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Another word for you in a essay

another word for you in a essay

500, word Essay example : Analyzing Only the best

You can download mirc at: good Manners, tIP: Dont just blurt out a message the moment you join a channel, although it doesnt hurt to say hello! People in that channel might be carrying on a conversation and you might interrupt them. Wait a few moments to see if there is a conversation going. Manners are just as important on irc as they are anyplace else. If you are polite about it, youll find the other people on irc will help you learn all the tricks of using irc. Your Own Channel, you can start your own channel by using a channel name that is not in use already.

Do what you love - paul Graham

Instant Messaging, internet Relay chat, irc is a network service, designed with the proposal Internet in mind. It allows two or more people to talk to one another live. These chats are carried on by typing instead of talking. The network transmits a message from one typist to the other people in the conversation. Any or all of them can then type in their responses. Irc is simple to use if you writing know how, and were going to teach you how. First, you need a computer thats linked to a network with an irc server. (A server is a computer on a network that stores files for and fulfills requests from other computers on the network.) If you have an Internet connection you are already on the largest network in the world, and you have access to many, many irc. Clients, irc client software is the next thing youll need. Thats the software on your computer that will let you chat over the Internet Here are a few examples of irc client software: mirc mirc is an excellent irc client.

Mmog users are mostly male yardage - usually between the ages of 18-34 - although titles like world of Warcraft have a healthy population of female players as well. With millions of players, there are plenty of people to adventure with." The key to learning to write a good essay is to read and study other essays and then practice, practice, rewrite and practice some more. Methods Of Chat Essay, research Paper. At one time, most chatting was done on porches or over a back yard fence. But not any more! Now you can talk to anyone, anywhere in the world, anytime you want, without paying a dime in long distance phone charges. How can you do this? Let us count the ways:. Asp chat rooms.

another word for you in a essay

What you'll Wish you 'd Known

This new theory argues that healing is at our fingertips: we can be healthy by doing reikion on a regular basis."On Essay by example, on the other hand, the sample argumentative essay addresses online games and socialization Online games aren't just a diversion, but. As millions of gamers demonstrate, playing online is about friendship and cooperation, not just killing monsters. These games are a viable social network because players focus on teamwork, form groups with like-minded people and have romantic relationships with other players."Massively-multiplayer Online games (mmogs) feature millions of players interacting in the same environment. The games are social in nature as they allow players to band together and complete missions based on a story line, or test their skills by fighting against each other. At the start of the game, the user creates a fictional character, and customizes its physical guaranteed appearance. Since many games involve combat, players also outfit their characters with armor and weapons, as well as choose their "profession." Many popular game titles like world of Warcraft and everquest follow a fantasy theme, so most professions have magical abilities like healing other players. While the process seems simple, players may spend hours agonizing over the perfect look for their character, from their armor color to the type of skills to use in battle. Once their character is created, the player is free to explore the vast, digital world and interact with other players; however they must pay on average 15 a month for game content.

However, this relentless pursuit of thinness is not just an example of women trying to look their best, it is also a struggle for control, acceptance and success." Finally, here are excerpts from argumentative essays : "Gun control has been a controversial issue for years. A vast majority of citizens believe that if gun control is strictly enforced it would quickly reduce the threat of crime. Many innocent people feel they have the right to bear arms for protection, or even for the pleasure of hunting. These people are penalized for protecting their lives, or even for enjoying a common, innocent sport. To enforce gun control throughout the nation means violating a persons Constitutional rights. Although some people feel that the issue of gun control will limit crime, the issue should not exist due to the fact that guns are necessary for self defense against crime, and by enforcing gun control is violating a citizens second amendment right to bear. A new theory suggests that medicine could be bad for your health, which should at leastcome as good news to people who cannot afford to buy expensive medicine. However, it is a blow to the medicine industry, and an evenbigger blow to our confidence in the progress of science.

Grammar Instruction with Attitude

another word for you in a essay

Essay writing guide : how to write a good essay

In the middle of it all was the office, a faded, steel roof supported by cheap two-by-fours and supplier zebra paneling. Billy ray was at home, usually, five blocks east of town on Kennel road." Following are excerpts from exposition essays : "This family was a victim of a problem they could have the avoided-a problem that, according to Florida park rangers, hundreds of visitors suffer each. Not that there was anything wrong with the park: The hikers camped next to them loved the wild isolation. But it just wasn't the kind of place the couple from New Jersey had in mind when they decided to camp out on this trip through Florida."Here is an example of a student model answer of an Expository Essay from The Write source did you. Did you know that 50 percent of those students have cheated more than twice? These shocking statistics are from a survey of 9,000. High school credibly, teachers may even be encouraging their students to cheat!

Last year at a school in Detroit, teachers allegedly provided their students with answers to statewide standard tests."Here is an another example of an expository is example comes from Essay start Throughout history and through a cross-section of cultures, women have transformed their appearance. Ancient Chinese aristocrats bound their feet as a show of femininity; American and European women in the 1800s cinched in their waists so tightly, some suffered internal damage; in some African cultures women continue to wear plates in their lower lips, continually stretching the skin. The north American ideal of beauty has continually focussed on women's bodies: the tiny waist of the victorian period, the boyish figure in vogue during the flapper era, and the voluptuous curves that were the measure of beauty between the 1930s and 1950s. Current standards emphasize a toned, slender look, one that exudes fitness, youth, and health. According to psychologist eva szekely, "having to be attractive at this time. Means unequivocally having to be thin. In North America today, thinness is a precondition for being perceived by others and oneself as healthy" (19).

Through the main dining room is yet another room; it guards the door leading into the kitchen. This room contains the most coveted table in the place. The highest tribute lou can bestow on anyone is to allow them access to seats at this table. This table is the family table; it is reserved for lous, and her daughter Karens, immediate family and treasured friends."Here is an example of a descriptive essay from. Cloud State billy ray's Pawn Shop and Lawn Mower Repair looked like a burial ground for country auction rejects.

The blazing, red, diesel fuel tanks beamed in front of the station, looking like cheap lipstick against the pallid, wrinkled texture of the parking lot sand. The yard, not much larger than the end zone at General. Patton High School on the north end of town, was framed with a rusted metallic hedge of lawn mowers, banana seat bicycles, and corroded oil drums. It wasn't a calico frame of rusted parts, but rather an orchestra of unwanted machinery that Billy ray had arranged into sections. The yellow-tanked mowers rested silently at the right of the diesel fuel. Once red, now faded orange, mowers stood at attention to the left. The oil barrels, jaded and pierced with holes, bellared like chimes when the wind was right. The bikes rested sporadically throughout the lot.

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This was almost certainly his last time to plan come to the plate in Fenway park, and instead of merely cheering, as we had at his three previous appearances, we stood, all of us, and applauded.". Following are excerpts from descriptive essays : "like his twisted feathers, his many scars, the reliable old owl chose the gnarled, weather-beaten, but solid branch often—it being a companion to the wise alone with the night and the last branch to creak in the heaviest. He often came to survey the fields and the clouds before his hunt, to listen to the steady sound of the stream passing through reeds under the bridge, while combing his feathers for the unwanteds—whatever they might."Here is a descriptive essay about a first. Roane State community college when entering the door at lous, two things are immediately noticeable: the place is rarely empty and seems to consist of a maze of rooms. The first room, through the door, is the main part of the restaurant. There is another, rarely used, dining room off to the right. It was added during the oil well boom of the seventies.

another word for you in a essay

I had gone to the pound just a week earlier with the idea that I would just "look" at a puppy. Of course, you can no more just look at those squiggling little faces so filled with hope and joy than you can stop the sun from setting in the morning. I knew within minutes of walking in the door that I would get a puppy but it wasn't until I saw him that i knew I had found my bertrand puppy."looking for houses was supposed to be a fun and exciting process. Unfortunately, none of the ones that we saw seemed to match the specifications that we had established. They were too small, too impersonal, too close to the neighbors. After days of finding nothing even close, we began to wonder: was there really a perfect house out there for us?". The following is an example of a famous narrative written by john Updike, "Hub Fans Bid Kid Adieu "The afternoon grew so glowering that in the sixth inning the arc lights were turned on-always a wan sight in the daytime, like the burning headlights. Aided by the gloom, fisher was slicing through the sox rookies, and Williams did not come to bat in the seventh. He was second up in the eighth.

is trying to convince the reader by demonstrating the truth or falsity of a topic. The writers position will be backed up with certain kinds of evidence, like statistics or opinions of experts. The writer is not just giving an opinion, but making an argument for or against something and supporting that argument with data. To know how to write an essay in an argumentative way, you have to research and backup what you say in the text. Learn by Example, when learning how to write an essay, sometimes the best way to learn is to look and analyze essay examples. Following are excerpts from narrative essays : "looking back on a childhood filled with events and memories, i find it rather difficult to pick on that leaves me with the fabled "warm and fuzzy feelings." As the daughter of an Air Force major, i had. I have visited the monstrous trees of the sequoia national Forest, stood on the edge of the Grande canyon and have jumped on the beds at caesars Palace in lake tahoe."The day i picked my dog up from the pound was one of the happiest.

Descriptive, descriptive essays have text which describes traits and characteristics of people, objects, events, feelings, etc in intricate detail. Whatever is being described will be thoroughly examined. For example, if you were describing roses, you would explain: Where they book come from, what they look like, what colors they are. How they grow and smell, when you write a descriptive essay, you want to involve the readers senses and emotions. For example, you could say, i got sleepy or describe it like this, "As I was waiting for Santa, my eyelids began to get heavy, the lights on the tree began to blur with the green branches, and my head started to drop." The second. Exposition, expository essays can compare, explore and discuss problems, or tell a story. An exposition essay gives information about various topics to the reader. Describes, explains, in writing an exposition, the text needs to: be concise and easy to understand.

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Four types of essays exist including: narration, description, exposition, and argument. Each type has a unique purpose: some tell a story, some are descriptive and others prevent viewpoints. One of the gps best ways to better understand each type of essay is to review examples. Types of Essays, narrative, narration is telling a story from a certain viewpoint, and there is usually a reason for the telling. All narrative essays will have characters, setting, climax, and most importantly, a plot. The plot is the focus of the story and is usually revealed chronologically, but there are sometimes flash forwards and flash backs. In writing a narrative essay, remember to: Include sensory and emotional details, so the reader will experience the story, not just read about. Have the story support the point you are making, and make reference to that point in the first sentence. Write in the first or third person.

Another word for you in a essay
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Disability Arts Online

> > > Interview: What impact did Unlimited and the Unlimited Festival have on the commissioned artists?

22 December 2012

Three on a bike from the Box of Frogs performance Steve Eggleton 2012

Three on a bike from Box of Frogs

Image: Steve Eggleton 2012

What impact did Unlimited and the Unlimited Festival have on the commissioned artists? Nina Muehlemann has interviewed 10 of the artists for DAO to find out.

The artists interviewed were: Graeae’s artistic director Jenny Sealy and executive director Judith Kilvington, Stumble danceCircus’ Mish Weaver, Simon Allen, Fittings Multimedia Art’s Garry Robson, Ramesh Meyyappan, Claire Cunningham, Sue Austin, Rachel Gadsden, Simon McKeown and Kaite O’Reilly.

What did it mean to you to be part of Unlimited?

Graeae: Being part of Unlimited was extremely important, as we were part of an artistic body of work, which was a Deaf and disabled led festival. The buzz of creativity and inclusion at Southbank Centre was extraordinary and exciting.

Mish Weaver: It meant that I knew that I would be able to make the show well in advance and that I would be able to tour.  It meant performances at the Southbank Centre which is a big deal for a small performance company such as mine (I am a sole trader). It meant being labelled as disabled for the first time in my career, through my declaring my bipolar disorder, which felt both personal and political.

Simon Allen: This was an enormous amount of original work, made available for a wide audience. Whilst it goes without saying that as artists, we have benefitted greatly from this wider exposure and opportunity to create work that is for many of us, on a larger scale than usual, it is also notable that the whole festival, like the Paralympics, has a function of sensitizing audience to a wider variety of artistic voices. Apart from enjoying the artistic output, visitors to Unlimited leave with a heightened awareness of many other issues of access and communication.

Fittings Multimedia: Unlimited allowed us to dream. For a long time I'd wanted to make an immersive show for a small audience but based upon a new script. It was an experiment and could never guarantee a decent box office return because of the mismatch between the scale of the performance and the limited box office receipts. The Unlimited commission allowed me to realise this dream.

Ramesh Meyyappan: For quite a while I’ve been aware of and sensed frustration about the way deaf and disabled art is pigeonholed – there is a battle for the work to be seen on mainstream stages and by audiences.  Unlimited provided that platform and ensured that the quality of the work that audiences saw was absolutely comparable with ‘mainstream’ work and therefore challenged any misconceptions about our work. I feel very positive about the experience.

Claire Cunningham: it was important to have my work considered by a peer group of other disabled artists - on the panel, and also to have it then considered worthy of support in relation to the quantity and quality of other applications. It gave me a specific reason and launching off point to take a huge leap artistically in terms of creative ideas, physical scale, size of project and partnership.

Sue Austin: It was so much work, leading up to applying for this, probably the most work I’ve ever done for anything, so when we got the phone call to say the application had been accepted, it was the most amazing feeling of elation.

Rachel Gadsden: The Unlimited awards represented a commission of a lifetime for me, an opportunity to reach beyond and explore new creative territories, where the chance to build international collaborations and relationships underpinned the motivation of the artistic creativity.

Simon McKeown: I enjoy every exhibition of my work as they are all different and unique however exhibiting in London at the south bank was of course extremely special. London is one of my favourite cities and to show work, and in to the context of 2012, at such as prestigious and busy location as the Southbank Centre and Jubilee Gardens was amazing.

Kaite O’Reilly: I think it was a once in a lifetime opportunity to have that breadth of deaf and disabled artists’ work seen on that platform, on such a high profile.

What were your expectations for Unlimited? Did you have any concerns in advance?

Graeae: It was really important that there was a range of work profiling the skills of disabled artists from across the UK and that Unlimited showed the wealth of talent available. Our concern from the start was that the industry would see this as a one-off event and that the relationships established between producers and disabled artists wouldn’t be sustainable.

Mish Weaver: I was generally pretty terrified of the huge amount of rules and regulations.  I was also encouraged to have huge expectations of what Unlimited might do for me as an artist and Stumble as a company but I didn't really engage my faith in these fully and was therefore so not so disappointed when a lot of the promises didn't come off. I was scared of being branded disability arts, having been working in the arts for 20 odd years without such a label it was an interesting dialectic to take on.

I was also scared of negative reactions to my going public about manic depression and the effect that may have on my immediate family.  I was scared of the effect of so much pressure on my mental health but I did put a lot of mechanisms in place to safeguard this as much as I could.

Simon Allen: The concerns were many but all pertinent to any artist and no different within the Unlimited arena. Fundamentally, it is always true to say that once you have established your team of collaborators and have made your work; each subsequent relationship with the outside world that is needed to bring a performance to the stage, is a leap of faith that reduces efficiency and control.

Fittings Multimedia: I expected it to be bloody hard work, and it was. Creating a satisfying experience for everyone in this sort of work is always a concern. Theatre is always intangible, ephemeral. Immersive work is even more so. You’re infecting people’s dreams.

Ramesh Meyyappan: I expected that being part of Unlimited there would have been good exposure, particularly during the time of the Festival in London.

Claire Cunningham: I had expected the work to be supported in terms of touring far more, in terms of helping getting work staged. This element of the project was unfortunately not that well planned and it left artists really struggling to get their work staged in 2012. In contrast I had expected at the Southbank to find the work somewhat sidelined or given low profile, but was genuinely impressed by how well the work was promoted and branded.

I was concerned that by taking a huge leap into making such large scale work - without working your way up over the years to making work on that scale - you miss out all the learning required of how to do it. Which is true, and without the huge amount of support I had around me - from my Co-Director Gail Sneddon to all the staff at the National Theatre of Scotland and its specific resources it would not have been possible.

The other fear - which still exists - was making this large work and then being left unable to stage or tour it in future - as we do not have the 'fame' or 'reputation' to get us into the big venues the work needs to play in.

Sue Austin: The information and programme I got from Unlimited seemed very well structured, so that was very reassuring, it felt very good right from the start. I had opportunity to familiarize myself with many of the people who worked on the Unlimited, so the project seemed much more achievable, and right from the beginning everyone was incredibly supportive. It felt like a new wave, a new perspective on art that was created from a perspective of diversity.

Rachel Gadsden: Working with a huge team of collaborators is a bit of an undertaking, and the process of facilitating everyone’s artistic expectations was at times quite a feast, but as each stage of the commission unravelled the jigsaw came together and I have been overwhelmed by the artistic generosity of everyone that contributed.

Simon McKeown: I was somewhat concerened that the event would be poorly supported, planned, and delivered. Fortunately this was not at all the case. I hoped for an exciting, happy event, which attracted viewers and interest.  I think the South Bank Centre achieved that and presented the work professionally with due care and attention fantastically.

Kaite O’Reilly: I didn’t have any. The production was happening anyway, and it had already been on a national platform, the National Theatre Wales, it was a project I had been building on for four years, so perhaps I am in a slightly different situation to other artists. I am very grateful, and I think it enabled something for me, but I don’t think it had the same impact on me that it had on some of the other artists, who perhaps have never been working on a national platform before.

How did you feel about the media coverage you got, for Unlimited and generally for your work during that time?

Graeae: It’s interesting that the Evening Standard Awards have just recognised the extraordinary moment which launched the 2012 Games with an award for Danny Boyle and his creative team but have omitted any reference to the equally powerful Paralympic Opening Ceremony. We still have a long way to go to achieve a level playing field in the eyes of the press and public.

Mish Weaver: It was largely okay. Mostly a bit lazy! It was intrusive and exhausting talking about my personal story so much but it was definitely a means to an end and I have been incredibly fortunate to have done lots of well attended shows, received industry review and toured the country, minimally but successfully.

Simon Allen: Do you mean the blanket publicity? This functioned well enough for my show to sell out, and for the South Bank Centre, footfall was very high. However the appearance of the printed publicity was all about branding and cohesion with the design of the whole Olympic package. Artistically it could have been much more creative!

Fittings Multimedia: Excellent In Liverpool but other than that pretty moderate.

Ramesh Meyyappan: It was mixed actually – mostly positive.
Claire Cunningham: we were in a difficult situation as we had to open our show in Scotland at the same time as the Edinburgh Fringe was playing - which meant getting ANY media coverage was difficult but we did get some and we were very happy with the response.

Sue Austin: However people react to my work, the key is to get the concept out there. The way people wrote about me and the wheelchair revealed a lot about their understanding of disability. Overall, it’s given me a great deal of insight on how the media works and how that could be incorporated consciously into an arts practice.

Rachel Gadsden: I was ultimately pleased with the media coverage. Being selected as one of the 21 events you shouldn’t miss in Huffington Post’s guide to the Cultural Olympiad and Luke Jenning’s article for the Guardian/Observer were possible highlights for me.

Simon McKeown: I would have like the overall event to have more, and in particular less peculiar reports. I know the BBC for instance covered the exhibition with the strapline 'Art Therapy'. For instance, the Culture Show and relevant newspapers with art sections and art journals should have covered the event in some detail. I am not sure this happened.

Kaite O’Reilly: It’s improving, but it’s still looking for the soap opera story. It’s all about ‘what’s wrong with you then’, or finding the supercrip, and I’m not interested in that. It was different from some of the critics – if you have a critic from the mainstream who does not even know what disability is, who is going to write immediately from a viewpoint of the medical model of disability, how much attention are you going to pay to that anyway? Nowadays, online, everyone can review – if someone is coming from a nondisabled point of view, maybe that’s less important than someone’s review, like Tom’s from DAO, that comes completely from within a disability context.

How did you feel about the audience of Unlimited?

Graeae: The audiences at the Southbank Centre were fantastic. The area is now such a focal point for outdoor socialising and entertainment and The Garden drew in audiences, who I suspect, would never have seen a Graeae show before. It was very good to see the diversity of the audience – young and old, disabled and non-disabled – and to know that because it was a free and unticketed event, with sign language and audio description provided at every performance, this really was providing theatre for everyone.

Mish Weaver: I felt the audience was good.  Warm, intelligent and mixed.  It made quite an impact on me to be able to perform to such a wide demographic.

Simon Allen: Delighted. The audience feedback for my own work form all quarters and ages is far more voluble and varied than I expected. For Unlimited in general, this is a direct result of the originality of the Unlimited commissions and the sheer plurality of the programming.

Fittings Multimedia: The Unlimited Festival at The Southbank was a joy to be part of and there was a real festival buzz in the air.

Ramesh Meyyappan: In London the audience was fantastic – lots of questions at Southbank after the performance, I enjoyed this as it was great to engage with audiences at this level and get feedback that was instant and not over thought-through – just honest and open dialogue!  I loved the audiences at the Esplanade in Singapore, a real mainstream audience who also responded positively to the work.

Audiences in Edinburgh during the festival were tough, in the sense it was tough to get audiences to fill such a big space. This was a little soul destroying for a while and I had to pick myself up after this and not take it so personally. Edinburgh is always a massive risk – but I survived!

Claire Cunningham: there is always a risk when you are telling a personal story that you alienate an audience, but i am always aware, and trying to make work which - although personal  - does leave enough space for people to identify with the themes themselves, and that seems to have worked here too.

One of Gail’s and mine main intentions was to merge the different elements of the work as one organic whole - the choreography, the projection/video, the music the text, etc. We constantly got feedback from people that this had been an overwhelming aspect of the show for them - the synergy of the work and the balancing of all the elements. that is immensely satisfying.

Sue Austin: The audience’s responses I got prove that practice can transform preconception. Watching people sitting down in front of the projection at the Southbank Centre’s Clore Ballroom, and children running around in front of it, was amazing – people treated it exactly like I had envisioned it, like an aquarium, and then a wheelchair would appear.

Rachel Gadsden: Everywhere the commission went, it was the most incredibly empowering experience for both myself and the Bambanani Group to see how audiences engaged with such positive enthusiasm to our commission.

Simon McKeown: Great. I loved presenting a large scale sculpture in this environment. Large crowds were able to see my work and I was thrilled by this and witness their interaction with my work.

Kaite O’Reilly: We had an incredible response from the audience. Whether it was a disabled audience or a nondisabled audience, I don’t think I heard a bad word.

Did Unlimited have an impact on your career and if so, what kind of impact?

Graeae: It is the first time that any Olympic Games has placed such value and committed funds to the work of Deaf and disabled artists. It’s really important that it doesn’t end here. It is good to see that a programme is already in place to take Unlimited from London to Rio but we need to see the impact locally and nationally as well.

For Graeae the performances at the Southbank Centre have brought a new collaboration with the Southbank Centre which has already led to us producing a new show by the Rhinestone Rollers, Sequins and Snowballs, at the Clore Ballroom on 15 December. We have also been approached by British Councils in Brazil and Qatar to take The Garden out on an international tour.

Mish Weaver: I really don't know. The fact that I got to make and tour Box of Frogs has obviously helped my profile, but at the same time I directed a show for another company which has received glowing industry review and that seems to be raising my reputaion as a director a bit more as with that show I am not being judged as part of massively hyped Olympic project, rather at face value.

Simon Allen: This commission for Unlimited will affect every piece I make in future. It has allowed me to exercise far greater breadth of vision than usual and to discover just how enabling and enjoyable the role of Director added to that of composer can be. The impact of this experience will continue to resonate through my work as far as I can imagine.

Fittings Multimedia: It reinforced for me the belief that to make great art needs time, craft and inspiration and is not achieved by ambulance chasing.

Ramesh Meyyappan: Certainly engaging with the process for so long – lots of new disciplines were developed – not just my performance skills but also the way that I work with larger production teams. I think it has raised my profile in Scotland and possibly in some other areas of the UK – this is a positive as there are more possibilities to work with a wider range of people in the future.

Claire Cunningham: I think being part of Unlimited has created opportunities for me in in various ways, such as building a strong relationship with Candoco Dance company which then led to creating a link for me with the Dance Umbrella festival which continues to develop, and also therefore with the Southbank with whom I am enjoying developing another partnership.

In terms of my profile, much as I do rail against the London-centricity of the arts world, it has given me a way to get more work staged there and so develop a better profile in London.

Sue Austin: It’s just the most amazing experience, and it had a profound impact. Particularly, the level of coverage I had, and the projection at the Southbank. It’s been so well received, it just gives me a sense of confidence in the work and a feeling that I must be doing something right.

Rachel Gadsden: It has most definitely impacted on my career, a couple of amazing future opportunities are emerging, but apart for anything else, the Commission really was everything I hoped it would be.

Simon McKeown: That is not known yet. We will know when approaches to exhibit and commissions are returned. Hopefully the strength of the Unlimited festival will have some effect.

Kaite O’Reilly: Not on mine, no. I’ve worked on national platforms, I had work shown at the Southbank Centre, and the relationships and connections for this project existed already.

What are your future plans?

Graeae: We are looking at developing a new show with GDIF for summer 2013 which builds on the training with Circus Space and partnerships developed between Jenny, Bradley Hemmings (of GDIF who co-directed the POC with Jenny) and their team over the summer. We are also developing a new script by Sophie Woolley, with Theatre Royal Plymouth. And then there are plans to take Graeae internationally…

Mish Weaver: I have applied to the Arts Council to research and develop and idea for an outdoor show called Parade of Horribles. I very much want to tour Box of Frogs again as the positive response I am getting from within the mental health sector, especially individual users makes me feel that it is work that should be seen and discussed. However the touring climate is grim to say the least. I am going to try as hard as I can, and am exploring all avenues of support that I can.

Simon Allen: To repeat the work on tour around the UK, hoping to reach both across the North and the South West. Also I feel propelled to continue in similar vein, with lager scale projects than in the past and to expand my research into the combination of audio and visual elements further.

Fittings Multimedia: To keep making great art for everyone.

Ramesh Meyyappan: Certainly to continue to develop my own work. However, it looks as though 2013 will be busy and I’m not so sure if I will get the same luxury of time to create my own work.

Claire Cunningham: future plans are the beginnings of a new work, entitled pink mist, based on the study of landmines which will see me take a research trip to Cambodia in January. Ménage à Trois will hopefully return to London in March for the Women of the World Festival - for which I have also been asked to be Artist in Residence, and then a possible tour of the show to the Middle East and through Europe in the summer.

Sue Austin: I literally get enquiries from all over the world from people who want to play the film. I am also in negotiations with the world’s second largest aquarium in Istanbul, Turkey, to perform there. Unlimited really has shown me that it is good to dream!

Rachel Gadsden: my creative journey is moving forward and I hope to continue to develop further UK and International artistic relationships and to create new artworks that explore issues about the human condition that reflect the experiences of both disabled and none disabled people.

Simon McKeown: My immediate plans involve catching up with normal life! My artistic plans involve building on the success of 2012, approaching galleries and developing new commissions and completing an existing project entitled Faces.

Kaite O’Reilly: I know what I’m doing until 2015. Most of my projects were in place well before Unlimited, I think that is just to do with the point I am at in my career. I really hope that doors will be opened, and minds will be opened, because we have such amazing artists within our community.

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DJ6ual - An Irish Girl

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WikiLeaks plans 'major' announcement in Europe

WikiLeaksLONDON – The WikiLeaks website appears close to releasing what the Pentagon fears is the largest cache of secret U.S. documents in history — hundreds of thousands of intelligence reports compiled after the 2003 invasion of Iraq.

In a message posted to its Twitter page on Thursday, the organization said there was a "major WikiLeaks press conference in Europe coming up." WikiLeaks has not commented publicly on the imminent announcement.

Their disclosure would be the most massive leak of secret documents in U.S. history, and defense officials are racing to contain the damage.

A team of more than a hundred analysts from across the U.S. military, lead by the Defense Intelligence Agency, has been combing through the Iraq documents they think will be released.

Called the Information Review Task Force, its analysts have pored over the documents and used word searches to try to pull out names and other issues that would be particularly sensitive, officials have said.

The task force has informed the U.S. Central Command of some of the names of Iraqis and allies and of other information they believe might be released that could present a danger, officials have said, noting that — unlike the WikiLeaks previous disclosure of some 77,000 documents from Afghanistan — in this case they had advance notice that names may be exposed.

That previous leak, back in July, outraged the U.S. military, which accused WikiLeaks of irresponsibility.

But The Associated Press has obtained a Pentagon letter reporting that no U.S. intelligence sources or practices were compromised by the posting of secret Afghan war logs.

Although U.S. officials still think the leaks could cause significant damage to U.S. security interests, the assessment suggests that some of the administration's worst fears about the July disclosure have so far failed to materialize.

Defense Secretary Robert Gates reported the conclusions in an Aug. 16 letter to Sen. Carl Levin, chairman of the Senate Armed Services Committee, who had requested a Pentagon assessment.

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WARC-Identified-Payload-Type: application/xml

text:
Begell House Atomization and Sprays Atomization and Sprays 1044-5110 19 12 2009
NEW IMAGINARY-VALUED SIMILARITY SOLUTIONS FOR LAMINAR BOUNDARY LAYERS WITH A SPRAY A new similarity solution for spray distribution in a boundary layer flow, involving an imaginary-valued variable, is presented. The flow field similarity solution has three branches, the two known solutions for accelerating flow and moderately decelerating flow and a new solution, which is the focus here, for high-rate deceleration. This last family of solutions involves the use of imaginary expressions in the course of the similarity procedure. Although the procedure employs imaginary expressions, the solution in the physical plane admits a fine behavior. The mass distribution of spray droplets in the boundary layer for the latter case shows that the highest concentration is either at the wall or at the edge of the boundary layer, depending on the nature of downstream variation of the aerosol concentration at the outer flow and on the particular branch of the flow solution. The new similarity solution presented here opens the possibility to describe a new range of boundary/shear layer problems. We demonstrate that the option for describing droplet/particle distributions in such configurations has ramifications for transport and deposition of droplets/particles in boundary layers developed in industrial facilities and sizing instrumentation, and we suggest its possible application for cases of spray-surface interactions. Ro'ee Z. Orland Ben Gurion University of the Negev David Katoshevski Environmental Engineering Unit, Ben-Gurion University of the Negev, P.O. Box 653, Beer-Sheva 84105, Israel D. M. Broday Faculty of Civil and Environmental Engineering, Technion Israel Institute of Technology, Haifa 32000 1105-1111
OPTIMAL AND NONOPTIMAL FLOWS IN A SWIRL ATOMIZER Here we offer a new inviscid theory of swirl atomizers. It is mathematically demonstrated that for a given reservoir pressure, a maximum possible discharge rate may be achieved only when the air core radius at the outlet happens to be the critical radius predicted by the theory. At the critical radius, the swirl atomizer is operated at an ideal condition and the pressure required is the minimum possible for a given discharge rate. In practice, a swirl atomizer is never operating at an ideal condition. This is due to many factors, including the neglected viscous dissipation. Even for inviscid fluids, the operation may not be optimal, either because the nozzle is too short or too long. For the former case, the liquid layer has not yet thinned to the critical thickness. For the latter case, the liquid layer is thinned beyond the critical thickness. An efficiency coefficient is defined to characterize the off optimal condition. Based on inviscid theory, a third-order algebraic equation is derived for the air core radius. A closed form solution of this equation is obtained. Based on this solution, the air core radius and the spray angle are calculated as functions of the efficiency coefficient and geometric parameters. These include the swirl chamber radius and the inlet radius (in the unit of the outlet radius). The new theoretical results are compared with the known experimental results and some results of numerical simulation. The comparisons reveal the extent of the deviation of the experimental swirl nozzle from the ideal atomizer. With these comparisons, we are able to deduce the effects of various factors on nozzle efficiency. The present theoretical results may be used as a target for design improvement and as a bound for numerical simulation of swirl atomizers. L. Craig Department of Mechanical and Aeronautical Engineering, Clarkson University, Potsdam, NY 13676 Nathaniel Barlow Clarkson Univerisity University at Buffalo, State University of New York S. N. Patel Department of Mechanical and Aeronautical Engineering, Clarkson University, Potsdam, NY 13676 B. Kanya Department of Mechanical and Aeronautical Engineering, Clarkson University, Potsdam, NY 13676 Sung P. Lin Department of Mechanical and Aeronautical Engineering, Clarkson University, Potsdam, New York 1113-1124
ATOMIZATION AND DISPERSION MEASUREMENTS IN FIRE SPRINKLER SPRAYS Water sprays are commonly used in fire suppression applications for cooling the fire environment. This cooling is achieved through the evaporation of droplets (dispersed in the fire gases) and through the wetting of surfaces (from hot or burning materials), inhibiting both the growth and spread of the fire. The suppression performance of these sprays is determined by their ability to penetrate the fire (i.e., the induced flow) to reach burning surfaces below, while dispersing water throughout the hot environment. Spray penetration and dispersion are governed by the initial drop size and velocity characteristics of the spray, which depend on the injection conditions and nozzle configuration. In many fire suppression devices, such as sprinklers, a jet is injected onto a deflector to generate the water spray. Although there are many variations on this basic concept, most sprinklers include a central boss surrounded by a deflector having both tines and spaces. To study the essential physics of the atomization process, discharge characteristics from simplified nozzles were measured. These measurements were compared with those from a more realistic sprinkler configuration. Flow visualization experiments revealed that the canonical impinging jet configuration produces a radially expanding sheet. While similar atomization mechanisms were observed, the realistic sprinkler configuration produces a three-dimensional sheet with two distinct flow streams generated by the tines and spaces of the nozzle. Comprehensive experiments were conducted to describe atomization (e.g., sheet breakup locations and initial drop sizes) and dispersion (e.g., volume density and local drop size profiles) in these sprays. Ning Ren University of Maryland-College Park A. Blum Department of Fire Protection Engineering, University of Maryland, College Park, College Park, MD 20742 C. Do Department of Fire Protection Engineering, University of Maryland, College Park, College Park, MD 20742 Andre W. Marshall Department of Fire Protection Engineering, 3106 J.M. Patterson Building, University of Maryland, College Park, Maryland 20742-3031, USA 1125-1136
SPRAY COOLING OF A NONMETALLIC HIGH-TEMPERATURE WALL The present work has been performed within the framework of a wider research program investigating the rewetting of high-temperature walls using droplet impingement and falling film. Specifically, it deals with experimental tests focusing on the cooling of vertical, nonmetallic (chalk) walls using water sprays characterized by a uniform (1−D) distribution of drop diameter. In addition, the heat flux at the wall is directly calculated from the thermocouple reading. Tests have been carried out using two different wall configurations. The first is related to the use of chalk as wall material; the second test examines a section in which chalk is coated with a thin aluminum layer to prevent direct water/chalk contact; this latter is responsible for many problems (surface deterioration and surface breaks during the tests). Only one drop size has been used in the water spray cooling as from previous tests, this parameter has not been found to be very effective on the phenomenon. Finally, experimental results obtained with the chalk test section (coated and uncoated) are compared to results obtained using a stainless steel test section. Gian Piero Celata ENEA, Institute of Thermal Fluid Dynamics, ENEA TERM/ISP Heat Transfer Laboratory C.R.E. Andrea Mariani ENEA - Institute of Thermal-Fluid Dynamics Luca Saraceno ENEA - Institute of Thermal-Fluid Dynamics 1137-1146
PLANAR LIQUID SHEET BREAKUP OF PREFILMING AND NONPREFILMING ATOMIZERS AT ELEVATED PRESSURES Liquid sheet breakup of a prefilming and nonprefilming airblast atomizer is investigated experimentally at ambient temperatures and elevated pressures of air. The breakup is studied by high-speed flow visualization. The visualizations show the differences between both types of atomizers. For lower liquid loadings, the atomizer edge is always wetted in the prefilming case, whereas dry zones are observed for the nonprefilming injector. Different atomization regimes are observed for rising Weber numbers on the prefilmer: wavy sheet breakup below We = 100, surface stripping above 380, and a transition zone in between. The nonprefilming case always exhibits wavy sheet breakup, provided there is a sheet at the outlet, with the breakup length reducing to 0.5 mm above We 100. Liquid sheet thickness is characterized with side view images. Films that are thin compared to the edge thickness and are not composed of ligaments at the edge, wrap around the edge and therefore exhibit a storage mechanism. In the far field, drop sizes are characterized with a global Sauter mean diameter measured by phase Doppler anemometry. The measured drop sizes, influenced by primary and secondary atomization, show only small differences between the two types of atomizers. Correlations for the final drop size are obtained for both atomizer types for the conditions investigated. Umesh Bhayaraju Institute of Propulsion Technology, German Aerospace Centre, Linder Höhe, 51147 Cologne Christoph Hassa German Aerospace Center−DLR, Institute of Propulsion Technology, Linder Hohe, 51147 Cologne, Germany 1147-1169
A DISCUSSION ON THE STOCHASTIC MODELING OF SPRAY FLOWS Most theoretical and numerical models of multiphase flows can be placed into one of three categories: Eulerian-Eulerian, Lagrangian-Eulerian, or stochastic methods. Stochastic methods generally involve the development and evolution of a probability density function (pdf) to describe random variables representing particle or droplet properties. This article presents a survey of stochastic spray modeling frameworks that have appeared in the literature. A review of the spray equation and the sectional approach provides a background to a more extensive discussion on specific modeling methods, including assumed pdfs, maximum-entropy moment closure, and particle methods. Several examples are provided to highlight each modeling technique as well as an examination of the advantages and disadvantages of each method. Mark R. Archambault Florida Institute of Technology, Melbourne, Florida 32901, USA 1171-1191
AN EXPERIMENTAL INVESTIGATION ON THE RELATIVE ROLES OF ENERGY INPUT, SURFACE TENSION, AND VISCOSITY ON THE BREAKUP OF A LIQUID DROP The breakup of the complex drop formed following the collision of a 4 mm diameter drop, falling by gravity into the center of a horizontal 2 mm diameter fluid jet, was investigated. The geometry of the collision was kept fixed; only the jet velocity and the fluid properties, surface tension, viscosity, and density were varied. Thirteen different values of the Ohnesorge number were thus considered, from 0.003 to 0.238. The collisions were recorded with a high-speed camera. Dimensional analysis is the tool used to analyze the obtained data, and a new parametric space, Capillary versus Ohnesorge number, emerges. The role of viscosity is found to be important during the mixing and deformation stages of the complex drop. An interdependence of the viscosity and surface tension at two different levels in the breakup of the complex drop was also apparent. The results are compared with some previous research for head-on collisions of equal-sized drops and with data from the literature for the breakup of a drop in an airstream. Using the new parametric space, a single unified treatment is proposed for the data on all three breakup phenomena. J. P. Monteiro Department of Electromechanical Engineering, University of Beira Interior, 6200 Covilhã M. G. Rasteiro Department of Chemical Engineering, University of Coimbra, 3030-290 Coimbra Jorge M. M. Barata Aerospace Sciences Department, University of Beira Interior, Rua Marques Avila e Bolama, 6201-001 Covilha, Portugal 1193-1207


text:
Mr. Di Giacomo's Science Page

This website is designed for the benefit of Mr. Di Giacomo's chemistry students. Mr. Di GIacomo is a chemistry and physics teacher at William Floyd High School in Mastic Beach, N.Y. The goal for this website is to make all of the current lessons and assignments available to his students. Mr. Di Giacomo would like to thank Evan P. Silberstein for his guidance and the use of his resources which has helped him to become a better chemistry teacher.

Chemistry Presentations
Calendar of Assignments

Compounds and Mixtures
Atomic Structure
Bohr Model
Chemical Bonding

Valid XHTML 1.0!


text:
Welcome to the Duke Nukem Repository
Navigate Repository
On this day...
In 1996, The Base was released by Georg Buol.

Map Info:
Type: SP, Version: v1.3d
Rating: 84, Size: 104.46 KB

Some other very fine Duke dedicated sites:

ROCH Homepage

Link to DNR:

Duke Nukem Repository » Duke3D Ports
With the release of the Duke3D source code on April 1st 2003, the game was quickly ported to Linux by Ryan Gordon (Icculus) and a host of others, and in short time Jonathon Fowler (JonoF) had similarly released a somewhat lesser functional Win32 port (JFDuke3D), which about a year later was labelled the winner of the User's Choice Competition from the now defunct Duke3D Source Portal. With lovely OpenGL rendering and true-colour, hi-res texture support (thanks to Ken Silverman's contribution of his Polymost renderer), Duke Nukem 3D never looked so spiffy. By the end of June 2004 the port had support for MD2 models (later MD3 as well) to replace those nasty old 2D sprites, and the Duke3D modelling effort began. That, in addition to hi-res texture replacement effort, has rejuvenated the game and added years to its shelf life.

Other popular ports of the time included Rancidmeat's Duke3d_w32 port which provided (and still does) decent support for multiplayer games, although xDuke - an extension of the Rancidmeat port, is the multiplayer port of choice these days, offering the most stable Dukematching experience. It has no fancy OpenGL support however, and looks and plays quite like the original game.

Of course, the single player aspect of the game remains as strong as ever, and thanks to the hard work of Richard "TerminX" Gobeille we now have EDuke32, a fork of the JFDuke3D port and the earlier work done by Matt Saettler on EDuke. In short, EDuke32 is the port to use if you're to be taken seriously. This is where it's at, if indeed any of the plethora of Duke3D ports have any sort of spatial property. Port-set topology aside, EDuke32 has been designed primarily with game modders in mind, allowing for almost limitless customisation of the game through enhanced CON scripting. With great EDuke32-based mods such as Deeper Thought's DNWMD and DukePlus available, and the upcoming WGRealms 2 utilising EDuke32's many features, it's little wonder 9 out of 10 tigers prefer tiger brand coffee to real meat the port's popularity is high amongst Dukers. EDuke32 also comes bundled with Mapster32, the level editor of choice for anybody making Duke3D maps these days.

The High Resolution Pack homepage is the place to go for the latest texture/model pack released by the Duke community, an ongoing project to bring Duke3D at least part way into the new century. The HRP is compatible with the latest releases of both the JFDuke3D and EDuke32 ports. The HRP FAQ covers any installation woes you might encounter.

Offered below are mirrors to some of the more popular ports (latest stable binaries and source, where available), with links to respective home pages. Support queries should be directed to the authors of respective ports. Latest development snapshots generally won't be made available here.

EDuke32 Port - Homepage
Recommended - (latest snapshot): eduke32_current.zip

EDuke32 1.4.0 beta 2 (Windows installer): eduke32-1.4.0_beta_2.exe, DNR Mirror
EDuke32 1.4.0 beta 2 (Windows zip): eduke32_20060718.zip, DNR Mirror
EDuke32 1.4.0 beta 2 source code: eduke32_src_20060718.zip, DNR Mirror

JFDuke3D Port - Homepage
JFDuke3D binaries 20051009 (Windows installer): jfduke3d-20051009-setup.exe, DNR Mirror
JFDuke3D binaries 20051009 (Windows zip): jfduke3d_20051009.zip, DNR Mirror
JFDuke3D source code 20051009: jfduke3d_src_20051009.zip, DNR Mirror

Rancidmeat's Duke3d_w32 Port - Homepage
Duke3d_w32 binaries b19.1: duke3d_w32_b19.1_bin.zip, DNR Mirror
Duke3d_w32 binaries and source b19.1: duke3d_w32_b19.1.zip, DNR Mirror

xDuke Port - Homepage
xDuke V19.7.1 binaries (Windows installer): Duke3d_Binary_Only_v19.7.1.Self_Extract.exe, DNR Mirror
xDuke V19.7.1 binaries (Windows zip): Duke3d_Binary_Only_v19.7.1.zip, DNR Mirror
xDuke V19.6 source code: Duke3d_w32_Source_Code_v19.6.rar, DNR Mirror

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text:
Let's start doing. Let's take design off of its pedestal and drive it around. Let's get it out there, living in the real world, getting a job and paying its own rent. Design isn't alive unless it's paired with some doing; kicking some butt and taking some names. Let's Do & Design.

DO: Talk to me

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DO: Read


text:
Storage Script python reference

OpenLMI Storage Scripts module is a standard python module, which provides high-level functions to manage storage on remote hosts with installed OpenLMI-Storage provider.

It is built on top of LMIShell, however only very little knowledge about the LMIShell and CIM model are required.

All LMI metacommands are implemented using this python module. I.e. everything that LMI metacommand can do with storage you can do also in python using this module, which makes it a good start for LMI scripting.

# Connect to a remote system using lmishell
conn ="", "root", "opensesame")

# Find a namespace we want to operate on, root/cimv2 is the most used.
ns = conn.root.cimv2

# Now use functions.

# For example, let's partition /dev/vda disk
from import partition
partition.create_partition_table(ns, 'vda', partition.PARTITION_TABLE_TYPE_GPT)
# Create one large partition on it
new_partition = partition.create_partition(ns, 'vda')

# Create a volume group with the partition
from import lvm
new_vg = lvm.create_vg(ns, ['vda1'], 'my_vg')
print 'New VG name: ', new_vg.Name

# Create a 100 MB logical volume on the volume group
MEGABYTE = 1024*1024
new_lv = lvm.create_lv(ns, new_vg, 'my_lv', 100 * MEGABYTE)

# Format the LV
from import fs
fs.create_fs(ns, [new_lv], 'xfs')

It is important to note that most of the module functions accept both string or LMIInstance as parameters. For example, these two lines would have the same effect in the example above:

new_lv = lvm.create_lv(ns, 'my_vg', 100*MEGABYTE)

new_lv = lvm.create_lv(ns, new_vg,  100*MEGABYTE)

The first one use plain string as a volume group name, while the other uses LMIShell’s LMIInstance previously returned from lvm.create_vg().