text:
Seven artists look at how we view structures in 'Frame // Unframe'
By Indiana Nash | June 30, 2021
Katherine Chwazik's "Intersection (Madison and Philip)," woodblock on paper and wood. (Indiana Nash)
The latest exhibit to open at Albany Center Gallery invites viewers to reexamine the structures around us; from patterns in nature and city streetscapes to more interior spaces.
Called "Frame // Unframe," it includes works from seven regional artists. They each use different mediums to reflect on visual or psychological constructs.
Laura Cannamela's earthy sculptures, dotted through the gallery, form the bedrock of the exhibit. Made from wood-fired stoneware, pieces like the aptly named "Cleofan" depict a rugged, perhaps mountainous form. Cannamela is inspired by natural patterns and cycles a glacially formed gorge near her home and often layers different kinds of clay together to create a more realistic geological pattern.
Her work is juxtaposed with that of Katherine Chwazik, who depicts local buildings and city streets through a combination of printmaking, drawing and sculpture.
In one piece, titled "Intersection (Madison and Philip)" Chwazik layers the past and the present, including pieces of architecture visible today and others that live on in the memories of residents.
"Composite," perhaps the largest work from Chwazik featured in the exhibit, is an architectural rendering of a streetscape with layers of sketched different details that blur the designs of each building. The piece juts out from the wall, bridging the gap between a two and three-dimensional work.
Not too far away are prints from Amanda Kralovic who focuses on nature-inspired patterns. "Blue Tiles" features two water-like patterns, shown in white with navy and turquoise backgrounds. They create an illusion that makes the viewer feel like they're looking into a swimming pool, with a checkered liner. Elsewhere in the exhibit, Kralovic also reflects on water though through a more somber lens, particularly in "Reflection Puddle – Strength." With a khaki-colored background, the center is filled with an abstract shape colored a rich brown with undulating v-shaped patterns.
Artist Drea LaRose focuses on interior spaces, which many of us have been confronted with more than ever in the last year or so. LaRose's work blends photography and digital artwork, magnifying familiar materials and pulling them outside of their traditional context.
In one work, called "Untitled (PlasterWall_LeatherChair)," slivers of graph paper patterns are paired with what looks like sunlight pouring in through a window frame. Next to it is a strip of plaster, with a piece of wood sealed inside it.
According to LaRose's artist statement, her work during the last year has shifted toward "the inherent beauty, conflict and security within our conception of 'home.'"
Dorothea Osborn, another artist whose work is featured in "Frame // Unframe," also makes the familiar strange. In one mixed media installation,
Osborn combines a yellow canvas featuring an checkerboard pattern, with black and white gloves sewn to the bottom of it and a trail of black faux hair trailing down the entire piece and onto the floor.
Nearby is another work, called "Questionable," which combines vintage men's shirts and pants and paint. The shirts are wrapped around a frame of sorts and cascade into a pair of pants, which feature a rock tucked into the cuff as if weighing the entire piece down.
Perhaps it's a reflection on #MeToo issues, though the composition seems to reject a simple interpretation.
Not too far away is the work of Sean Desiree, which uses found wood pallets and other discarded materials to create polished, geometric sculptures. Desiree's "Reflexion" and "Connextion" mix different wood grains, colors and textures, creating a sense of vibrancy.
Striking photographs from Justin Baker round out the exhibition. One eerie image features a grim parking lot and a grassy incline with discarded sheets strewn across it. Another, called "fresh air fund summer 2007, version 2," balances a somber color palette with a vibrantly colored frame. The bottom edges of the work, depict a dull cityscape, while the center is filled with a more fictitious form. The three-dimensional rectangular figure takes the shape of a billboard-like structure, with a sign declaring "Disponible" (which translates to "available").
"Frame // Unframe" is an absorbing exhibition, bringing together seemingly disparate works in a thought-provoking way. It runs through July 30 at Albany Center Gallery. There will be an opening reception on Friday, July 9 from 5:30 to 7:30 p.m. For more information visit albanycentergallery.org.
Images: Schenectady IlluminoCity downtown holiday lighting contest winners announced (20 photos)
Schenectady and Amsterdam photographers talk about award-winning photos
Images: The art of Rotterdam wood carver Carl Borst (6 photos)
On Exhibit: Landscapes as you've never seen them, on view at Union
CDTA puts electric car rental program in full gear
Categories: Art


text:
Q: High Performance Issue in loop I'm have an issue with high performance inside a loop. I'm not sure how I can optimise the code to be honest. With the Visual Studio Performance Explorer I've managed to fix a few bugs I've had, but now the problem seems to be due to the number of loops this particular for loop is doing.
Here's a screenshot from Visual Studio:

I'm guessing that since the int i = 0 is being marked the performance issue is because of a large number of loops. Alsp, I know that ExecuteReader is marked as high performance but I don't think I can change that, I mean it's the requests I have from my database.
EDIT
Code:
public IQueryable<Match> GetMatches()
{
    DLTxOdds dlTxOdds = new DLTxOdds();
    IQueryable<Match> matches = dlTxOdds.GetMatches();
    List<Match> mList = new List<Match>();

    // For each retrieved match check whether it contains any sure bets
    foreach (Match m in matches)
    {
        List<SureBet> matchSureBets = new List<SureBet>();

        // Get sport of match
        m.sport = dlTxOdds.GetMatchSport(m.sportid);
        // Get orders of match, ordered by the odd type id
        m.matchOffers = dlTxOdds.GetMatchOffers(m.matchid).OrderBy(o => o.ot).ToList();

        int tempID = -1;
        List<Offer> tempMatchOffersList = new List<Offer>();
        // For every match offer get its respective bookmaker, odds and odd type
        for (int i = 0; i < m.matchOffers.Count; i++)
        {
            m.matchOffers[i].bookmaker = dlTxOdds.GetBookmaker(m.matchOffers[i].bid);
            m.matchOffers[i].odds = dlTxOdds.GetOfferOdds(m.matchOffers[i].offer_id);
            m.matchOffers[i].oddType = dlTxOdds.GetOddType(m.matchOffers[i].ot);

            // Filter the match offers so that offers with the same odd type id are checked for sure bets
            tempID = m.matchOffers[i].ot;
            // if current index is last one we cannot check for the next element therefore add to list and check for sure bets
            if (i + 1 != m.matchOffers.Count)
            {
                // if next odd type in list is different, check for sure bets
                if (m.matchOffers[i + 1].ot != tempID)
                {
                    tempMatchOffersList.Add(m.matchOffers[i]);
                    // Get sure bets
                    matchSureBets.AddRange(GetSureBets(tempMatchOffersList));
                    tempMatchOffersList = new List<Offer>();
                }
                // else add to temporary list
                else
                    tempMatchOffersList.Add(m.matchOffers[i]);
            }
            else
            {
                tempMatchOffersList.Add(m.matchOffers[i]);
                // Get sure bets
                matchSureBets.AddRange(GetSureBets(tempMatchOffersList));
            }
        }

        if (m.matchOffers.Count() != 0)
        {
            // if match has any sure bets add to list...
            if (matchSureBets.Count() != 0)
            {
                m.sureBets = matchSureBets.Where(s => s.max == true).OrderByDescending(s => s.profit).ToList();
                mList.Add(m);
            }
        }
    }

    mList = mList.OrderByDescending(m => m.sureBets[0].profit).ToList();
    return mList.AsQueryable<Match>();
}

redpajama_set_name: RedPajamaStackExchange


Science and the creative arts don't always mix well. When I was an undergrad at UCLA, I recall the campus being divided into "North Campus" and South Campus." The north was for those who studied the arts, literature, philosophy and the south was reserved for the engineers, the mathematicians and the physicists. The DMZ was around Powell Library, and crossing the line of demarcation made me queasy. It goes without saying, I was a denizen of the south and I always felt like I was traveling into a foreign land when I had to attend a class outside my major up in North Campus. There was this uneasy feeling walking through the shaded paths between the old brick buildings where people thought in terms of poetry instead of equations.
Bob proves to me that a science enthusiast (he is a docent at the Mt. Wilson Observatory) also can be sensitive and soul-reaching with his prose. Take the following poem for example that Bob graciously allowed me to reproduce for the SLB. "That poem, 'First Star,' is a very special one to me and I use it as the frontispiece in the book. I wrote it in Boulder, Colorado in 1960 for my mother just before she passed on. The 'mountains' referred to there are the front range of the Rockies, at the edge of Boulder," says Eklund about his motivation for the piece.
While sunset clouds sail grandly by.
The better to reveal the star.
I believe that a coupling of science and the arts is a pleasing example of complementary disciplines and enjoying astronomy motivated poems like Bob's can assuage attitudes sometimes associated with the hard sciences.


When children harm themselves or act out due to depression, parents are often left flabergasted.
They say they had no idea that their well looked after child was harbouring depressed thoughts.
And that isn't surprising, because just like adults struggling with depression, children can be very good at internalising their problems.
There are, however, a few signs to look out for. We have put together a list of the tell tale signs, along with some advice about what to do.
We all get low and upset at times. But if your child is tearful or irritable and there doesn't appear to be an obvious reason why, it could be an indication of clinical depression.
Keep an eye on your child's reaction when something sad happens.
If a person or a pet dies, its natural to be upset. But if their reaction is extreme or goes on too long, it could be a sign of depression.
If your child loses interest in things they previously enjoyed, that can be a sign of depression.
If they also begin finding it difficult to function at school, that can be another indication.
If your child starts isolating themselves, and doesn't want to go out or socialise that can be a sign of depression.
Young people's inner turmoil is often evident in their attitude towards food.
They may start starving themselves or overeat to block out the pain inside.
Try and find out what is bothering your child and talk them through their problems.
Don't trivialise their problems. What may seem unimportant to you, could be significant to them.
If you are still concerned after talking to your child, take them to see your GP.
There are a range of treatments which could be offered.
Family counselling and cognitive therapy, which is essentially talking therapy, can be really effective.
Antidepressants will only be prescribed in severe cases.
This may seem obvious but if parents focus on being supportive, it can have a big impact on children's mental health.
Children need their parents, or other caregivers, to value them and love them in an unconditional and positive way.
Being supportive could stop a child from developing depression in the first place and also help deal with any mental illness that does arise.


text:
Under the federal False Claims Act, a whistleblower may bring an action in the name of the United States against an individual or a business for false claims made to the federal government. Combating fraud, however, is also important at the state level. Since the early 2000s, many states have recognized the important public policy benefits of the FCA and enacted their own false claims acts to recover money fraudulently obtained by defendants from state funds.
States with a False Claims Act Containing a Qui Tam Provision
Twenty-nine states and the District of Columbia currently have a false claims act that contains a qui tam provision that empowers a whistleblower both to initiate a state false claims act and to seek recovery of a portion of a settlement or judgment. While most of these state statutes closely resemble the federal FCA and apply to any type of government contract or business relationship, eleven of them only apply to false claims submitted that relate to the state's medical assistance programs. These states are: Colorado, Connecticut, Georgia, Louisiana, Maryland, Michigan, New Hampshire, Oklahoma, Texas, Washington, and Wisconsin.
States with a False Claims Act without a Qui Tam Provision
Seven states have enacted a false claims act but have not included a qui tam provision. Therefore, whistleblowers in these states cannot file state FCA lawsuits, though they can still pursue federal FCA violations. These states include: Arkansas, Kansas, Mississippi, Missouri, Nebraska, Oregon, and Utah. Notably, the state false claims acts in Arkansas Mississippi, Missouri, and Nebraska only apply to fraud involving Medicaid or other state healthcare programs. In addition, Arkansas and Missouri have enacted legislation that awards whistleblowers up to 10% for providing evidence that leads to the recovery of state funds.
States without a False Claims Act or a Qui Tam Provision
Fourteen states have yet to pass either a false claims act or a qui tam statute. While these states are lacking an important tool for fighting fraud, they have passed generic Medicaid anti-fraud statutes which criminalize the submission of false or fraudulent Medicaid claims. A few of them also include provisions to protect whistleblowers from retaliation. Importantly, whistleblowers in these states can still file a federal False Claims Act case against individuals or businesses whom they believe have defrauded the federal government. In an effort to deter fraud and share in the recovery of large False Claims Act settlements and judgments, many of these states are presently considering legislative proposals to enact a state False Claims Act.
In 2005, Congress passed the Deficit Reduction Act ("DRA") of 2005. The DRA offered states a financial incentive to pass a false claims act that mirrors the federal FCA, along with its trademark qui tam provision. The financial incentive comes in the form of a 10% bonus recovery given to the states from settlements and judgments involving federal FCA cases in which the Medicaid program was defrauded. In order to be eligible for this 10% bump, state false claims acts must be at least as strong as their federal counterpart. This determination is made by the Office of Inspector General ("OIG") of the Department of Health and Human Services ("HHS") along with the Department of Justice ("DOJ"). Currently, HHS has certified sixteen states as having false claims acts at least as strong as the federal FCA, including California, Colorado, Connecticut, Delaware, Georgia, Hawaii, Illinois, Iowa, Massachusetts, Minnesota, Montana, New York, Rhode Island, Tennessee, Texas, and Washington.
The information about state FCA statutes above and elsewhere on this web site is believed to be accurate as of the date of its posting. Nonetheless, attorneys and qui tam relators should review this information before relying on it.
Whistleblower Attorneys Blog - State False Claims Acts
Supreme Court Holds Secrecy Violation Does Not Warrant Dismissal of Compliant A long awaited Supreme Court decision that held major implications for False Claims Act litigants was handed down this week. On Tuesday, the United
Medical Device Company Pays-out $8 million to Settle False Claims Act Lawsuit Travis Thams, the whistleblower who filed a False Claims Act ("FCA") lawsuit on behalf of the United States and 28 states, stands to receive a
Greene, LLP Argues Qui Tam Healthcare Whistleblower in U.S. Supreme Court A teenager who died after receiving mental healthcare services from unlicensed and underqualified professionals is the impetus behind a False Claims
State False Claims Acts :: Whistleblower Attorney Greene LLP

redpajama_set_name: RedPajamaCommonCrawl


text:
import numpy as np
import random

import networkx as nx

def read_net(fname, weighted, directed, log):
    if weighted:
        G = nx.read_edgelist(inodetype=int, data=(('weight', float),),
                             create_using=nx.DiGraph())
    else:
        G = nx.read_edgelist(fname, nodetype=int, create_using=nx.DiGraph())
        for edge in G.edges():
            G[edge[0]][edge[1]]['weight'] = 1

    if not directed:
        G = G.to_undirected()

    log.info('N: %d E: %d' % (G.number_of_nodes(), G.number_of_edges()))
    log.info('CC: %d' % nx.number_connected_components(G))
    giant = max(nx.connected_component_subgraphs(G), key=len)
    log.info('N: %d E: %d' % (giant.number_of_nodes(), giant.number_of_edges()))
    return giant

def read_nets(net_list, weighted, directed, log):
    nets = [(fname.replace('/', '_').strip(),
             read_net(fname.strip(), weighted, directed, log))
            for fname in open(net_list)]
    return dict(nets)

def read_hierarchy(fname, log):
    # format directed edge list (parent, child)
    # parent, child are nodes:
    # -- a network name if leaf node
    # -- arbitrary name if internal node
    # nodes must have unique names
    # graph should be a tree
    G = nx.DiGraph()
    with open(fname) as fin:
        # print 'Reading: %s' % fname
        for line in fin:
            p, c = line.strip().split()
            p = p.replace('/', '_')
            c = c.replace('/', '_')
            G.add_edge(p, c)
    assert nx.is_tree(G), 'Hierarchy should be a tree'
    log.info('Hierarchy nodes: %s' % ', '.join(G.nodes()))
    return G

def alias_setup(probs):
    """
    Compute utility lists for non-uniform sampling from discrete distributions.

    Refer to https://hips.seas.harvard.edu/blog/2013/03/03/the-alias-
    method-efficient-sampling-with-many-discrete-outcomes for details.
    """
    K = len(probs)
    q = np.zeros(K)
    J = np.zeros(K, dtype=np.int)

    smaller = []
    larger = []
    for kk, prob in enumerate(probs):
        q[kk] = K*prob
        if q[kk] < 1.0:
            smaller.append(kk)
        else:
            larger.append(kk)

    while len(smaller) > 0 and len(larger) > 0:
        small = smaller.pop()
        large = larger.pop()

        J[small] = large
        q[large] = q[large] + q[small] - 1.0
        if q[large] < 1.0:
            smaller.append(large)
        else:
            larger.append(large)

    return J, q

def alias_draw(J, q):
    """Draw sample from a non-uniform discrete distribution using alias sampling."""
    K = len(J)

    kk = int(np.floor(np.random.rand()*K))
    if np.random.rand() < q[kk]:
        return kk
    else:
        return J[kk]

class Walks():
    def __init__(self, nx_G, is_directed, p, q, log):
        """
        Construct network neighborhoods for each node in every layer.

        Refer to: http://github.com/aditya-grover/node2vec for details.
        """
        self.G = nx_G
        self.is_directed = is_directed
        self.p = p
        self.q = q
        self.log = log

        self.preprocess_transition_probs()

    def node2vec_walk(self, walk_length, start_node):
        """Simulate a random walk starting from start node."""
        G = self.G
        alias_nodes = self.alias_nodes
        alias_edges = self.alias_edges

        walk = [start_node]

        while len(walk) < walk_length:
            cur = walk[-1]
            cur_nbrs = sorted(G.neighbors(cur))
            if len(cur_nbrs) > 0:
                if len(walk) == 1:
                    idx = alias_draw(alias_nodes[cur][0], alias_nodes[cur][1])
                    walk.append(cur_nbrs[idx])
                else:
                    prev = walk[-2]
                    next = cur_nbrs[alias_draw(alias_edges[(prev, cur)][0],
                        alias_edges[(prev, cur)][1])]
                    walk.append(next)
            else:
                break

        return walk

    def simulate_walks(self, num_walks, walk_length):
        """Repeatedly simulate random walks from each node."""
        G = self.G
        walks = []
        nodes = list(G.nodes())
        self.log.info('Walk iteration:')
        for walk_iter in range(num_walks):
            self.log.info('%3d/%3d' % (walk_iter + 1, num_walks))
            random.shuffle(nodes)
            for node in nodes:
                walks.append(self.node2vec_walk(
                    walk_length=walk_length, start_node=node))

        return walks

    def get_alias_edge(self, src, dst):
        """Get the alias edge setup lists for a given edge."""
        G = self.G
        p = self.p
        q = self.q

        unnormalized_probs = []
        for dst_nbr in sorted(G.neighbors(dst)):
            if dst_nbr == src:
                unnormalized_probs.append(G[dst][dst_nbr]['weight']/p)
            elif G.has_edge(dst_nbr, src):
                unnormalized_probs.append(G[dst][dst_nbr]['weight'])
            else:
                unnormalized_probs.append(G[dst][dst_nbr]['weight']/q)
        norm_const = sum(unnormalized_probs)
        normalized_probs =  [float(u_prob)/norm_const for u_prob in unnormalized_probs]

        return alias_setup(normalized_probs)

    def preprocess_transition_probs(self):
        """Preprocessing of transition probabilities for guiding the random walks."""
        G = self.G
        is_directed = self.is_directed

        alias_nodes = {}
        for node in G.nodes():
            unnormalized_probs = [G[node][nbr]['weight'] for
                                  nbr in sorted(G.neighbors(node))]
            norm_const = sum(unnormalized_probs)
            normalized_probs =  [float(u_prob)/norm_const for
                                 u_prob in unnormalized_probs]
            alias_nodes[node] = alias_setup(normalized_probs)

        alias_edges = {}
        triads = {}

        if is_directed:
            for edge in G.edges():
                alias_edges[edge] = self.get_alias_edge(edge[0], edge[1])
        else:
            for edge in G.edges():
                alias_edges[edge] = self.get_alias_edge(edge[0], edge[1])
                alias_edges[(edge[1], edge[0])] = self.get_alias_edge(edge[1], edge[0])

        self.alias_nodes = alias_nodes
        self.alias_edges = alias_edges

        return

redpajama_set_name: RedPajamaGithub


text:
Q: .htaccess redirect to URL when match on certain file Under my root web directory, I have this two files:
aboutus.php
about-us.php
Now going to this URL http://local.com/about-us.php will render the file about-us.php. If I will do the inverse, how can I dictate the .htaccess that whenever the URL above is access, the aboutus.php will be rendered?

A: If you have access to the whole server config, the most efficient way to do this is to use mod_alias. Unfortunately this needs to be done in VirtualHost config - which is only accessible if you got root access to that server.
Alias /about-us.php /full/local/path/to/aboutus.php

If you cannot edit the VirtualHost config, use mod_rewrite (needs more server resources though, as every request has to be matched to those rules):
RewriteEngine On
RewriteRule ^about-us.php aboutus.php [L]

Should do the trick.


Club Night is drummer Josiah Majetich, bassist Devin Trainer, guitarist Ian Tatum, and guitarist/vocalist Josh Bertram. They formed in Oakland in 2016 and first gained attention with the release of their EP Hell Ya, a five-track array of rainbow-colored songs that evoked the mad eccentricity and creativity of early-aught indie bands. The members are all veterans of the Oakland indie rock scene, each bringing a distinct flavor to the group.
This project is a direct reflection of the group's disparate influences coming together in one space. Club Night perfect this experimentation on their beguiling debut album, What Life. The record boldly breathes compassion into the world through its fearless and profoundly unique musical offerings. The songs are jagged compendiums of contrasting moments—collections of sounds that refract and bend off each other before melding into one. Every song on What Life feels like a labyrinthine creation, running fearlessly from one sound to next, starting at times as downtempo bar ballads before bending into runaway math rock songs and culminating in anthemic blends of white noise, bellowing drums and triumphant vocals.
Bertram and Tatum's guitars wander, but not aimlessly—they amble together and sing in unison until they find that special moment when their output meshes succinctly with the crashing rhythm section of Trainer and Majetich and an otherworldly collection of synths and samples from Rebecca Lukens, creating a murmuring wall of dissonant sound. The myriad moving parts on the album reflect a selfless ethos, focused on finding a complementary set of dynamics for Club Night. While Bertram brings the rough structures of the songs into the studio via a guitar riff, each member of the band dissects the tune and contributes their own distinct flourishes while constructing the architecture of each composition.
Rising above the fray of the groups' collective noise—but just barely—is Bertram's inimitable voice. His high-ranging register climbs atop the din of noise surrounding the band, but he is not at war with the sonic landscape. Instead, the vast layers of sounds help propel his voice upwards, sharing his message with cathartic delivery. His lyrics are poetic and expressive, inspired and emotional, without delving into the realms of literalism.


text:
An odd, but lasting, friendship
Dylan Thomas / [email protected]
Updated: November 1, 2007 - 10:16 am
Longtime collaborators Dick Brewer and Al Wadzinski show at Gallery 360
FULTON — What has drawn artists Dick Brewer and Al Wadzinski together?
The two display recent works at Gallery 360 in Fulton this month in a joint exhibition that has become something of a fall tradition at the gallery. But, superficially, at least, these comrades in art seem to have little in common.
Wadzinski is a found-object sculptor who sees the potential in a world littered with debris. Brewer, his long-time collaborator, is a painter, albeit a painter whose work is enlivened by sculptural elements.
Wadzinski, whose sculptures are often representational, admitted he tends to "chicken-out" on abstract work. Brewer, by contrast, works almost exclusively in abstraction.
"I'm an abstract painter at heart," he said recently, surrounded by his painted Plexiglas works in the studio behind his Southeast Minneapolis home.
Brewer, the older of the two, did most of the talking during an hour-long interview, puffing away at a series of long Camel cigarettes. Wadzinski, meanwhile, quietly watched from a wheelchair (which the able-bodied artist chose for comfort).
The two have an obvious Odd Couple dynamic, and they play it up for company. But their 20-year artistic partnership has flourished through a mutual respect for each other's work and opinions.
"Collaboration is very delicate proposition," Brewer acknowledged. They make it work.
"We're able to criticize each other's work, and [we] take it well," Wadzinski explained.
They also share what Brewer called an "extraordinary" sense of humor. He didn't bother to elaborate, except to hint that if any of their personal jokes were made public it could land either of them "in a straightjacket or prison."
Wadzinski smiled, slyly.
There was evidence of that surreal humor hanging on Brewer's cluttered studio walls: a photograph of "Phyllis Diller in Hawaii," a temporary sculpture they constructed with frayed bits of plastic, driftwood and a rotting fish carcass.
They crafted the comedian's likeness during an artistic pilgrimage to the Big Island that Brewer called "one of the high points in our collaborative experience."
"We had a patron out there," Wadzinski said. "We'd go and fill his house with art."
During the visit, they traveled down to South Point, also known as Ka Lae, the southernmost tip of the island and a collection point for all the free-floating flotsam roaming the world's oceans. They'd gather up bits and pieces on the beach, create sculpture and watch it wash away with the tide.
It must have been right up Wadzinski's alley. After all, he's done something similar with a local polluted
waterway.
Tens of thousands of Minnesotans saw the sculptor's work — whether they knew it or not — at the 2002 State Fair. Standing guard outside the Department of Natural Resources building was "Toxic Avenger," a towering beaver built from junk fished out of the Mississippi River.
Wadzinski works in a similar vein, but on a smaller scale, for "Behind the 8-Ball" at Gallery 360.
"Bird of Prey" resembles the toucan from the old Guinness promotional posters with its scrap-metal beak and golf club plumage. But the bright-eyed bird is ready for combat: its puffed-out chest is a drooping bandolier.
Wadzinski said he's been doing a lot of "fins and feathers" sculptures recently. A warped and rusted metal grille forms the fluid body of "Siamese Fighting Fish," also on display.
"I like to have them look bionic, sometimes," he said.
"The kids love it," he added. "They study it better than the adults sometimes."
In his contribution to the show, Brewer continues to experiment with a technique he struck on in the late '60s, while still in art school.
He grinds and gouges sheets of clear acrylic — commonly known as Plexiglas — then fills in the pits and valleys with paint. When viewed from the unaltered side of the Plexiglas, the combination of relief carving and painting leads to wild juxtapositions of both color and texture.
In "Matsuda Symphony," neon bubbles and Japanese characters fly past, sending the viewer on a light-speed trip through neon Tokyo. But floating in the foreground are wriggling blobs, looking like the denizens of a petri dish. Odd indeed.
These works on acrylic require mastery of a mind-bending technique. Since he is working from the back of a see-through "canvas" Brewer must work in reverse, applying the colors in the foreground and then filling in the background.
There are no strict collaborations in this show — the artists created all of their pieces individually.
Still, each exerts an unseen influence on the other in these solo efforts. Brewer listens to Wadzinski's advice, just as he is free to pluck an extraneous piece from one of his friend's works-in-progress.
All the behind-the-scenes back-and-forth raises an interesting question: If you like Brewer's art, will you like Wadzinski's, too? And vice-versa?
"Not always," Wadzinski said. "In fact, there are only a few people who really do."
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Community Calendar: Holiday events


Vodafone LiveGuy is in Leeds today, and he's already been collared once by a netbook winner. He's got another to give away at midday, and another couple this afternoon, so check out the site here for his GPS location and clues.
It's definitely worth having a scout around if you're in the area – Shiny Shiny reader Mel B won a netbook yesterday in Liverpool, and was kind enough to drop us a comment and let us know. Have you won? Are you going to win? Have you been out in the elements trying to win? Let us know, won't you?


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Elgin Watch Parts
Again, Elgin Enforces Fair Trade Contract
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Click here for a complete description of the information appearing on this page. There's also much more information about vintage Elgin watches at the main ElginTime site!
Elgin serial number 9394001 is a grade 268, 0 size, 15 jewels, made about 1902. Open faced movement (this applies to the movement, not the case the watch happens to be in). Pendent wind and set. Three-quarter plate design.
Elgin Part Numbers for Grade 268
Movement serial number 9394001
Note that this information is according to the movement serial number, not just the watch grade. In many cases there are differences in the part number used between ranges of serial numbers, within the same grade. Sometimes the differing parts are interchangable and the new number reflected a change in material, finish or some other detail. In other instances, the parts are not compatible.
Part Description Factory Number Bottle Number Grades Using This Part
Arbor, Barrel (1) 2053 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Arbor, Pallet (2) 1723 267, 268, 269, 281, 282
Arbor, Winding (3) 1775 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Balance (4) 1724 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 999
Balance Complete (5) 4107 224, 225, 267, 268, 269, 281, 282
Barrel (6) 2132 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Cam, Setting 1787 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Click (42) 1804 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Clutch, Winding and Setting (44) 1809 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Jewel, Balance, Cap, Lower (64) 1366 268
Jewel, Balance, Cap, Upper (61) 2194 109, 110, 111, 112, 113, 115, 129, 130, 131, 173, 174, 198, 199, 200, 202, 203, 204, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Jewel, Balance, Hole, Lower 455 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Jewel, Balance, Hole, Upper 455 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Jewel, Escape, Hole, Lower (80) 1384 115, 129, 130, 199, 203, 223, 267, 268, 271, 318, 319, 354, 355, 377, 406, 410, 415, 416, 419, 420, 464, 465, 999
Jewel, Escape, Hole, Upper (78) 1378 115, 129, 130, 199, 203, 223, 224, 225, 267, 268, 271, 281, 318, 319, 323, 354, 355, 377, 406, 410, 415, 416, 419, 420, 464, 465, 999
Lever, Clutch (137) 1828 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Lever, Setting (138) 1833 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Pallet, Fork and Arbor with Stones 2596 198, 198, 199, 199, 200, 200, 201, 201, 202, 202, 203, 203, 204, 204, 205, 205, 206, 206, 219, 219, 222, 222, 223, 223, 224, 224, 225, 225, 263, 263, 264, 264, 267, 267, 268, 268, 269, 269, 281, 281, 282, 282, 298, 298, 318, 318, 319, 319, 320, 320, 323, 323, 324, 324, 354, 354, 355, 355, 999, 999
Pinion, Bevel (145) 1853 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 999
Pinion, Cannon (150) 650 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 417, 418, 419, 420, 442, 443, 462, 463, 464, 465, 467, 468, 999
Regulator (166) 1963 198, 199, 202, 203, 224, 225, 267, 268, 269, 281, 282, 318, 319, 323, 999
Screw, Cock, Balance 2012 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Screw, Plate 2012 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Screw, Stud, Hairspring (216) 1621 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 999
Sleeve, Arbor Winding 1914 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 999
Spring, Click (249) 1898 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Spring, Hairspring (254), Breguet 807 112, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 999
Spring, Main (258) 2097 295 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Spring, Setting (252) 1910 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Staff, Balance (264) 869 109, 110, 113, 115, 129, 130, 173, 198, 199, 202, 203, 206, 224, 225, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Center and Pinion (281) 2082 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 417, 418, 419, 420, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Escape and Pinion (283) 1979 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Fourth and Pinion (284) 1987 202, 203, 204, 205, 225, 264, 268, 282, 319, 324, 355, 409, 410, 414, 416, 418, 420, 443, 463, 465, 468
Wheel, Hour (289) 1045 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 417, 418, 419, 420, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Main (288) 1943 198, 199, 200, 201, 202, 203, 204, 205, 206, 224, 225, 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 999
Wheel, Minute (285) 1063 109, 110, 111, 112, 113, 115, 129, 130, 131, 167, 173, 174, 198, 199, 200, 201, 202, 203, 204, 205, 206, 219, 222, 223, 224, 225, 263, 264, 267, 268, 269, 271, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Ratchet (290) 2058 263, 264, 267, 268, 269, 281, 282, 298, 318, 319, 320, 323, 324, 354, 355, 377, 406, 409, 410, 413, 414, 415, 416, 417, 418, 419, 420, 423, 424, 442, 443, 462, 463, 464, 465, 467, 468, 999
Wheel, Third and Pinion (295) 1992 202, 203, 225, 268, 282, 319, 324, 355, 409, 410, 414, 416, 418, 420, 443, 463, 465, 468
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text:
War Aeternus 5 Prologue
Sord's room was quiet except for the small noises he made as he tinkered with his newest project. There were nine different gaming systems behind him, monitoring nine different realities, and each was running a bot that was designed to execute a different macro for the various games they kept watch over. The scripted programs were all auto-farming loot, and Sord was busy at work setting up a tenth when his doorknob turned with a loud click. The ever-tired-looking, dead-expression man's face twisted as he looked up from his work and toward the door.
"Who is it?" Sord asked vexedly as the door swung open. The prime law protected the deities from killing each other, so he wasn't too concerned over who might be paying him a visit. The golden rule had been dictated the day they had all gained their status, so there was no reason for him to feel even so much as an ounce of fear. The only way he could possibly die was if his Herald, his descendant that was currently competing in the game, was killed. Otherwise, he had nothing to fear.
"An enemy," someone answered back. The voice was unlike any other that he had heard in millennia. It was filled with an actual divine essence that pierced his body and rattled the very core of his being as it echoed throughout the small room. "A patient enemy."
"What the . . .?" Confused over who would proclaim himself in such a manner, Sord finally stood up and turned his full to his visitor only to find a small chimpanzee smiling up at him. "Augustus, what are you doing here?" he asked exasperatedly. "Are you here to threaten me again?"
"Ha. Ha. Ha. Ha." Augustus let out a slow and deliberate laugh and then punctuated the monotone expression with the staccato sound of him cracking his neck. "I'm not here to threaten you at all," Augustus said patiently. "I'm here to tell you a story."
"Then you can let yourself out," Sord said shortly. "I don't have time to listen to you threaten me again or tell me how you're going to report me or whatever it is that you're planning to do to get me in trouble with the system. I need to set this up soon or else it won't be ready for the game's launch. I can't have my character fall behind my guild's."
"This story won't take long," Augustus continued, undeterred by Sord's somewhat hostile indifference. He grinned wanly for a moment and then allowed it to fall from his face as he walked toward Sord's bed, which was nothing more than two mattresses stacked on top of each other in the corner of a room. "And it's a good one at that."
Sord shook his head in annoyance and turned his focus back to his work. "I just told you: I don't have time for this. That stupid meeting took up enough of my time already, and I have to get this done."
"You see," Augustus began, completely ignoring Sord in the same way that the God of Rising Numbers was attempting to him. "The story starts with a man who loved the world–not just one person, but every person–and so he spent his days fighting, building, crafting, and fighting again to protect each and every person in that world."
"This could be any Herald in any of the wars," Sord said crossly. "It could be nearly any man in any of the wars. Everyone thinks they're protecting the world. They all die. The only difference is whose stats were highest, what their kill-death ratio was, and what loot they dropped when they finally bit it. You're not telling me anything new, so you can leave now."
"I know I'm not telling you a new story," Augustus said, "but it's still one you need to hear. So, just be patient."
"Fine," Sord agreed, reluctantly acquiescing as he realized that Augustus wasn't going to be so easily turned away. "Finish your story and leave."
"You see, if stats were all that mattered, this particular man's were the highest. He was the best at what he did. In battle, you could say that he was a god, and his loot, as you often call it, far exceeded all others. Combined with his tenacity, strategy, army, and abilities, he was undefeated. He was the reigning champ–if you have to define him in such a way, that is."
"Sounds like my kind of guy," Sord said.
"He was," Augustus said, grabbing a bag of Sord's cheesy, spice-covered chips. "You and he were friends, after all."
"I think I'd have remembered that," Sord said. "Even after thousands of years, I haven't had many friends. Only the same few I started with."
"I think you do. I think you remember it very well. I think you remember all the times you argued with him about whether or not you had a shot with Anna Belle–even though she very clearly only had eyes for Denny. You would nag him about whether your buddy Johnson was better than you at fighting, and you would"–Augustus popped a potato chip into his mouth–"tell him he needed to stop talking to that voice inside his head."
Sord froze, and his hands locked into place with one grasping a wire and the other simply hovering midair. His breath quickened, and his eyes opened slowly in shock. "This isn't a story others should know."
"You mean that it isn't a story that people who aren't your friends should know," Augustus corrected. "It's a story that only two people should have ever known."
"Neither of whom are still here," Sord said, finally turning to Augustus.
"I take it that I have your interest now?" Augustus asked. "That's good because the story continues. You see, this particular man and that voice inside his head that you hated so much continued on until they defeated every challenger in existence, collecting all of the special stones in the process."
"He was a great friend," Sord answered, his voice cracking a little. "It was a shame how things turned out."
"Mmm . . ." Augustus paused for a moment in thoughtful contemplation and then continued. "After he defeated all of his foes and stood supreme, after he became the final existence in the world with the powers of a god, this man became conflicted. The war was over, you see. The people that the game had created would soon die and fade away into nothingness. But he loved them. Amongst them, there was a woman whom he valued above his own life, friends he would die to protect, and neighbors whom he had fought side by side with for a thousand years. They might have all been creations of that voice in his head, reflections of the system he had been assigned, but he treasured them all.
"So, when that voice in his head told him that it was his turn to take over and manage this particular swath of creation the Clockmaker had put together, that it was time to fulfill his duties as the game's champion and the only remaining deity, he begged of her. He pleaded with the system that she would allow for him to use the three wishes that the game had promised for collecting the stones before she destroyed the world and all of his friends and loved ones along with it.
"'Fine,' the system said. She relented to this man's wish out of kindness, and with those words, he set in motion a plan that would ensure everyone would suffer."
"The three wishes; the two laws," Sord muttered breathlessly. The words barely escaped his mouth, and his face was now blanched with horror.
"Yes, the two laws. With his first wish, he made it so that all of the people the game had generated would be given the status of a deity–even if they weren't given a diety's powers–so that they would not be wiped out when the game ended. They would no longer be mere background characters that regenerated as soon as they died. They would no longer be faceless cannon fodder that the challengers used to play their hand at kingdom building and strategic war. This ensured that all of the people he loved and the thousands and thousands of others within the confines of his kingdoms who had served within his armies would be immortal.
"But, after living in a state of constant war for over a millennium, the champion was worried that war had become ingrained in their very being, that it was in their blood. So, he used his second wish to create a law that was designed to protect them: that none may kill another. He wished that it would be impossible for any one of the people whom he had made into an immortal to kill another one of the people he had immortalized. He fully believed that, with these two wishes alone, that his love, the woman who encompassed his entire existence, would be sure to live forever. He was certain that the two could spend an eternity together."
Although Augustus didn't realize it, his emotions had become caught up in the story. Two teardrops that had formed in the corners of his eyes began making long and lonely trails down his cheeks. It was a sight that made Sord tremble.
"B-but the wording," Sord stuttered around a dry mouth. "It's . . ."
"Yes, it was haphazardly done. The fool had trusted the system, whom he considered his closest friend, to protect his intentions with the wish. He hadn't once considered that the system had been given a higher, unignorable purpose by the Clockmaker. The idiot had forgotten that the system had but one purpose in its creation: to eliminate all but one deity. To find a singular person who would be able to assume the role of Guardian as the Clockmaker continued on, creating perfectly-ordered, intricately-designed realities. It was a purpose that the system couldn't ignore, and it was a purpose that the Clockmaker had given with exquisitely clear orders on how it should be executed. And those instructions were designed to prevent the system from choosing the winner or acting in an overly biased fashion."
"Which is why the wars began again," Sord said, finally ripping his gaze away from Augustus and turning it down to the floor.
"Indeed," Augustus agreed. "Which is why the wars began again: because the system had to come up with a way to make sure that the deities could continue to be killed off. It had to ensure that they would slaughter one another until the hundred-and-fifty candidates selected for each game would be whittled down to a single one."
"But . . ." Sord let the word slowly escape his mouth and then left it to hang in the air as he frantically worked on how to phrase this next part. "That's not right. The winner of the tournaments, he could–"
"Will eventually die until only the champion's descendants still live–until only the champion remains as the final deity. What the other gods failed to understand is that because he won the first game and his status as a deity is above all others, he is the only one who cannot be killed by the system if his Herald dies. He's different than all the newly made deities that only received their status after the game. It's just like how they didn't understand what that good-for-nothing hippy Herald Plonk in the recent games understood: if none of the Heralds fought each other, the game would go on forever, and everyone could live happily ever after."
"But it's nature," Sord argued. "You can't fight against nature. Eventually, people are going to level-up and want to see how they fare against their competition; and, eventually, that desire will lead to death. It's exactly the same as the continuous creation of these games: eventually, they kill us all off. When the first game started, it was doomed that . . ." Sord was suddenly conscious of the fact that he was sweating profusely as he spoke and that his nervousness was showing through. He was practically twitching, stumbling across his words, and he was struggling to even form a coherent argument. "That they would eventually fight each other."
"That's true," Augustus said, his voice growing a little louder and deeper as he spoke. "You can't fight that nature. The Clockmaker designed us all to have that type of sin within us. We were all designed to eventually fall and succumb to our baser instincts. Death was inevitable, but it didn't have to happen the way it did. She was innocent. She loved everyone, and to punish the hero for also loving everyone . . . That wasn't how things had to happen."
"Augustus—" Sord visibly flinched as if he had been struck and unconsciously shuffled back as Augustus's voice rose yet again. "You don't have to be angry. No one was to blame; it wasn't their fault. I wasn't even there. I didn't know."
"No, you weren't there. But you were at fault." Augustus stood up and changed into his human form.
Sord quickly backed away as Augustus shifted forms, knocking over a gaming system in his desperate attempt to press himself into the wall behind him.
"No one knew who my beloved was. No one knew who my beloved's Herald was. Except for four people: you, two others, and Angelica. Yet, not knowing who my beloved's Herald was, my firstborn and most treasured star, they banded together, their heralds united in purpose against her as they sought to defeat my child. But, then again, you already know that, don't you?"
"August, I- I mean, Octavius," Sord pleaded. His face twisted around, and he wrung his hands together. "Please, don't do this. It wasn't me. I didn't tell anyone. It was Cory and Adam. They were the rats. They were the ones who betrayed you. Please. I swear. I didn't do it."
"Do you remember what they did to her?" Augustus roared. "Do you remember what they had their Heralds do to my only child? Do you know what it was like, watching the person I loved more than all others be tortured to death? Do you know what it was like to watch them torture, abuse, violate and slowly kill her over a five day period?"
"I swear!" Sord wailed. "I had nothing to do with it!"
"That was what I thought as well. And that's why I let you live when madness and grief carried me on that killing spree. I thought, for such a long time, that you had nothing to do with it. So, I spared you. But then Siegman, hurt and angry, told me the truth. He dared to mouth off about how close you two were. He blamed you for being the rat who sold him out during this game because you were the same rat that betrayed your friend all the way back in the first war. When I confronted him–and this was between his screams, mind you–he told me all about how he had heard of my daughter from you–about how the others had heard of her from you. But, don't worry: I assured him it didn't matter since he'd never have a chance to make another mistake again. I understand what it means to make mistakes–after all, I had made the mistake of letting you all live to begin with."
"Octavius, I swear: Siegman was lying."
Augustus smirked. "Sord, I don't need you to lie to me. Just take a deep breath. This will be over quickly since I don't have time to waste. Just . . . When I'm done, take comfort in knowing that you had good stats when you died, your kill-death ratio wasn't bad, and your loot will be rather decent."
"You can't do this!" Sord shrieked desperately. "The game is going on! My Herald is still in it! If you kill me now, they'll all know! My herald will die, and they'll all know you're back! You can't do this!" Sord sank into the floor with his back against the wall and broke down into tears, his body quivering uncontrollably. His fear of Augustus and what he was capable of drove all thoughts of resistance from his mind. This was the one being who wasn't bound by the prime law. This was the only being in existence he had to fear. And there was nothing he could do to save himself.
"Ha!" Augustus barked the single word as a weapon materialized into his hand. "Me? The lazy, good for nothing weak and sloth-like layabout? Even if they know that I, the only one exempt from the rule preventing gods from killing each other, am back, they will never suspect me for being him. I've lived amongst you. I've let you insult me, degrade me, push me around and treat me like crap for millennia. Not a single one of you has ever once suspected why I don't show my face. Even if they do know I've returned to wreak havoc, there is no way they'll know that I, the War God, am wearing the guise of a drunken, crafting god."
"Drunk crafting god . . . You . . . you took his identity. How did we not see it?"
"Pride," Augustus answered ruefully.
"And if you're just going to kill me, why would you tell me this all?" Sord asked. "Why don't you just get it over with?"
"I will," Augustus said. "I just wanted to make sure that you knew exactly why I was killing you. I wanted you to know, on your deathbed, why you have died."
"Look, you really don't have to–"
Sord's words were cut off as Augustus punched him in the mouth. Augustus's fist broke away the deceitful god's and shattered his jaw, leaving his mouth hanging open. Augustus grabbed Sord's tongue with one hand and then jerked backward, ripping it clean out of Sord's mouth.
"Your tongue-wagging has bothered me enough for a single life," Augustus spat.
Sord's attempts to scream were choked off by blood welling up in his throat. His body was wracked by giant convulsions as he fought to vomit up the blood and not choke on it instead. He struggled to push himself away from Augustus, but pinned against the wall as he was, there was nowhere else for him to go.
"Don't worry," Augustus taunted, with mock sympathy in his voice. "You'll be alive long enough for me to return to you just an iota of what my daughter went through."
"Where did you get off to?" Mary asked as Augustus walked back into his own room. The scarlet-covered woman was lounging on the bed and watching their two Heralds on the screens plastered across one of Augustus's walls.
Augustus shrugged. "I had an errand to take care of. Nothing too important."
"Whatever." Mary pulled her attention away from the screen just long enough to look Augustus up and down. While he used animal forms to go to and from different rooms within the prime dimension, the dimension where all the gods resided, he would still assume his human form when he was alone with her. After a second, she turned her attention back to what Lee and Jade were doing.
"What?" Augustus asked, walking over and sitting down in his chair. "Did you want me to pick you something up? Get you a copy of the new colorstone book? Maybe MC's too weak curse book that everyone loves? I've heard that it's really good. "
"No, I don't need anything," Mary said as Augustus offered to pick her up deity-exclusive books, the kind that one wouldn't be able to find unless they were in the deity's own private dimension. "I just . . ." She frowned slightly as she crawled off the bed and walked over to him.
Augustus wasn't sure what was going on until Mary, inches away from him, wrapped her arms around his neck.
"What are you . . ." Augustus started to protest but he stopped when she began tracing her fingers through the hair on the back of his head.
"It's okay," Mary said.
Augustus didn't understand why she was doing this or what had possessed her to behave this way, but he leaned forward and returned the hug that he didn't know that he had needed.
"It's okay," Mary offered comfortingly. "I'm here for you."
She had originally been terrified of him. Up until recently, just the visage of his human form had caused her to shake and quiver in terror the same as it had inspired horror in Sord. So, for her to be comforting him and playing the role of a gentle friend confused Augustus. But not in a bad way. He appreciated it. He needed it.
Finally, after some time, he asked, "Why?"
"You just look hurt. You looked like you needed it," Mary answered.
And she was right. Augustus didn't know how she could tell. He had done his best to retain his typical indifference and to act as if nothing had happened, but even after a thousand generations, just the thought of his first daughter's tragic death–the all-too-vivid memory of her being tortured and abused–tore at him. He would never forget the moment her pulse stopped. It was a wound on his heart that time could not heal, and no matter how many millennia passed, it was still raw and ugly.
If Mary hadn't been there, he would have already sunk into a bottomless glass of alcohol just to try and drown that memory.
"Thank you," Augustus said, noticing that he was still holding her hand.
"Don't mention it." Mary backed away and broke the connection between. Then, giving him a sly look, she said, "I mean, seriously, don't mention it. My reputation is already bad enough."
"Do you really care what people think that much?" Augustus asked. He stood up, moved across the room to the bed, and then collapsed onto his back.
"I wouldn't be here if I did," Mary said, lying down next to him. It was the same spot she had been in when Augustus had gotten back from dealing with Sord.
"I thought you were only here because I scared you into being here." Augustus' brow creased slightly as he recalled the first time they had interacted while Augustus was in his true form.
"Maybe at first . . ." Mary leaned over and rested her head on Augustus's chest–"but maybe now I'm just here because I like it here."
Augustus didn't know how to respond to that. She knew who he was, but unlike Angelica, she hadn't put any barriers up between them–even with full knowledge of the horrific things that he had done during his first war. She had slowly gotten closer to him, one step at a time, and now the two were almost inseparable. After just lying there quietly for a moment, he threw out the words one more time. "Thank you."
© Charles Dean and deannovels.com, 2019. Unauthorized use and/or duplication of this material without express and written permission from this site's author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Charles Dean at deannovels.com with appropriate and specific direction to the original content.


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The Mason's Arms
Sights and Attractions near The Mason's Arms
The Mason's Arms, 169 Battersea Park Road, SW8 4BT
Mon-Sat: 12noon-11pm; Sun: 12noon-10.30pm
All The Best Activities for Kids Art and Design Art Galleries Attractions for Kids Boats Boats and Bridges Historic Buildings House and Garden Museums Other Attractions Parks and Gardens Sights Sightseeing Tours Venue Hire
Parliament Square, Westminster, London SW1P | 36 minutes walk from The Mason's Arms
The Upper House of the British Parliament, the House of Lords is part of the Palace of Westminster, more commonly known as the Houses of... More
Houses of Parliament
Parliament Square, St Margaret's Street, Westminster, London SW1A | 36 minutes walk from The Mason's Arms
Now more commonly known as the Houses of Parliament, the Palace of Westminster began life in 1042 as a royal residence under Edward the Confessor.... More
Whitehall, Westminster, London SW1A | 2.1 miles from The Mason's Arms
Horse Guards Parade is the setting for various military ceremonies throughout the year including the Trooping the Colour which marks the Queen's official birthday. At... More
Household Cavalry Museum
Horse Guards, Whitehall, Westminster, London SW1A | 2.1 miles from The Mason's Arms
Visitors to the Household Cavalry Museum can watch troopers working with their horses in the original 18th century stables (via a glazed screen) and hear... More
Hauser & Wirth (Piccadilly)
196A Piccadilly, St James's, London W1J | 2.3 miles from The Mason's Arms
Art-dealer, gallery-owner and collector Iwan Wirth was recently voted one of the ten most powerful people in the art world. Hauser & Wirth London opened... More
Halcyon Gallery
29 New Bond Street, Mayfair, London W1S | 2.3 miles from The Mason's Arms
Situated in the heart of Mayfair, Halcyon Gallery is one of Europe's leading art galleries, representing some of the finest contemporary painters and sculptors working... More
23 Savile Row, W1B | 2.3 miles from The Mason's Arms
Hauser & Wirth , the gallery set up by art-dealer, gallery-owner and collector Iwan Wirth, opened its first London gallery in 2003 on Piccadilly.... More
144-146 New Bond Street, W1S | 2.4 miles from The Mason's Arms
One of the largest and most spectacular gallery spaces in London, Halcyon Gallery's magnificent flagship gallery at 144-146 New Bond Street is a five-storey, 12,000... More
The Hayward Gallery
Belvedere Road, South Bank, London SE1 | 2.5 miles from The Mason's Arms
The Hayward Gallery has been the originator or host of influential exhibitions since 1968. It mounts temporary exhibitions of contemporary and historical art. The gallery,... More
Handel & Hendrix in London
25 Brook Street, Mayfair, London W1K | 2.5 miles from The Mason's Arms
Handel & Hendrix in London, a beautifully restored Georgian house in Mayfair, is where the baroque composer George Frideric Handel lived from 1723 until his... More
Horse and Dolphin Yard
Soho, London W1D | 2.5 miles from The Mason's Arms
Walking from Gerrard Street to Shaftesbury Avenue in the Chinatown area of Soho you'll come across the pedestrianised Horse & Dolphin Yard which gets its... More
The House Of St Barnabas
1 Greek Street, Soho, London W1D | 2.7 miles from The Mason's Arms
Grand Georgian house built in 1746 and used as 'House of Charity' since 1846. The House of St Barnabas at No 1 Greek Street, available... More
Holland Park Avenue / Kensington High Street, Holland Park, London W8 | 2.9 miles from The Mason's Arms
Small, pretty park in west London. Pretty, petit Holland Park is the ideal location for those wanting to escape the clamour of the city but who... More
Hunterian Museum
35-43 Lincoln's Inn Fields, Holborn, London WC2A | 3 miles from The Mason's Arms
The Hunterian Museum within the Royal College of Surgeons boasts a host of enlightening, permanent and temporary, galleries and exhibitions. Housed in the college, the... More
Hunter Penrose
32 Southwark Street, SE1 | 3.1 miles from The Mason's Arms
A beautiful old brick factory next to a blue railway bridge just off Southwark Street, this was once the... More
London > Attractions > Boats and Bridges
Morgan's Lane, Tooley Street, Bankside, London SE1 | 3.5 miles from The Mason's Arms
HMS Belfast, moored at Morgan's Lane off Tooley Street, is a World War Two cruiser with nine decks. As you explore this floating museum, pop... More
House of Detention
Sans Walk, Clerkenwell, London EC1R | 3.7 miles from The Mason's Arms
The House of Detention gets its name from its former purpose - as a prison - and there has been a prison on this site... More
110 Bishopsgate, City, London EC2N | 3.9 miles from The Mason's Arms
When it was completed in March 2011 Heron Tower was the tallest building in the City of London, a title soon snatched from it by... More
Host Gallery
1 Honduras Street, City, London EC1Y | 3.9 miles from The Mason's Arms
Host was established in 2005 by Jon Levy, director of foto8, and Adrian Evans, director of Panos Pictures. Photojournalism - from classical black and white... More
2 Granary Square, King's Cross, London N1C | 4.2 miles from The Mason's Arms
House of Illustration, the first permanent home of the charity of the same name, opened in Granary Square, King's Cross, in summer 2014 with an... More
100 London Road, SE23 | 4.5 miles from The Mason's Arms
Victorian tea trader Frederick John Horniman collected specimens and artefacts from his travels around the world in the 1860's. His personal collection became the foundation... More
Horniman Aquarium
Horniman Museum, 100 London Road, Forest Hill, SE23 | 4.5 miles from The Mason's Arms
The basement aquarium at The Horniman follows a long history of marine life at the museum. Sealife has been on display here since 1903 when... More
Hoxton Square
N1 | 4.5 miles from The Mason's Arms
Home to some of east London's hottest restaurants and bars. ... More
Hogarth's House
Hogarth Lane, Great West Road, W4 | 4.9 miles from The Mason's Arms
With its location next to one of the busiest roads in London, it's hard to believe that Hogarth's House, William Hogarth's country home and museum,... More
Haggerston School
Weymouth Terrace, Hackney, London E2 | 5 miles from The Mason's Arms
The only secondary school designed by celebrated modernist architect Erno Goldfinger Haggerston School was built between 1962 and 1965 and extensively modernised and refurbished between... More
Hackney City Farm
1 Goldsmiths Row, Hackney, London E2 | 5.2 miles from The Mason's Arms
This inner city site next to Haggerston Park was used as a farm as far back as the early 1800s when fresh produce was grown... More
Hoxton Docks
55 Laburnum Street, E2 | 5.2 miles from The Mason's Arms
Canal side venue for hire, the ex coal storage facility makes a unique wedding venue and has work live spaces for hire. ... More
Hampstead Museum
New End Square, NW3 | 5.8 miles from The Mason's Arms
Housed on the first floor of Burgh House, Hampstead Museum charts the history of the north London borough from prehistoric times to today. Redesigned in... More
Swains Lane, N6 | 6.4 miles from The Mason's Arms
Wild woodland Victorian cemetery. Perched at the top of the winding and woody Swain's Lane, close to Highgate village with its soaring views over the city,... More
NW3 | 6.4 miles from The Mason's Arms
The wildest of London's parks, Hampstead Heath has fields to run in, long grass to roll in, woods to hide in and, most famously, ponds... More
Near The Mason's Arms	 All London hotels
From cheap budget places to stay to luxury 5 star suites see our discounts for The Mason's Arms hotels, including Holiday Inn London Regent's Park from 56% off.
Hotels near Evolution London, United Kingdom
Hotels near Sky Hall Seaside Cebu (SMX Convention Center), Philippines


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Home > News > NASA's Perseverance Celebrates First Year on Mars by Learning to Run
NASA's Perseverance Celebrates First Year on Mars by Learning to Run
The rover has racked up a series of accomplishments, including new distance records, as it reaches the end of the first of several planned science campaigns on the Red Planet.
NASA's Perseverance rover has notched up a slew of firsts since touching down on Mars one year ago, on Feb. 18, 2021, and the six-wheeled scientist has other important accomplishments in store as it speeds toward its new destination and a new science campaign.
Weighing roughly 1 ton (1,025 kilograms), Perseverance is the heaviest rover ever to touch down on Mars, returning dramatic video of its landing. The rover collected the first rock core samples from another planet (it's carrying six so far), served as an indispensable base station for Ingenuity, the first helicopter on Mars, and tested MOXIE (Mars Oxygen In-Situ Resource Utilization Experiment), the first prototype oxygen generator on the Red Planet.
Perseverance also recently broke a record for the most distance driven by a Mars rover in a single day, traveling almost 1,050 feet (320 meters) on Feb. 14, 2022, the 351st Martian day, or sol, of the mission. And it performed the entire drive using AutoNav, the self-driving software that allows Perseverance to find its own path around rocks and other obstacles.
The rover has nearly wrapped up its first science campaign in Jezero Crater, a location that contained a lake billions of years ago and features some of the oldest rocks Mars scientists have been able to study up close. Rocks that have recorded and preserved environments that once hosted water are prime locations to search for signs of ancient microscopic life.
NASA news Perseverance website


Arsenal manager Arsene Wenger will reignite two of his biggest feuds this Sunday, for one final time before he leaves the club.
The Frenchman's rivalry with Manchester United, when they and the Gunners were battling for supremacy in the days of Alex Ferguson, was a huge clash of personalities and styles that spanned a great deal of the Premier League era.
Of course, the man who did his utmost to break that duopoly was Jose Mourinho, winning the two titles following the Invincibles season when he was in charge of nouveau-riche Chelsea.
As Wenger completes his Premier League lap of honour, he will lock horns with Mourinho and United for one final time at Old Trafford, looking to secure sixth place.
Mourinho, meanwhile, has designs on securing second place, leaping up four spots in the table this season. On the back of the 2-1 FA Cup semi-final victory over Tottenham, the Portuguese has no shortage of questions to answer ahead of the visit of their North London rivals.
Does he bring Eric Bailly back?
Eric Bailly is Manchester United's best centre-half but was not even in the squad for Saturday's aforementioned Wembley win over Spurs.
That sparked fears that he had picked up yet another injury, but he appears to be fit. Mourinho is managing him very carefully but as he would surely want to face Chelsea in next month's FA Cup final against Chelsea, it might be time to give him a run in the side.
He is the only one of United's defenders who can match the pace of Alexandre Lacazette and Pierre-Emerick Aubameyang and Mourinho's men do generally look much more assured when he's at the back.
Mourinho must be tempted to field him here.
Sit back or take the game to Arsenal?
Last time the two teams faced off, at the Emirates in December, Mourinho actually employed a 3-4-1-2 formation.
A back three of Marcos Rojo, Victor Lindelof and Chris Smalling and Jesse Lingard in the hole behind Anthony Martial and Romelu Lukaku were the keys to victory as United stung their hosts with two early goals before pinching another on the break in the second half.
However, Arsenal could count themselves genuinely unlucky not to have won as David de Gea had to be at his very best to repel the Gunners as they frequently ripped through United, who were passive and conservative for much of the game.
So what does Mourinho do here? Does he smash and grab again? Attempt to take the game to Arsenal from the outset and keep United's foot on the gas? Or play on the counter, but more solidly and smartly this time.
With both teams likely to use a four-man defence this time around, it will be a different encounter and Mourinho must pick his approach wisely.
Is Aubameyang Arsenal's biggest threat?
It is no secret that Arsenal go into this one with bigger fish to fry. In days gone by, their visit to Old Trafford would be the pinnacle of their season but this game comes in between the two legs of the Europa League semi-final with Atletico Madrid.
That tie is undoubtedly more vital than this meeting in terms of making it into the Champions League next season under their new manager – whoever he may be.
That means rotation is likely but one man who should take to the pitch at Old Trafford because he is cup-tied in the Europa League is Pierre-Emerick Aubameyang.
The Gabonese international – valued at £58.5m by Transfermarkt – has the speed to trouble United and that may influence Mourinho's gameplan, as discussed above. He is the man they'll need to stop.


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Also known as motion problems, these problems ask you to describe motion. Time is a key variable that tells you to work with the kinematic equations. If you are only asked for positions and velocities, you may also be able to work the problem using Conservation of Energy.
Any problem that asks you to describe the motion of an object without worrying about the cause of that motion is a kinematics problem, no matter what was given or requested in the problem. In some cases, you can use either kinematics or energy to solve a problem. However, if you are asked about time or horizontal motion you most likely will need to use kinematics.
Because kinematic problems focus on describing motion, your picture should be a picture of the motion or path of the object of interest. Make sure to mark key points on the picture (any point about which you are given information, any point about which you are asked for information, and any point such as the top of the motion where you know information (like vy = 0 at the top of the arc) without being explicitly told. Be careful: you do NOT know that v = 0 when an object reaches the ground. As soon as it touches the ground, there is a new force on it and the problem changes. The kinematic equations you will use are valid only up until the point where the object almost touches down.
In addition to marking key points, you should pick an origin. In other words, pick a location where x = 0 and y = 0. All other position values are then measured from that location.
Finally, kinematic variables (x, v, and a) are vectors, and so you will only be able to work with the equations one direction at a time. It is very easy to forget to work with the correct component while you are in the middle of the problem, so taking a few minutes to divide all vectors into components and organize them in a table will save a lot of mistakes and time in the long run.
Note that some books give more than three equations. For example, they might reproduce these equations with –g instead of a for motion in the y-direction, or combine them together into a range equation. All of those are special case equations—they are partially solved versions of these three basic equations and only work in certain situations. (The range equation, for example, is only valid if the object lands at the same height from which it was thrown.) It is far better to always start with one of the three basic equations. They always apply and are always used in the same way.
The greatest challenge in kinematic problems is picking the best equation to use to solve your problem. The way to do this is to think about which answer you want. If the problem asks you for position, which position is it? If you want position at a given time, pick equation 1. If you want position at a given velocity, pick equation 2. v0 and a occur in all equations, and so if you are asked to solve for either of those variables you will need to identify two known quantities and select the equation that relates them.
The kinematic equations are vector equations and so must be solved in the x- and y-directions separately. For many problems, you will only need to work in one dimension. If you ever need to relate the two (for example if your question asks for an x-position when the object has a given y-position) you need to go through time. Use what you know to solve for time in that direction, then use time in the other direction for your desired information.
The only tricky algebra in kinematics is if you need to solve equation 1 when v0 is not equal to zero. In that case, you will need to use the quadratic equation.
Once you have completed the problem, look at it again. Does your answer make sense? Did it give the behavior you intuitively expected to find? Can you now do steps that caused you problems earlier or do a better job identifying which equation is best to use? Can you explain in words what is happening? If you only recognized it as a kinematics problem because of the section heading in your text book, identify the information that you would use to recognize a problem like this on the final exam.
Help! I can't find an example that looks like the problem I need to work!
Are you certain your problem is a kinematics problem?
A common mistake is to think too hard. If you are told distance and asked for average velocity, or vice versa, the two are directly related through just the definition of average velocity. Check Definition and Ratio problems to see if you can find a useful example.
It is also possible that your problem is better solved using energy and momentum. There is a lot of overlap between kinematics and energy problems, so check Energy and Momentum problems to see if you can find a useful example there.
Yes, my problem is definitely a kinematics problem.
In that case, think more broadly about what makes a useful example. Remember, you were given your assignment to practice the problem solving approach, not because the answers to your problems are particularly interesting. An example in which you merely substitute your numbers for those in the problem will give you practice entering numbers on your calculator but will teach you nothing about physics, and when you take your exam every problem on it will feel new and different to you. So think about your example as support for helping you to practice the problem solving approach.
And every single problem in this section uses the very same approach, so any problem is an appropriate example to help you approach your problem. It isn't the way a problem looks that determines how you solve it, it is the type of problem (in this case, kinematics) that you need to consider. That said, different situations require you to do different side problems along the way. If you are asked for time you might need to solve the quadratic equation, and if the problem is two dimensional you might need to go between the x- and y-directions. So if your problem has any of these features, you may find it useful to pick an example that does as well. But don't worry, you don't need (or want) an example to look exactly like your problem!


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Kirsten Reviews: The Dead Roam the Earth by Alasdair Wickham
The Dead Roam the Earth: True Stories of the Paranormal by Alasdair Wickham
Captivating true accounts of the paranormal from all over the world
Do you believe in ghosts? From incubi in Sumatra to exorcism in Sudan to spirits in our own backyard, The Dead Roam the Earth explores the fascinating variety—and uncanny similarity—of supernatural encounters in every corner of the planet, providing chilling accounts of real-life ghost sightings, haunted places, poltergeists, possessions, Mothmen, demons, witchcraft, ritualistic killings, and much more.
Could so many people in so many places just be imagining things? In addition to its wealth of testimonials from ordinary people witnessing extraordinary things, this engrossing book presents the latest scientific attempts to make sense of the supernatural—including how electronic equipment has revolutionized spiritual communication—and finds the devil in the details.
The Dead Roam the Earth: True Stories of the Paranormal from Around the World by Alasdair Wickham includes tales of ghosts, monsters, poltergeists, witchcraft, and other paranormal phenomenon. While this may be categorized as a novel, it's more of a reference text, and it would be best enjoyed when one is looking for information about these subjects, rather than a fictional text. Whether or not the reader believes in the supernatural, the book presents information in a format that makes it easy to pick up and put down without losing your place.
It should be noted that some of the material has been collected in other forms, such as sections on curses and film sets, which anyone watching late night television has seen around Halloween. In addition, it's hard to draw conclusions about the supernatural, especially when there are only a few accounts of events, and to make snap judgements comes across as reaching for straws at times.
There's no denying that there are many things in this world that are difficult to explain, and if a reader is seeking a book that offers alternative explanations, they will find something of interest in this book. Just don't accept it as truth without doing research on it first.
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Treatment for Shoulder Pain and Rotator Cuff Injuries | Podiatry Associates, P.C.
Just think about how many times you lift your arms a day—reaching for the cereal in the cupboard, pulling on a shirt, washing your hair, waving to a friend, the list goes on. So what happens when your shoulder gets injured and you feel it every time you do any of those activities? Well, basically, you experience a pain-filled day, all day, every day. Rotator cuff injuries can seriously inhibit your lifestyle, so physical therapy is important in order to return to normal function as soon as possible. With our help, you'll be "raising the roof" in no time.
The rotator cuff is a group of tendons and muscles that surround the shoulder joint. Its job is to keep the top of your arm bone in the socket of your shoulder. Injury to the area can result in a dull, aching pain deep within the shoulder, accompanied by weakness in the arm. This makes any kind of overhead movement difficult, and can disturb sleep if one is used to laying on his or her side.
This injury mostly happens to people who repeatedly use overhead motions either in sports or in their jobs like carpenters, painters, or basketball, baseball, and tennis players. The risk increases with age as well. It can also occur if you use your arm to break a fall or lift something that's too heavy. Still, another culprit is a bone spur. This is an overgrowth of bone that can protrude from the shoulder blade and damage the rotator cuff.
Rotator cuff injuries need to be addressed, since inflammation can eventually lead to tearing, increasing the seriousness of the situation. You can expect the doctor to press on different parts of your shoulder and move your arm into various positions. The strength of your arm will likely be tested as well. In some cases, X-rays, ultrasounds, or MRIs may be administered to get a closer look at potential causes of pain, including broken bones, bone spurs, and tissue damage.
If the injury is severe and involves a tendon tear or bone spurs, your shoulder may require surgical repair. Otherwise, ice and anti-inflammatory medicine can help with pain and swelling. Use a cold pack for 15 to 20 minutes every few hours. After several days, if pain diminishes, a heating pad can relax tight and sore muscles. Rest is essential. Avoid movement and lifting. Physical therapy exercises will assist in restoring strength, flexibility, and function. Continuing these daily will help prevent injuries in the future.
If you've been experiencing pain in your shoulder and having difficulty lifting your arm, don't just shrug it off. Dr. Jennifer Molner can assist you in planning an exercise routine and help you recover from your rotator cuff injury. Call (303) 805-5156 for an appointment today at Castle Pines Physical Therapy and Cherry Creek Physical Therapy here in Castle Pines and Cherry Creek, CO. You'll be lifting, reaching, and waving before you know it!