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This image is not from a statistically significant sample size--although it is from a real analysis I did (aka, the figures are not made up).
There are often many possible reasons why engineering components fail in service, and the cause and mechanisms of failure can only be determined with the right combination of analytical equipment and experienced engineers.
TWI has both the state-of-the-art facilities to carry out complex failure investigations and the critical mass to interpret the results and offer the solutions to avoid further failures in the future.
For more information www.twi.co.uk/services/failure-investigation/
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
IFPRI Research Fellow, Danielle Resnick introduces the speakers at the even, Donor Approaches to Political Economy Analysis.
IFPRI hosted a policy seminar titled “Donor Approaches to Political Economy Analysis” on February 5, 2015. For more information, please visit: www.ifpri.org/event/donor-approaches-political-economy-an...
©IFPRI/Xinyuan Shang
Music for Healing or What You Need # 2
Gabie Strong, Christopher Reid Martin, Ted Byrnes
February 12, 10pm-midnight
(Following by:
Incubation, 1am-9am
Dream analysis, 9-11am)
Baik Art
Please join us Friday, February 12 for an evening with Gabie Strong, Christopher Reid Martin, and Ted Byrnes. Themes of catharsis and cleansing will lead into a sonic space to prepare us to dream and, ideally, to heal. Between 10pm-midnight, Gabie Strong, Christopher Reid Martin, and Ted Byrnes will activate the space of Baik Art. For an optimal experience, be prepared to lie down.
An intrepid group will spend the night following the performance in the ancient Greek tradition of ‘incubation’. Your dreams will be interpreted the following morning by a professional. Please email Matt Wardell at shonufwardell@hotmail.com to reserve your spot. BYOB (Bring Your Own Bedding). Details of the overnight stay will follow. Space is very limited!!
Gabie Strong is a California artist and musician exploring spatial constructions of degeneration, drone and decay as a means to improvise new arrangements of self-reflexive meaning. Strong uses sound performance, radio broadcasting, environmental installation, photography and video as mediums for experimentation.
Her work has been presented on Kchung TV at the Hammer Museum’s Made in L.A. 2014 biennial exhibition, Pasadena Armory Center for the Arts, Knowledges at Mount Wilson Observatory, Pitzer Art Galleries, University Art Gallery UC Irvine, and LAXArt amongst others.
Strong has performed at MOCA, the wulf, Los Angeles Contemporary Archive, Printed Matter’s LA Art Book Fair, Art Los Angeles Contemporary, Human Resources, SASSAS, LACE, High Desert Test Sites, LACMA, the MAK Center for Art and Architecture, Jabberjaw, and with her all-female free-psych band Lady Noise for Dawn Kasper’s performances at the 2012 Whitney Biennial.
Strong’s work is an exploration of the affect of decay that is experienced from living in the spatial disorganization of the twenty-first century. This disorganization is the result of living in multiple non-places at once—both physical and virtual— where borders are both confining and permeable. I often collaborate with other artists, musicians and poets to create work that embodies the difference of lived experience.
Christopher Reid Martin is a multidisciplinary artist, currently residing in Los Angeles. He first began working with sound in Orange County in 2004, layering sounds from various field recordings of daily life which convey living truths and over processed instrumentation as the reactionary expression. These expressions came to birth the solo project known as of Shelter Death, as it has evolved into a project in which performance and sound interplay to make for a personal reactionary experience in a perpetually decaying world.
In 2010, Christopher had taken his creative endeavors into other avenues, releasing tracks under various formats under his shared Orange County based label Via Injection. Christopher's creative repertoire expanded when he began documenting his experience in countries outside the US, by taking field recordings, foreign radio recordings, and/or taking photographs. Photographs were either left unadulterated as they were taken or digitally manipulating and layered these with old scanned various schematics. This has lead to an ongoing body of work, which fuses reality in the form of photography, with corroded ideas in the form of chopped manipulated grids and manuals. Christopher has and continues to show work in a number of art shows and has performed live in a number of events in projects such as Bailouts, Via Injection, Shelter Death, and under his own name.
christopher-reid-martin.format.com/
Ted Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston, MA, he comes from a jazz background and has since made his home in the worlds of free improvisation, new music, electro-acoustic music, and noise.
Ted primarily works in ad hoc improvisational settings, but has standing improvisational groups including: a group with Ulrich Krieger, a duo with Jeff Parker, a duo with Chris Cooper (AQH), a duo with Nicholas Deyoe, a duo with John Wiese, a duo with Scott Cazan, a trio with Jacob Wick and Owen Stewart-Robertson, among others. Additionally, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj, David Watson, Ingebrigt Haker Flaten, Charlemagne Palestine, Alfred 23 Harth, Tim Perkis, Jaap Blonk, Torsten Muller, Kim Myhr, Jim Denley, Lloyd Honeybrook, Chris Schlarb, Mike Watt, Paul Masvidal, the LAFMS (including Smegma, Airway, Ace Farren Ford’s Artificial Art Ensemble, Rick and Joe Potts, Fredrik Nilsen, Tom Recchion, Vetza, etc), Sissy Spacek (the band), Maher Shalal Hash Baz, and more.
Ted has also collaborated with / worked for a variety of visual artists: he has accompanied a Doug Aitken “happening”, collaborated with Olivia Booth to play her glass artworks, collaborated with Dani Tull on a sound performance, performed with John Knuth and Bret Nicely at an installation in an empty pool, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations.
Currently, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects.
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EYE-DEE-QUE (Something Like an Asclepeion)
Matt Wardell
January 9 - February 13, 2016
Baik Art presents EYE-DEE-QUE (Something Like an Asclepeion), a solo installation and series of events by Los Angeles artist Matt Wardell.
For the exhibition, Wardell will present an immersive environment of images and objects by channeling ‘something like’ an ancient Greek temple of healing. Using Baik Art’s unique architecture, viewers experience a literal (and perhaps figurative) katabasis (‘to go down’ as in a descent of some type), but more importantly, and ideally, a catharsis (‘cleansing’ or ‘purification’).
Numerous objects, found and constructed, engage with the verticality of Baik Art’s shaft-like space, surrounded by an installation of wall works including drawings, collages, and repurposed images. Several fabric sculptures fill the gallery functioning as apotropaic totems. These Guardian Figures suggest a ‘presence’, ideally something beyond the object.
Daytime and evening events will further activate the gallery a space for healing. Practitioners from a variety of fields will be on hand for consultation. Music for Healing or What You Need will present a sonic cleansing. Incubation and Dream Analysis will be an overnight event of guided sleep followed by dream analysis with a professional. Utilizing the healing properties of dog saliva, An Event for Wound Licking will be a participatory event pairing wounds with dogs. For the date and time of each event, please contact the artist at shonufwardell@hotmail.com.
In ancient Greece and Rome, an asclepeion was a healing temple, sacred to Asclepius, the Greek God of Medicine. These temples were places in which patients would visit to receive either treatment or some sort of healing, whether it was spiritual or physical. Epidaurus was the first place to worship Asclepius as a god, beginning sometime in the 5th century BCE.
Starting around 350 BCE, the cult of Asclepius became increasingly popular. Pilgrims flocked to asclepieia to be healed. They slept overnight (“incubation”) and reported their dreams to a priest the following day. He prescribed a cure, often a visit to the baths or a gymnasium. Since snakes were sacred to Asclepius, they were often used in healing rituals. Non-venomous snakes were left to crawl on the floor in dormitories where the sick and injured slept.
Matt Wardell seeks to prolong a sense of wonder while placing the viewer in a lingering position of active assessment. He is interested in how we choose to live and in introducing work that facilitates these investigations. Wardell enjoys walking on fences, answering wrong numbers, and giving directions to places he does not know. Uncomfortable laughter, confusion, and irritation tend to be the byproducts of Wardell’s works.
Wardell has exhibited his work at venues throughout the United States and Mexico, including the Museum of Modern Art in San Francisco (SFMOMA), Claremont Museum of Art in Claremont, Los Angeles Contemporary Exhibitions (LACE), REDCAT, PØST, Human Resources, Black Dragon Society, Mark Moore Gallery, and Commonwealth and Council, all in Los Angeles. Wardell is a founding member of the artist collective 10lb Ape.
Baik Art
2600 S. La Cienega Blvd., Los Angeles, California 90034
310.842.3892
Visual Analysis of the Learning experience for the "Digital Footprint" lesson plan, created with the "Learning Designer" tool
This was the most useful chart for me in keeping track of my walking progress in 2014. This chart told me if I was ahead or behind of my goal.
For most of the year I was behind my goal. The furthest behind goal I got was on 6 June 2014 where my goal was to have walked 1290.6 miles and my actual was 1134.3 so I was 156.3 miles behind. F
From this chart, it is easy to see that i was getting behind (negative slope) the first part of the year and started catching up in the summer (positive slope). I ended up 8 miles ahead of my 3000 mile goal.
DeltaFitness2014
I'm guessing about the authors of these three pieces of graffiti written on a ventilation shaft of the MTR at Kowloon Tong station: there were three teenage, female, native English speakers, who shared the same felt tip pen while waiting for a bus. One or more was smoking a cigarette (because it's hidden from street view). The thoughts are interesting/sensitive, but they didn't finish one of them because their bus had arrived. I note the same mistake of a dotted "i" while the rest of the letters are capitalized. However, the mistake was probably made by different authors suggesting they are in the same class at school, and were taught the same mistake/were not corrected. The writing is delicate, suggesting the authors were female, but the "quiet hope" sentence was written with a heavier hand, suggesting either confidence or possibly a male author. There is some inconsistency about the dots at the end of each sentence, with most placing three, one four and one five.
before looking at others with judgement you must first judge yourself.
Big thanks to MONDO RODRIGUEZ for helping me out with this shot !
enjoy :]
by Stephen Badger | Office of Communications, Maryland Department of Natural Resources
Biologists perform necropsies on oysters collected during the annual fall survey at the Cooperative Oxford Lab. They are monitoring for the diseases like dermo and msx.
Analysis of iron in water from Pacific surface region by the Flow Injection analysis in the Chemistry Lab.
From: www.connectedaction.net
Connections among the Twitter users on the Twitter-List-ValdisKrebs-network-analysis when queried on July 14, 2011.
Layout using the "Group Layout" composed of tiled bounded regions. Clusters calculated by the Clauset-Newman-Moore algorithm are also encoded by color.
A larger version of the image is here:
Betweenness Centrality is defined here: en.wikipedia.org/wiki/Centrality#Betweenness_centrality
The local networks of each of the users is shown alongside the complete network graph.
Top most between participants:
@juneholley
@orgnet
@vidujagoss
@ressivenetworks
@marc_smith
@barrywellman
@kammerait
@soramaki
@fasresearch
@danielequercia
Graph Metric: Value
Graph Type: Directed
Vertices: 181
Unique Edges: 2879
Edges With Duplicates: 13
Total Edges: 2892
Self-Loops: 0
Connected Components: 1
Single-Vertex Connected Components: 0
Maximum Vertices in a Connected Component: 181
Maximum Edges in a Connected Component: 2892
Maximum Geodesic Distance (Diameter): 3
Average Geodesic Distance: 1.897256
Graph Density: 0.088551258
NodeXL Version: 1.0.1.172
More NodeXL network visualizations are here: www.flickr.com/photos/marc_smith/sets/72157622437066929/
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
race analysis: 100% Chinese !!
gender: Female
intelligence: 5.6
risk: 6.2
ambition: 6.2
gay factor: 1.3
honor: 5.8
politeness: 3.4
income: 6.0
sociability: 5.0
promiscuity: 5.9
archetype: Beta Boss
Personality Profile:
You are a power driven risk-taker. Your desire to obtain power quickly propels you to take large risks, both financially and socially. You are so effective and confident when it comes to making short term decisions at crucial moments that it almost becomes contagious. Your high confidence level leads you to focus on the rewards of your decisions, rather than over-calculating. Your directness may make others think you are rude. You know what you want and you want it now.
Some people consider you a political mastermind as you are able to take advantage of peoples strengths and weaknesses so effectively, that it enables you to undertake and achieve monumental tasks. Others tend to characterize you as confrontational, but you take this as a compliment, and in turn you characterize these people as push-overs. You would rather stand up for yourself and those you care about and face confrontation, than avoid confrontation and give in. You act promptly when it comes to making big decisions and thus others look to you to carry the burden of responsibility.
Your view of other types
You consider Academic Types to be a valuable resource of advice. You constantly interact with them to make better decisions and you respect the opinion of certain Academics. Artist types do not concern you for you look down on them, you believe they waste too much time. You like Charmers but you dont always trust them or bring them too close. You can relate to the Gambler types' risk taking personality but for the most part you do not trust them. You may have some things in common with Blue collar types, but for the most part you only interact with Blue collar and White collar types during the course of business. You feel no pity for Drifters. You believe that they are lazy.
Other types view of you
Academic Types view you as potential business clients and as great resources to expand their contacts. Therefore they treat you with respect. Artist types see you as egotistical and selfish and they may only interact with you during their employment. Blue collar and White collar types sometimes disagree with you, but they respect you for the most part. They may even be envious of your lifestyle. Charmer Types tend to like you and try to get close to you because you possess the intimidating factor and confrontational attitude that they lack. Gambler types regard your type as their main competition to be on top. Drifter Types tend to feel that you types are a bad tempered bully.
Alpha Boss:
- Most ambitious
- Makes the smartest decisions
- Occupations examples: Military general, Dictator, Organized crime boss, CEO of large company, Large Business owner (management/people oriented business operation)
Beta Boss
- More ambitious than Theta but less than Alpha
- Makes smarter decisions than Theta but less than Alpha
- Occupation examples: High/medium ranking military officer, Small/medium business owner (management/people oriented business operation), Gangster
Theta Boss
- Fears and distractions may affect your ambition
- Makes less wise decisions than Alpha and Beta
- Occupation examples: Manager, Low level criminal, entertainer
Analysis of iron in water from Pacific surface region by the Flow Injection analysis in the Chemistry Lab.
Analysis of iron in water from Pacific surface region by the Flow Injection analysis in the Chemistry Lab.
(public domain photo provided by the United States Geological Survey)
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Caption from the United States Geological Survey:
Oblique aerial photo of Sawyer Island captured during a field reconnaissance overflight on August 13, 2025.
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Info. from the United States Geological Survey:
A landslide above the toe of the South Sawyer Glacier failed into the waters of Tracy Arm, south of Juneau, Alaska, producing a tsunami on Sunday, August 10th, 2025, at 5:26 AM, Alaska Daylight Time / 13:26 Universal Time. No injuries or fatalities have been reported. This page may be updated as more information about the event is obtained.
Steep, mountainous landslide areas are inherently unstable and will continue to change for years following an initial landslide. Continued rockfall and smaller-scale landslide events from the exposed landslide scar are expected and could impact the water, potentially causing future local tsunami. As such, this area remains hazardous.
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In the early morning of August 10th, 2025, a landslide occurred in Tracy Arm, Alaska, about 80 miles (130 kilometers) south-southeast of Juneau. The landslide generated a tsunami in the fiord. The Alaska Earthquake Center first detected this event, noting seismic waves indicative of a landslide occurring at about 5:30 AM local time. Kayakers camped on Harbor Island, located at the mouth of Tracy Arm, reported their gear being swept away by a wave. Preliminary interpretation of photos taken by kayakers in the area indicates that the landslide generated a tsunami at least 30 meters (approximately 100 feet) high at Sawyer Island, a small island located where the fiords containing South Sawyer and North Sawyer glaciers meet. The tsunami was also recorded far from the landslide on a National Oceanic and Atmospheric Administration coastal tide gauge in Juneau. The National Tsunami Warning Center reported that the maximum tsunami wave height at the gauge was 36 centimeters (approximately 14 inches) above the tide, and that the waves continued for hours.
A satellite image acquired on Wednesday, August 13th clearly shows the landslide location on the north side of the fiord containing South Sawyer Glacier. Some or most of the material appears to have directly entered the water adjacent to the terminus of the glacier. Preliminary estimates indicate a volume of up to ~100 million cubic meters (~130 million cubic yards). On Wednesday, August 13th, United States Geological Survey personnel conducted a helicopter-borne aerial survey of the area, capturing photos. Satellite and digital elevation model analysis indicate a runup height of 470–500 meters (1500–1600 feet) opposite the landslide. Runup heights reported here are preliminary and are subject to change with additional field validation.
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Landslides that form above, and which could fail into water bodies including lakes, fjords, and bays, are relatively common in the steep and glaciated mountains of Alaska. The 1958 Lituya Bay landslide-generated tsunami had a peak runup of 530 meters (~1,740 feet). In 2015, a large landslide in Taan Fjord generated a tsunami with runup directly across from the landslide exceeding 190 meters (620 feet). Most recently, in August 2024 a landslide produced a tsunami 17 meters (56 feet) high in Pedersen Lagoon.
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I used the Tapor XML analysis tools to find the words that are used the most on the Adaptive Path blog.
Numbers 4 and 19 crack me up.
'Material characterisation' is the use of external techniques to observe the internal structure of materials and their properties. Using a range of characterisation techniques, TWI can make accurate diagnoses using advanced microscopy and analysis facilities.
For more information www.twi.co.uk/technologies/material-properties/material-c...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
Pretty much anybody can make the most of researching basic stock trading investing information, from expert to beginners. There exists plenty to discover stock market trading, from basic tips and beyond. If you wish to be as lucrative as is possible when venturing into stock market trading, stick to the tips in this post.
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Researching just as much as you are able to about every company you are considering purchasing can definitely enhance your performance in stock market trading. Stay as informed as possible and don't depend on hearsay alone. If you would like your investments to become profitable, remember to keep these guidelines in your mind. www.stockmarkettradingguide.info/%year%/%monthnum%/%day%/...
Materials are the building blocks of all functional structures. TWI's expertise lies in understanding the complex interactions that take place when basic materials are transformed into functional shapes and joined together in different working environments.
Choosing materials that are cost-effective and also offer predictable in-service performance is essential to ensure reliable operation and avoid the potentially catastrophic consequences of in-service failure.
TWI has over 60 years' experience in material characterisation, testing, performance evaluation and suitability studies. It can provide assistance at any stage of a project - from feasibility studies, to design, implementation, and proof of performance.
In addition, TWI can advise on choice of materials and fabrication routes and validate new developments. In the unfortunate situation of a failure, TWI's experts can carry out a failure investigation and propose the necessary recommendations to avoid failures in the future.
For more information www.twi.co.uk/technologies/material-properties/
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
35 research participants and 1.5 hour interview for each leads to a lot of stuff to analyze. We've really gone crazy with the stickies since this photo was taken last week. I'll post a version of the current space as soon as I stitch together the photos I just took.
The Black Ferns is New Zealand's national women's rugby union team.
The team's nickname combines the colour black and the silver fern, which are iconic New Zealand sporting symbols. For example, the All Blacks is New Zealand's famous men's rugby team, the Black Caps is the men's cricket team, the White Ferns is the women's cricket team, while the Silver Ferns is the national women's netball team.
The Black Ferns are the current Women's Rugby World Cup champions. They have won four consecutive World Cups, winning the first International Rugby Board (IRB)-sponsored Cup in 1998, the 2002 World Cup in Barcelona, the 2006 World Cup in Edmonton, Canada, and the 2010 World Cup in London, England. The Black Ferns have participated in most WRWC events since its inauguration in 1991, only missing the 1994 championship in Scotland. They also won the Canada Cup in 1996, 2000, and 2005, and the Churchill Cup in 2004.
Farah Palmer, who had been captain since 1997, lost her captaincy in 2005 due to a shoulder injury. However, she was honoured as International Women's (Rugby) Personality of the Year at the IRB Awards. During that year, Rochelle Martin and Anna Richards led the team in the 2005 test series against England, which the Black Ferns won 2-0. For the 5th Women's Rugby World Cup in Canada, Farah Palmer fought her way back into the Black Ferns team. After again leading the team to World Cup victory, Palmer announced her retirement from the Black Ferns in September 2006.[1]
While rugby is the most popular spectator game in New Zealand, the Black Ferns have suffered in the past from similar problems to any women's sport—under-funding, lack of support and lack of publicity. The New Zealand Rugby Union (NZRU) and IRB have been criticised for not doing more to promote women's rugby, although support is beginning to build in those organisations. The NZRU started funding the Black Ferns in 1995, thus giving a great boost to their game. Accordingly the Black Ferns have benefitted from being included in NZRU High Performance initiatives. Along with professional coaches the team has had access to professional development resources such as analysis. The Black Ferns have used Verusco Technologies TryMaker video analysis system, as used by the All Blacks. In more recent times, the team's profile has risen greatly at a grassroots level, due in great part to their string of successes, and it is increasingly seen to be a national team on the same basis as any other.
In January 2010 NZRU announced that the National Provincial Competition (NPC) will have to go due to budget cuts. This has been a shock for many women players especially since it is a World Cup year. Former captain Farah Palmer was one of the women who commented on that.[2] NZRU said women's domestic rugby is one of many victims of the tight financial times. They have faced a barrage of criticism for their decision. General manager of provincial rugby Neil Sorenson said NZRU is going to replace the competition with camps and trials for the Black Ferns.
After the Black Ferns won the World Cup in 2010 and due to efforts of many rugby players in New Zealand the NPC was re-installed. The Auckland Storm with Emma Jensen captaining the side, won the final against Canterbury 38-12 in Christchurch. It was the Auckland Storm 5th consecutive title.
Les Néo-Zélandaises se présentent comme les favorites naturelles du Mondial dames de rugby qui s'ouvre vendredi près de Paris, après avoir remporté les quatre dernières éditions, mais les hôtes françaises et les grandes rivales anglaises se tiennent en embuscade.
Les "Black Ferns" (Fougères noires) règnent sans partage sur le monde depuis 1998 et ont pris l'habitude, lors des trois dernières éditions, de contrarier les rêves anglais en finale. Victorieuses de leurs quatre matches de préparation contre l'Australie, les Samoa et le Canada (deux fois), les Néo-Zélandaises, dont les meilleures sont sous contrat fédéral et sont également championnes du monde à VII, semblent posséder un temps d'avance sur le plan technique et physique. Versées dans une poule B plutôt facile (avec l'Irlande, les États-Unis et le Kazakhstan), les Black Ferns devraient se roder lors de leurs trois premières rencontres disputées à Marcoussis, siège de la Fédération française de rugby à une trentaine de kilomètres au sud de Paris.
Parmi les douze équipes en lice pour cette septième édition, les Françaises font figure de sérieuses prétendantes après avoir remporté le Grand Chelem dans le Tournoi des six nations. Invaincues en 2014, les Bleues ont l'avantage du terrain, à condition de gérer la pression de l'événement. Elles devraient en théorie franchir l'obstacle d'une poule C comprenant le pays de Galles, l'Afrique du Sud et l'Australie. Les "Wallaroos" et les "Bleues" n'ont guère de repères les unes contre les autres, leur dernière opposition remontant au Mondial-2010 et au match pour la 3e place perdu par la France.
Les Anglaises (poule A) voudront, elles, chasser l'amertume du dernier Mondial: elles s'étaient inclinées au Twickenham Stoop d'un cheveu contre les Néo-Zélandaises (13-10) au terme d'une finale à fort suspense. Mais leurs Tournois des six nations 2013 (3e place) (...)