Sat at 6pm, the famous La Pine Christmas Parade will fill main street.


Civil Footnotes: A very great plugin for adding footnotes capability to WordPress1. It is so good I've made some commits to make next version of Opus2 compatible with this plugin3.
Hat tip to Austin Sweeney for developing this plugin. A very neat craft.


text:
class WordTrigger(Trigger):
    def __init__(self,word):
        self.word = word

    def isWordIn(self,text):
        word = self.word
        word = word.lower()
        text = text.lower()

        import string
        for x in string.punctuation:
              word = word.replace(x,"")
              text = text.replace(x,"")
        word = word.split()
        text = text.split()
        for word in word:
          if word not in text:
            return False
          else:return True

class TitleTrigger(WordTrigger):
    def evaluate(self,story):
        return self.isWordIn(story.getTitle())

class SubjectTrigger(WordTrigger):
    def evaluate(self,story):
        return self.isWordIn(story.getSubject())

class SummaryTrigger(WordTrigger):
    def evaluate(self,story):
        return self.isWordIn(story.getSummary())

redpajama_set_name: RedPajamaGithub


The story of two Catholic priests who travel to Japan in an attempt to find a missing priest Father Ferreira. They encounter a lot of violence and torture to the people who are seen to be Christians and practicing that faith.
Based on the true story of Jordan Belfort and his rise to becoming a very wealthy stockbroker and living a very extravagant life filled with crime, corruption and the federal government along with plenty of drugs!
We are taken on the journey of Jake La Motta's (De Niro) life and seeing how his no-nonsense boxing style transferred to outside of the ring, causing him to push his family away.
Being an actor and being attractive at the same time and in some cases being labelled a "pretty boy" can place a lot of extra pressure on the actor. After so long if they are not already showing brilliant acting roles they hit a point when their good looks no longer cut it in the world of film. This could be related to that if they are a young actor their "fan girls" grow up and they are still trying to do the same type of roles, this loses some of their fan base and its either show you can act or the work will dry up and you will slowly be forgotten about. But if they can act and show they can act what a career they will have!
Drama is set in 1954, U.S. Marshal Teddy Daniels (Leonardo DiCaprio) is investigating the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island.
Some pictures of my favorite actors and actresses. More from the red carpet and some of the winners and presenters. The best moment of the night had to be for Scorsese who was presented his award from Robert De Niro and Leonardo DiCaprio.
Ricky Gervais hosting the awards which will be an experience, I will keep updating this blog post as the show goes on.
The opening speech he headed straight for Steve Carrell with jokes about "The Office" and plastic surgery.
Very good opening jokes which seemed to go down well with his audience.
Nicole Kidman is the first up presenting best supporting actress in a motion picture.
Which goes to . . . Mo'Nique for Precious.
First speech of the night is a very emotional one with tears and dreams being reached, a rather long speech.
Toni Collette won best actress in a tv show comedy/musical.
ooo Robert De Niro is there !!!
Sir Paul McCartney presents best animated feature and is rather amusing, which has a great shot of Julia Roberts laughing.
Ricky Gervais saying we have had some worthy winners and some not so worthy winners. Plugging his own film.
Felicity Huffman who decided she messed up what she was saying so started over. She has totally lost what she's trying to say.
Best actor in a TV series drama goes to . . . Michael C. Hall for Dexter.
Best actress in a TV series drama goes to . . . Julianna Margulies for The Good Wife.
Just spotted Mickey Rourke kissing Mike Tyson.
Harrison Ford introduces Up in the Air.
Cher and Christina Aguilera presenting the best original song . . . The Weary Kind from Crazy Heart.
Best mini series or tv movie presented by Amy Adams and Josh Brolin. Goes to . . . Grey Gardens.
Something that always amuses me about the Golden Globes has to be how difficult it is for the winners to get onto the stage if they are not on one of the tables right next to the stage.
Tom Hanks introducing Julie & Julia.
Colin Farrell who looks very good I might add. Presenting best actress in a comedy or musical . . . Julia Roberts is sitting next to Paul McCartney. Meryl looks embarrassed with both of her nominations. Goes to . . . Meryl Streep for Julie & Julia.
She wants to change her name to T-Bone . . . T Bone Streep hahaha. I really do love Meryl the more I see her, she really is just brilliant. Awww she got rather emotional talking about her mother and how she is really grateful for everything.
Kevin Bacon won best actor in a mini series or TV movie for Taking Chances.
Drew Barrymore won best actress in a mini series or TV movie for Grey Gardens.
Cameron Diaz introducing It's Complicated.
Jennifer Aniston and Gerard Butler presenting best screenplay for a motion picture . . . Up in the Air. I am so pleased about this!!! Also Gerard Butler was very cute not letting Jennifer Aniston see the paper then saying I'm not telling you haha.
Jason Reitman got rather emotional towards George Clooney.
Jennifer Garner and Ashton Kutcher present best actor in a comedy/music on TV . . . Alec Baldwin won for 30 Rock, but he wasnt able to attend the awards.
Samuel L. Jackson introduces Inglourious Basterds. He then introduced Sophia Loren who got a standing ovation from the audience.
Best TV series Drama . . . Mad Men.
Taylor Lautner introduces (500) Days of Summer.
Halle Berry presenting best supporting actor in a motion picture . . . Christoph Waltz for Inglourious Basterds which I think was a pretty obvious choice.
Robert De Niro and Leonardo DiCaprio presenting Martin Scorsese with an award. Was brilliant seeing them on the stage together and talking about everything they have done in the films and what an impact he has had on films. Leo sees Marty as his friend and mentor, thats nice !!!
Marty's speech was just brilliant after seeing clips from his films. Everyone in the audience gave him a standing ovation, Kate Winslet and Julia Roberts lead the cheering which was great. You can tell that everyone respects Marty by the way they were watching him.
Jodie Foster introduces The Hurt Locker.
Mel Gibson is presenting after a very cheeky joke from Ricky Gervais about drinking. Director of a motion picture . . . James Cameron for Avatar. Could this be the first hint of the Oscar going to James Cameron too??? He thought his ex-wife was going to win it.
Best TV series comedy/musical . . . Glee. Yes, I really was hoping that Glee would win this. It's brilliant! All of the cast decided to get on the stage as well.
Reese Witherspoon presenting motion picture comedy or musical . . . and the winner is The Hangover.
Mickey Rourke (yay) presenting actress in a motion picture drama. He always seems so shy when he has to talk on a show like this.
The winner is . . . Sandra Bullock for The Blind Side.
Best actor in a comedy or musical . . . Robert Downey Jr for Sherlock Holmes. This is a bit of an outside win I reckon. I love him though he is brilliant. A very funny speech as well.
I am really hoping that George Clooney is going to get the best actor award, will find out in a few seconds.
Kate Winslet is presenting best actor in a drama . . . Jeff Bridges in Crazy Heart. Who got a standing ovation from the audience. They really let his speech be a long one !!!
The last award of the night best motion picture drama !!!
Presenting this my favorite Julia Roberts. She really does have a great smile. The Golden Globe goes to Avatar !!!
Interesting I was hoping for Up in the Air. O well never mind, this will make the Oscars more interesting.
DiCarprio . . . Scorsese . . . Its going to be good !!!


text:
Captain Marvel Joins The Team On Beautiful Avengers 4 Fan Poster
Christian Bone Jun 29, 2018 5:44 pm 2018-06-29T17:51:45-05:00
The final moments of Avengers: Infinity War completely shattered the Marvel Cinematic Universe as we know it. Due to Thanos achieving his goal of wiping out half of the universe, a huge swathe of the galaxy's mightiest heroes were turned to dust, including the Guardians, Black Panther, Doctor Strange, Spider-Man and many more.
Just to offer some light in the darkness, though, the post-credits scene of the movie teased the arrival of another hero who could help the surviving Avengers – Brie Larson's Captain Marvel, who was contacted by Nick Fury before he died. We didn't see the heroine appear in the sequence, but it's since been confirmed that Carol Danvers will turn up in Avengers 4 to help save the day.
But what could this team-up look like? Well, an amazing piece of fan art (artist unknown) which was shared on Reddit this week offers a mocked-up look at Carol joining the gang. It features the line-up of the heroes that survived Infinity War – Iron Man, Captain America, Thor, Hulk, Black Widow (with a new hairdo), War Machine, Nebula and Rocket – as well as three new additions we know will appear in the sequel. Namely, Hawkeye, Ant-Man and the Wasp.
In the center of the image, though, is Captain Marvel herself. A nice touch is that the blaze of light surrounding her resembles the character's star logo. As we don't know the title of the movie just yet, the fake poster devises a tagline that recalls the promotional material for Infinity War, reading: "All united, once and for all."
Of course, we'll get to meet Carol prior to Avengers 4, as Captain Marvel reaches cinemas in March. The studio has big plans for the former Air Force pilot turned superhero, too, as Kevin Feige's promised that she'll lead the MCU in Phase Four. Brie Larson has also teased that Carol will be able to lift planets. Surely with someone of that strength on their side, the Avengers will be able to best Thanos and get the universe back on track, right?


three 24 day old chicks in a plastic box...too small?
Discussion in 'Raising Baby Chicks' started by zumachicks, Mar 15, 2008.
i'm new at this...i have three 24 day old chicks and at night i have them in a plastic bin (file folder size wide and about 30 inches long) - is this too small?? they seem to be fine, but are getting so big, so fast! i also have a small water feeder and a bowl of food in there...newspaper on the bottom (for easy clean-up) and a bit of straw...am i supposed to have straw?? sorry if this question seems pedestrian, but i am learning so much from all of you!!!
Use paper towels until you are sure they won't eat the straw. Don't use hay because it can cause respiratory problems if it gets damp and moldy. Newspaper is too slick for their footing and you risk having leg/joint problems. Otherwise, you will probably have to upgrade to a larger container pretty soon. Just make sure they have enough room to comfortably get closer to the heat source or farther away as necessary. When you are sure they know the difference in their food and straw (I prefer pine shavings/never cedar; its vapors can kill them) you can stop using the paper towels. Hope this helped. Best wishes!
Just re-read your post. Your chicks are old enough not to need paper towels. Straw is OK. Some folks use straw and others prefer large pine shavings. You probably just need a bigger box!
Hi Zumachicks and welcome. Is it only for night/sleeping purposes? If so, that's o.k. But, in my opinion, at almost 4 weeks they need as much room to run around during the day, especially on grass in fresh air and sunshine, as possible. Then they are so tired at night they sleep like babies. I rig up small runs for mine starting at one week old if it's at least 70 and sunny outside. In which case, they actually need something shady to get under because that's where they go when they get hot from the sun shining on them and all that running around. I don't use any kind of heat light during the day outside - I let the sun do that.


Thank you (all Readers) for your support and interest!
April 2019: WELCOME to Learn Freelancing Proofreading & Copy-Editing and The Pocket Book of Proofreading.
New: style guides pop up in the most unusual places - in this case all about punctuation from the Office of National Statistics. There are also good pages on spelling, use of language, numbers, etc.
Published by First English Books (262pp).
The place to learn about freelance proofreading and copy-editing from home. It's never too late to start!
If you would like to leave a review (positive ones preferred!), you can do so here.
The Kindle version of The Pocket Book of Proofreading works fine too. It has been optimised to give you the best reading (and learning) experience on Kindle.
c) using the 'yellow note' facility if you are sent a PDF copy. This is very easy to learn.
Note: More detailed descriptions of b) and c) above are given in the Learn Freelancing Course (Download Version), which is a natural 'follow-on' from the proofreading book, if needed.
An old favourite but still good reading, at any time of year!
What can you expect to get paid for proofreading and copy-editing? The Society for Editors and proofreaders (SFEP) has a page just for this. See here.
'Just a few lines to let you know that I'm thoroughly enjoying the above course - its a gem!
Anyway, I just wanted to thank you for a great book and course.
'It's good to get paid for checking other people's work but more rewarding when a publisher sends you a payment for doing it'.
Work from home full or part time as a freelance proofreader and/or copy-editor. Beginners welcome at any level - with reasonable spelling!
Current hourly rates for proofreaders are around £22-£25 per hour.
Want to learn about freelance proofreading and copy-editing? Try Learn Freelancing and The Pocket Book of Proofreading (262pp.) Simply 1) Buy the book from Amazon.co.uk/com, 2) make sure you read the book in full and complete the exercises (works well with the New Oxford Dictionary for Writers and Editors), 3) You can try the Learn Freelancing course later, if wished (a download version is available).
"I have been "doing a bit" of proofreading and copy-editing over the years. I have paid over two hundred pounds for a correspondence course and bought several hallowed tomes on the subject... There is a wealth of knowledge from someone who really has been there and done that! I highly recommend this fantastic resource and I shall refer to mine often."
Learn all the real secrets of successful freelancing for publishers.
Work from home, full or part time.
NEWS: over 5 million people in Britain now work from home (2018) with more expected next year.
Entrepreneurs, people running their own businesses -- and some editors, freelance proofreaders, and copy-editors!
Britain leads the world in book publishing (The Times). 'The UK publishes more books per person than any other country in the world...Last year British publishers brought out 184,000 new titles and revised editions.' Plenty of work for freelances.
Good news re work just received!
'I just wanted to drop you a line to say thank you for your excellent proofreading course. I have been offered work with a publisher that specialises in my favourite field...' Kate T.
Any questions? Please contact the editor.
Simply send your email to editor@LearnFreelancing.com.
Here is a useful link re British and American (US) spellings: British (Queen's) versus American English Spelling.
It's called Nature Edit. Have a look. A perfect name for someone specialising in natural history. Well done to Liz.
Liz is a very talented zoologist who is also an experienced and talented freelance writer, editor, copy-editor and proofreader.
If you like the idea of working from home as a freelance proofreader, Learn Freelancing can show you how - beginning with The Pocket Book of Proofreading.
William Critchley originated his editorial/proofreading course many years ago, making it the first course of its kind. His editing experience spans more than two decades. Since then, the course has been continually updated and revised - to the point of perfection!
You can see for yourself if you read a copy of The Pocket Book of Proofreading. All the essential information is here. Beginners are welcome too.
Working in publishing is stimulating and rewarding but you need to acquire the right skills. Freelancing can offer you the opportunity, after training, to be sent proofs (typescripts of books) either by post, direct from the publishing house to your home address or online through the Internet.
This skill can pay you around £22-25 an hour, and £28 plus for copy-editing. Rates do vary between publishers and when starting out you may be fortunate to get £17 or £18 per hour. If you find two or three publishers to send you work you'll be kept busy all the time, and enjoy the freedom of earning extra income from home. Competition can make it tough to get started, however, but Learn Freelancing gives you the best possible start.
The Pocket Book of Proofreading contains 262 pages filled with tips and essential information - knowledge at your fingertips. The book cover is glossy laminated so it will last longer as your reference book.
Learn Freelancing is also the only course provider offering an instant PDF download of a proven course with all the proofreading marks in the correct colours, making the course exceptional value for money. There's no need to spend hundreds of pounds on the old, 'laggard' courses to learn this skill. Distance learning has never been better - with Learn Freelancing!
To order your course (the Download Version) with the discount, when you have finished reading the book and completed the exercises in it, please click here. NB: You have to read the book first to learn 'the nuts and bolts', so to speak, so start with this first, and decide on taking the course later.
'A completely realistic guide to proofreading and copy-editing. Ideal for beginners or seasoned pros. Sits on my desk next to Hart's Rules and gets just as much attention - the content is relevant, true to life and entertainingly written.
Re Kindles: Nice quote: 'Every morning and evening of my commuting life, I lug to and from work three dictionaries, two encyclopaedias, the complete works of Shakespeare, Dickens, Trollope, Austen, Tolstoy and Eliot (George, not T.S.) and a growing library of modern bestsellers.
Of course, as recently as a decade ago, any such admission would have raised serious concerns about my sanity, not to mention questions about back strain.
But as readers will have guessed, I carry these dozens of volumes around with me not in paper and ink, but in miracle form.
Thanks to the miracle of the Kindle...the whole lot fit neatly into my raincoat pocket, weighing in at grand total of 7.5. oz - or slightly less than a typical paperback.
1. The Secret Barrister by 'The Secret Barrister' (Macmillan, 1918). A bestseller explaining what's wrong with the law and how ineffective it can be in many cases. A really good read.
2. Factfulness: Why Things Are Better Than You Think by Hans Rosling (Sceptre, 2019). Previously gave many TED talks. All about the world we currently live in. Another top read.
3. The Wind in My Hair: My Fight for Freedom in Modern Iran by Masih Alinejad (Virago, 2018). The author makes a strong case for personal freedom in the face of religious bigotry and intolerance. A Radio 4 Book of the Week.
5. Enlightenment Now: The Case for Reason, Science, Humanism, and Progress by Steven Pinker ('My faourite book of all time' - Bill Gates) (Allen Lane, 2018). The world is changing for the better.
6. Another Carlo Rovelli book. The Order of Time (Allen Lane, London, 2018). The physicist who is also a poet.
'The physicist transforming how we see the universe' - Financial Times. I didn't manage to understand the physics in some places but this book is a really wonderful read.
Take a little time to watch this video about 79 common mispronunciations. Amusing and quite good.
Note: You can order your copy of The Pocket Book of Proofreading with free p&p in the UK. Here's the link.
Wishing you every success and Good Reading!
A new clinic specialising in Botox, fillers, various enhancements, etc. If visiting London and in need of repair, or dear mother-in-law! Run entirely by young highly qualified doctors. Actually, if you look closely, you will see a connection (runs in the family).
Easy to learn but still absolutely necessary if you want to master the subject of proofreading. Find out more, and see what they look like.
Check out these sample pages from The Pocket Book of Proofreading, the course and the extra exercises.
The proofs of the story about the Greek island. Where is it? Why is it so famous? A few answers for you on this page, including a view over the bay (caldera) plus a wonderful fresco of two boxing boys.
You'll be glad you did. For a quick overview read more here, find out how many pages you should read per hour, and how much would you get paid for proofreading 330+ pages?
These are essential – just two to read about here. The New Oxford Dictionary for Writers & Editors, and The Writers' & Artists' Yearbook. The other essential book? You need The Pocket Book of Proofreading!
These are included in the course download – two extracts from a new novel for you to practise on. Try these two first before starting on the main set of proofs, where you need to find at least 250 errors!


text:
Is the universe expanding faster than the speed of light? (Intermediate)
Wednesday, 10 September 2003 07:29
Answered by Dave Rothstein
I had a recent discussion with a professor about the early universe and rapid expansion. He affirmed that the expansion was not greater than the speed of light. Why is there such a misunderstanding about this?
Note: For a briefer discussion of a similar question see: Can two galaxies move away from each other faster than light?
Some of the misunderstandings surrounding this topic might come from confusion over what is meant by the universe "expanding faster than the speed of light." However, for the simplest interpretation of your question, the answer is that the universe does expand faster than the speed of light, and, perhaps more surprisingly, some of the galaxies we can see right now are currently moving away from us faster than the speed of light! As a consequence of their great speeds, these galaxies will likely not be visible to us forever; some of them are right now emitting their last bit of light that will ever be able to make it all the way across space and reach us (billions of years from now). After that, we will observe them to freeze and fade, never to be seen again.
As for your specific question of what was happening during the period of rapid expansion (or "inflation") that was thought to mark the early universe, I have to admit that I'm a little less clear on that. However, the basic idea of the theory of inflation is that the part of the universe which we can see (the "visible universe") is only a tiny part of the universe as a whole, and that the universe underwent exponential growth during the inflationary era. Therefore, there certainly would have been points which moved faster than the speed of light with respect to each other during inflation. Whether any points within our visible universe moved faster than light with respect to each other is something I'm less clear on, but I'll work on learning more about this specific point and update this if I find anything!
To answer the broader question in detail, we need to specify what we mean by the universe "expanding faster than the speed of light." The universe is not a collection of galaxies sitting in space, all moving away from a central point. Instead, a more appropriate analogy is to think of the universe as a giant blob of dough with raisins spread throughout it (the raisins represent galaxies; the dough represents space). When the dough is placed in an oven, it begins to expand, or, more accurately, to stretch, keeping the same proportions as it had before but with all the distances between galaxies getting bigger as time goes on.
The bottom line is that different pairs of galaxies are moving at different speeds with respect to each other; the further the galaxies are, the faster they move apart. So when we ask whether the universe is "expanding faster than the speed of light," I am going to interpret that to mean, "Are there any two galaxies in the universe which are moving faster than the speed of light with respect to each other?"
So how do we measure this? As discussed in a previous question, the universe's expansion is determined by something called the Hubble constant, which is approximately equal to 71, measured in the technically useful but conceptually confusing units of "kilometers per second per megaparsec." In more sensible units, the Hubble constant is approximately equal to 0.007% per million years -- what it means is that every million years, all the distances in the universe stretch by 0.007%. (This interpretation assumes that the Hubble "constant" actually stays constant over those million years, which it doesn't, but given that a million years is extremely short on cosmic timescales, this is a pretty good approximation. It also assumes that when we talk about the "distance" between two galaxies, we are referring to the distance between them right now -- that is, the distance we would measure if we somehow "pressed the freeze-frame button" on the universe, thereby stopping the expansion, and then extended a really long tape measure between the two galaxies and read off the distance. There are many other distances that can be defined in cosmology, but this is the most useful one for the current question.)
If we use the definition of distance given above (and only if we use this definition and no other), then the Hubble constant tells us that for every megaparsec of distance between two galaxies, the apparent speed at which the galaxies move apart from each other is greater by 71 kilometers per second. Since we know that the speed of light is around 300,000 kilometers per second, it is easy to calculate how far away two galaxies must be in order to be moving away from each other faster than the speed of light. The answer we get is that the two galaxies must be separated by around 4,200 megaparsecs (130,000,000,000,000,000,000,000 kilometers).
So we have reduced the original question to a much simpler one: Are there any two galaxies in the entire universe whose distance (as defined above) is greater than 4,200 megaparsecs?
Well, we could just answer this question by "cheating": Since current cosmological theories state that the universe is infinitely big, then there certainly are a bunch of galaxies which are more than 4,200 megaparsecs away from each other -- in fact, an infinite number of them! However, if we want to stick a bit more closely to observations, we can't really prove that the universe is infinite. In light of this, a more fair question to ask might be whether or not any galaxies in the visible universe (the part we can currently see) are moving away from us faster than the speed of light.
Surprisingly, the answer is yes! Ned Wright's Cosmology Tutorial has a calculator which allows you to compute many quantities, including distance, for different models of the universe and for galaxies at different "redshifts" from us (the redshift is an experimentally easy-to-determine property of the galaxy's light that tells us how much the universe has stretched between the time the light was emitted and the time it was received). Using the best observationally-determined values for the universe's rate of expansion, acceleration and other parameters (which are the default inputs for the calculator), I found that if you use a value of around 1.4 for z (the redshift), you get the required distance of 4,200 megaparsecs. Therefore, any galaxy with a redshift greater than 1.4 is currently moving away from us faster than the speed of light.
Can we see these galaxies? Yes, we certainly can! Bright galaxies are regularly detected out to redshifts of a few; a redshift of 1.4 isn't really that much. For example, here are some pictures of quasars (galaxies with extremely active black holes in their centers) with redshifts around 5. We can even see light (although not individual objects) all the way back to a redshift of 1000 or so. (This light is referred to as the Cosmic Microwave Background and was emitted around 380,000 years after the Big Bang, right after the Universe had cooled down enough for light to get through all the intervening matter.) Meanwhile, the numbers spit out by the calculator tell us that for a galaxy with a redshift of 1.4, the light we are currently seeing from this galaxy was emitted around 4.6 billion years after the Big Bang, when the Universe was already quite well-developed.
You might be wondering how we could possibly see a galaxy that is moving away from us faster than the speed of light! The answer is that the motion of the galaxy now has no effect whatsoever on the light that it emitted billions of years ago. The light doesn't care what the galaxy is doing; it just cares about the stretching of space between its current location and us. So we can easily imagine a situation where the galaxy was not moving faster than the speed of light at the moment the light was emitted; therefore, the light was able to "outrun" the expansion of space and move towards us, while the galaxy moved away from us as the universe expanded. Keeping in mind what we learned above -- that farther objects recede faster in a proportionally stretching universe -- we can immediately see that right after the light is emitted, the galaxy is moving away from us faster than the point at which the light is located, and that this disparity will only increase as time goes on and the galaxy and light separate even more. Therefore, we can easily have a situation where the galaxy keeps on moving away faster and faster, eventually reaching or exceeding the speed of light relative to us, while the light which it emitted billions of years ago leisurely coasts on, never having to move across a region of space that was stretching faster than the speed of light, and therefore reaches us eventually.
You might also be wondering how a galaxy is ever able to surpass the speed of light barrier in the first place; for that, see our answer to a previous question.
The fact that galaxies we see now are moving away from us faster than the speed of light has some bleak consequences, however. Astronomers now have strong evidence that we live in an "accelerating universe," which means that the speed of each individual galaxy with respect to us will increase as time goes on. If we assume that this acceleration continues indefinitely, then galaxies which are currently moving away from us faster than the speed of light will always be moving away from us faster than the speed of light and will eventually reach a point where the space between us and them is stretching so rapidly that any light they emit after that point will never be able to reach us. As time goes by (billions of years in the future), we will see these galaxies freeze and fade, never to be heard from again. Furthermore, as more and more galaxies accelerate past the speed of light, any light that they emit after a certain point will also not be able to reach us, and they too will freeze and fade. Eventually, we will be left with a universe that is mostly invisible, with only the light from a few, very nearby galaxies (whose motions are strongly affected by local gravitational interaction) to keep us company. For more details, here is a technical paper on this topic.
Which galaxies are currently "saying their last goodbyes?" That is, if we imagine that there are aliens living in these galaxies who hope to make contact with us, which galaxies are running up against their deadline right at this moment? A reasonable guess would be that the galaxies which are currently moving at the speed of light with respect to us (at a distance of 4,200 megaparsecs and redshift of 1.4, as discussed above) are at the "critical point" where any light they emit after now will never be able to reach us. Roughly speaking, this is correct, but a detailed calculation (such as the one contained in this paper) shows that for the simplest viable model of the universe's acceleration, it is actually galaxies at a distance of 4,740 megaparsecs and redshift of 1.69 that are just now reaching the critical point, while galaxies at a redshift of 1.4 are still emitting light that will eventually reach us.
The difference is due to a rather subtle fact: Even though the universe is "accelerating" in the sense that each galaxy moves faster as time goes on, the Hubble constant is actually decreasing with time -- in other words, the rate at which space is expanding, measured at a point which is at a fixed distance from us, gets smaller as time goes on. If we keep our eyes on an individual galaxy as it moves away from us, we will see it accelerate, but if we keep our eyes on a fixed point in space and watch many different galaxies go past that point, each galaxy's speed will be slower than the one before it. (As a very rough analogy, the universe behaves like a river with rapids. If you put a boat in the river and allow it to be carried by the flow, it will accelerate as it moves downstream and enters the rapids. But if you sit on the bank and measure the speed of the water at one location, it changes based on an entirely different set of factors -- for example, the rate at which the supply of water from upstream is changing. It is possible for the water speed at your location to decrease with time, even though each boat that you release accelerates as it heads into the rapids.) Because of this effect, if light is able to "swim against the tide" and remain at a roughly constant distance with respect to us (as would happen if it is emitted from a galaxy moving away from us at the speed of light), then as time goes on and the Hubble constant decreases, it will eventually be able to gain ground, "swim upstream" and traverse the necessary distance of space to reach us.
This page was last updated February 10, 2016.
Dave Rothstein
Dave is a former graduate student and postdoctoral researcher at Cornell who used infrared and X-ray observations and theoretical computer models to study accreting black holes in our Galaxy. He also did most of the development for the former version of the site.
Can two galaxies move away from each other faster than the speed of light? (Intermediate)
How are galaxy distances inferred from their recessional velocities? (Intermediate)
How do supernovae show us that the Universe's expansion is accelerating? (Advanced)
When measuring the expansion of the universe, do astronomers consider that they're seeing how galaxies moved long ago, not today? (Intermediate)
Why can't we see Venus at night when it is an inner planet? (Intermediate)
Flux Reflection Speed of Light Thermodynamics Elliptical Galaxies Absorption Constellations Climate Solstice Mayan Gravitational Waves Galileo Matter Spacetime Fuel Naming Tides Compact Objects Jet Stream Conservation of Momentum


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Pingtung public bike rental system ( the"System" ) is an automated location-to-locationbike rental service (the "Service") provided by Pingtung county government.
Refers to people who use electronic tickets issued by iPASS corporation (the "iPASS") after registration at the Pingtung public bike's official website, Kiosks (automatic service machines), mobile application or service center.
●You agree to provide accurate and complete information about yourself when required by theService's registration form (the "Registration Data") and ensure your Registration Data is kept up to date.
●It is not allowed to obtain or use others' data through theft, fraud or other improper means.
●If you provide wrong, false, or incomplete information on the above categories, the System reserves the right to suspend or terminate your access to all or part of the Service.
●In the event that you change your personal information, your iPASS card has been stolen, or any other breach of security occurs, you must immediately notify the service center (0800-255900).
About your registration and other specific information to the Department of Pingtung County are all in accordance with "Personal Data Protection Act" to be protected and specifications. You understand when you use the Service, you agree within a reasonable range based on "Personal Data Protection Act" to collect and legal use of your personal data, including the transmission and storage of the system, Pingtung City public bicycle billing and settlement system, card and credit card issuing companies.
●It is not allowed to obtain an electronic ticket card number through theft, fraud or other improper means.
●In the event that your electronic ticket or electronic wallet has been stolen, or any other breach of security occurs, you must immediately notify the System. After each ride the public bike must be parked in a parking dock of the service system, and you must verify proper return and pay the fee using your electronic card.
If you are an incapacitated person or minor as set forth in the provisions of the Civil Code, in addition to compliance with the preceding paragraphs 3.(3), your parents (or guardians) should read, understand and agree to all the terms of thecontents of this service, before using or continuing to use the Service. When you use or continue to use the service, it is presumed that your parents (or guardians) have read, understood and agreed to be bound by these terms of service.
(1)	You fully understand and agree that registration for the application to use the Service, and they are not meant to guarantee the use of the Service. As this Service concerns a public facility used by thepublic, the System does not warrant that the user can rent or return a bike each time (i.e. an empty parking dock being available); you agree that if such events occur you shallabsorb losses or damages. The only warranty which the System makes is, through the use of a management system to allocate dedicated bikes and personnel to distribute bikes, to achieve the optimal allocation of vehicles and parking docks.
(2)	About the user's compliance obligations and commitments, you undertake that you will not use this Service for illegal purposes in illegal ways. You also undertake to abide by the"Road Traffic Safety Rules"and "Road Traffic Management and Penalty Act". You agree and guarantee that you will not use this Service to infringe on other people's rights nor to engage in illegal behavior.
(3)	People under 14 years old is prohibited to ride; 14-18 years old must be accompanied by an adult.
(4)	If the user fails to timely return the bike, the user should take the initiative to contact the service center. Users overdue return the bike more than 24 hours, the service center will proactively contact the users, and as the case may contact police units to assist the inquiry. If you lose your bike, you should immediately notify the service center (0800-255900) and report the case with the local police and obtain a proof of report. Next, present the proof of report of loss of the bike to the service center.
(5)	If you report and obtain a proof , you will not need to pay the compensation temporarily. If the bike has not been found more than three months, you have to pay the compensation in accordance with the residual value of the bike. The amount of compensation refer to the precautions . If you do not report, we will assume that you are overdue return (over 24 hours). The service center will proactively contact you to return as soon as possible, but has not yet returned, we will prosecute the responsible parties to the full extent of law.
(6)	Please use a registered iPASS on the sensor area on the kiosk or dock to rent a bike. One person can only register with one card; the same card cannot be used for renting several bikes. The bike should be securely inserted into the parking dock when returning, and please follow the instructions at the station. Before paying your rental with iPASS card, please wait until the light indicates that the bike has been successfully returned. This ensures the entire process of rental and return is error-free.
(8)	If any eventthat the user incurs a fine for a traffic violation happensduring the rental period, the user is responsible for paying the fine in full. If the bike is held by an authority, the rental fee from the time of rental until the retrieval notification from the authority concernedshall be borne by the user.
(9)	In the event the bike involved in a collision or otherwise suffers damage which as a resultoffactorsnot attributable to users,please immediately notify the System service center. If this is attributable to users, rescue fees, repair fees, and rental fees, as well as all damage to third parties if applicable, must be borne by users. If users have the bike repaired elsewhere without the System's permission, the System may askthe original manufacturer to offer a quotation for restorative repair.
(10)The user has the obligation to use the bike in good faith and protect it. It is not permitted to sell, encumber, or pledge the bike. If the bike suffers damage or stolenattributable to the user, the Systemwill report the case to the police for handling, and all the rights related to the damaged or missing bike will remain with the Pingtung county government.
(11)The public bike does not provide personal accident insurance, users should be self-insuredif necessary.
(1) You agree that the system was based on its sole discretion, for any reason, including but not limited tothe use of a certain period, the court or government agency commands, your own request, the service could not be continued or contentsof services substantively changed, unexpected technical or security problems, your fraud or illegal acts, not to pay, or other conditionsrecognized by system that you have violated the rule and spirit of registration provisions, and the system would terminate your right to use the service card.The system might also depend on their sole discretion, with or without notice in advance at any time,to terminate the Service or any part thereof. You agree that the services provided under this registration provision of any regulations would be terminated without prior notice at anytime, and you acknowledge and agree that this system would immediately deactivate or delete your registration, and stop using the Service. In addition, you agree that the termination of the Service should not be liable to user and any third party.
(2) You agree that the card you registered is not transferable, and any rights you have registered in the system would immediately terminate upon your death. The title of the registration provisions of the Department is for convenience only and has no legal or contractual effect. If any violation of the registration provisions, please immediately contact our service center system.
●	The service will meet your needs. The Service will be non-interrupted, or provided timely, safe and reliable, or error-free.
●	The results generated from access to the Service are correct or reliable.
●	The suggestions and information you access via the Service, written or verbal, will not constitute a guarantee for the Service.
The Service reserves at any time, without notice at any time to modify or discontinue, temporarily or permanently providing the Service (or any part thereof) rights. You agree that the system is no liability to you or any third party for any modification, suspension or discontinue providing the Service .