Wednesday, January 31, 2007
Tuesday, January 30, 2007
brit here today, i vomited as soon as she got here, she is making me sick, this is not going to work, james can babysit her , ive had enuff of this child whose father does not discipline her at all
Hubble's main camera shuts down
The main camera on the Hubble space telescope has shut down after an electrical failure, Nasa has said.
Astronomers are calling the malfunction of the Advanced Camera for Surveys a 'great loss' as it has taken the clearest pictures yet of the universe.
Scientists for the US space agency said only one-third of the camera's capabilities are likely to be restored.
A new camera is to be installed during a planned space shuttle mission to the Hubble telescope in 2008.
The camera has been the most in-demand instrument of the Hubble telescope since it was installed in 2002.
The Advanced Camera for Surveys actually consists of three sub-cameras that detect and filter light from the ultraviolet to the near infrared.
Astronomers can continue to use the Hubble's other instruments but the loss of its primary camera is being mourned by the scientific community.
'Science will continue, but it's a great loss, no doubt,' said Mario Livio at the Space Telescope Science Institute.
'It's a great loss because this was a fantastic camera that just produced incredible science.'
The Hubble space telescope has been orbiting the earth since 1990, permitting astronomers to make observations of the universe without "
Tuesday, January 30, 2007"
Monday, January 29, 2007
Anti-Bully Laws Move Forward In Two Statesby 365Gay.com Newscenter Staff
Posted: January 28, 2007 - 4:00 pm ET
(Washington) Bills that would require school boards to establish anti-bullying programs have passed key committees in Florida and Iowa.
In Florida the Senate Education Prekindergarten-12 Committee voted 6-1 to approve the bill after hearing emotional testimony from a woman whose son committed suicide after repeated taunting from other students and a father of a boy who nearly died in a beating.
Debbie Johnston's 15-year-old son Jeffrey hanged himself in 2005 when he could no longer bear the treatment he received at school.
Bobbie Bean told the committee that his son was rushed to hospital when another student began beating on a school bus and then continued the attack inside the school.
"For 22 minutes of my life I had to sit there and watch that clock tick by, and I had to contemplate I was going to have to go home and tell my wife we didn't have a son no more," Bean told senators.
The bill is similar to one introduced last year but was dropped following pressure from some religious groups and school boards.
The new bill still must be approved by the Senate Criminal Justice Committee before going to a full vote in that chamber. Similar legislation has been introduced in the House but no action has been taken there.
In Iowa, an anti-bullying bill has passed the Senate Education Committee after two years of lobbying by LGBT rights groups. It would protect students on the basis of race, disability and sexuality.
A House version is nearing a vote on the floor.
Former Gov. Tom Vilsack first proposed the measure in 2004, but it met with opposition over its inclusion of gay students. Current Gov. Chet Culver has said he will sign the legislation if it reaches his desk.
Sunday, January 28, 2007
Last-gasp test could reveal dark matter
09:00 28 January 2007
The HERA particle accelerator in Germany is set to call it quits in June, but a lone physicist is now campaigning for HERA to have one last hurrah. He claims it could discover a particle believed by many to account for the unseen dark matter that constitutes the bulk of the universe's mass.
The particle in question is the axion. Proposed in 1977 to solve a problem with the strong nuclear force, these hypothetical entities have been considered as strong candidates for dark matter, because they have very little mass and barely interact with matter.
One of the most tantalising hints of their existence came from the PVLAS experiment at the National Laboratories of Legnaro in Italy. Last July, the PVLAS team announced a slight shift in the polarisation of a laser beam fired through a strong magnetic field. The shift was 10,000 times larger than expected by standard physics, but could be explained if a tiny fraction of photons from the laser had turned into axions (New Scientist, 15 July 2006, p 35).
However, the CERN Axions Solar Telescope (CAST) near Geneva, which searches for axions produced in the sun, has failed to corroborate the PVLAS result. "The axion community is still excited by the PVLAS result, but it needs independent experimental verification," says CAST spokesman Konstantin Zioutas at the University of Patras in Greece. "If someone found direct evidence for the presumed axion-like particle interpretation of the PVLAS data, both groups would deserve the Nobel prize," he says.
Now Krzysztof Piotrzkowski of the Catholic University of Louvain (UCL) in Belgium is proposing to do just that. What's more, it would be cheap, easy to set up, and could deliver results in a week, he says.
Piotrzkowski's idea is to exploit apparatus already in place at the Hadron-Electron Ring Accelerator in Hamburg, Germany. At HERA, an intense beam of photons is generated as a by-product of the accelerator. This beam passes through HERA's strong magnetic field, which runs parallel to the photons' electric field. According to theory, if the energy of the photon beam is much larger than the equivalent mass predicted of axions, some of the photons will convert to axions, says Piotrzkowski.
To isolate the axions, he suggests a 50-centimetre lead shield that would block the photons but let axions through. Once the axions exit the lead, some will revert back to photons, which can then be detected (www.arxiv.org/hep-ph/0701059).
Unfortunately, HERA is due to shut down at the end of June, so it's now or never for Piotrzkowski. "The experiment could in theory be carried out at other accelerators, but not without massive modifications to the apparatus, which really isn't feasible," he says.
Zioutas says Piotrzkowski's method could provide a direct test for axions, but he isn't convinced that it can produce definitive results within a week. "As an experimentalist, I can assure you, we always seem to underestimate the length of time needed by a factor of 10, preparatory work not included," Zioutas says.
Meanwhile, HERA's managers are examining Piotrzkowski's proposal. "We are certainly interested in the axion search and this is something that we could do," says Manfred Fleischer of DESY, the German research centre that runs HERA. "It's unfortunate that we're only hearing this proposal so close to the end of our run. It will be very, very tough to fit it into our schedule."
Piotrzkowski thinks it's to HERA's advantage to squeeze in the test. "HERA helped confirm many of the predictions of the standard model of physics, but as yet it hasn't had any spectacular results," he says. "If they find the axion, then they could go out in a blaze of glory."
does he tell his mom and friends these things , to make them think i ma horible person when in fact i am paying all the rent here for a year, i go to the store to save him trips to get off work early to get me medications, to save him from having to take me every where, in fact, i can not do nothing right, i wishi i was dead, and i wish i was dead now., he does not lov e me, all he shows his hatred and cruelty, the babysitting money was mine, i worked for it, and i spent it on food for us, and i got bitched at about it, and i suffer a great deal to babysit, as i am always in chronic pain, and all i get is him hating me for it, he said tonight i should have paid him for dr jackson before i bought any more food, well lwhy did nt he say that when i asked im if i could go to to the store, i asked him if i could get him anything, and he said no, james is setting me up, the emotional pain is as worse as the physical pain, at some point this is gong to take me over the edge, and tonight james griffin took me over the edge, he does not want me here, its obvoius he wants he wants me out of is life and his is already eating away at my soul, and the pain from this is destroying me, because i love him, and there is nothing worse then love turned into pain by the very one whom i love and who has taken care of me for al l these years, now he hates me, all my hopes are lost now, all my dreams are lost , i will die now.
just as things have come together, my teeth, my able to pay the rent and bring in money via babysitting, and james turns on me, takes away all that i am able to give, and in essence, destroys me.
sunday morn 6am awake pain all the horrible things james g said to me last night, just a few hours ago, its raining here, i feel , i have no home anymore, i wish i was dead, i wish i was dead, have not taken any of m y heart medications.......i want to die today
Friday, January 26, 2007
Friday, January 26, 2007"
Thursday, January 25, 2007
Wednesday, January 24, 2007
This psychedelic view of Saturn and its rings is a composite made from images taken with the Cassini spacecraft wide-angle camera using spectral filters sensitive to wavelengths of infrared light. The image was acquired on Dec. 13, 2006 at a distance of approximately 822,000 kilometers (511,000 miles) from Saturn. Image scale is 46 kilometers (28 miles) per pixel. Image credit: NASA/JPL/Space Science Institute + Full Resolution+ Return to gallery indexMonday, January 22, 2007
Saturday, January 13, 2007
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| | | From the 1880s until the First World War, western Europe and the United States witnessed the development of Art Nouveau ("New Art"). Taking inspiration from the unruly aspects of the natural world, Art Nouveau influenced art and architecture especially in the applied arts, graphic work, and illustration. Sinuous lines and "whiplash" curves were derived, in part, from botanical studies and illustrations of deep-sea organisms such as those by German biologist Ernst Heinrich Haeckel (1834–1919) in Kunstformen der Natur (Art Forms in Nature, 1899). Other publications, including Floriated Ornament (1849) by Gothic Revivalist Augustus Welby Northmore Pugin (1812–1852) and The Grammar of Ornament (1856) by British architect and theorist Owen Jones (1809–1874), advocated nature as the primary source of inspiration for a generation of artists seeking to break away from past styles. The unfolding of Art Nouveau's flowing line may be understood as a metaphor for the freedom and release sought by its practitioners and admirers from the weight of artistic tradition and critical expectations. Additionally, the new style was an outgrowth of two nineteenth-century English developments for which design reform (a reaction to prevailing art education, industrialized mass production, and the debasement of historic styles) was a leitmotif—the Arts and Crafts movement and the Aesthetic movement. The former emphasized a return to handcraftsmanship and traditional techniques. The latter promoted a similar credo of "art for art's sake" that provided the foundation for non-narrative paintings, for instance, Whistler's Nocturnes. It further drew upon elements of Japanese art ("japonisme"), which flooded Western markets, mainly in the form of prints, after trading rights were established with Japan in the 1860s. Indeed, the gamut of late nineteenth-century artistic trends prior to World War I, including those in painting and the early designs of the Wiener Werkstätte, may be defined loosely under the rubric of Art Nouveau. The term art nouveau first appeared in the 1880s in the Belgian journal L'Art Moderne to describe the work of Les Vingt, twenty painters and sculptors seeking reform through art. Les Vingt, like much of the artistic community throughout Europe and America, responded to leading nineteenth-century theoreticians such as French Gothic Revival architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900), who advocated the unity of all the arts, arguing against segregation between the fine arts of painting and sculpture and the so-called lesser decorative arts. Deeply influenced by the socially aware teachings of William Morris and the Arts and Crafts movement, Art Nouveau designers endeavored to achieve the synthesis of art and craft, and further, the creation of the spiritually uplifting Gesamtkunstwerk ("total work of art") encompassing a variety of media. The successful unification of the fine and applied arts was achieved in many such complete designed environments as Victor Horta and Henry van de Velde's Hotel Tassel and Van Eetvelde House (Brussels, 1893–95), Charles Rennie Mackintosh and Margaret Macdonald's design of the Hill House (Helensburgh, near Glasgow, 1903–4), and Josef Hoffmann and Gustav Klimt's Palais Stocklet dining room (Brussels, 1905–11) (2000.350; 1994.120; 2000.278.1-.9). Painting styles such as Post-Impressionism and Symbolism (the "Nabis") shared close ties with Art Nouveau and each was practiced by designers who adapted them for the applied arts, architecture, interior designs, furnishings, and patterns. They contributed to an overall expressiveness and the formation of a cohesive style (64.148). In December 1895, German-born Paris art dealer Siegfried Bing opened a gallery called L'Art Nouveau for the contemporary décor he exhibited and sold there (1999.398.3). Though Bing's gallery is credited with the popularization of the movement and its name, Art Nouveau style reached an international audience through the vibrant graphic arts printed in such periodicals as The Savoy, La Plume, Jugend, Dekorative Kunst, The Yellow Book, and The Studio. The Studio featured the bold, Symbolist-inspired linear drawings of Aubrey Beardsley (1872–1898). Beardsley's flamboyant black and white block print J'ai baisé ta bouche lokanaan for Oscar Wilde's play Salomé (1894), with its brilliant incorporation of Japanese two-dimensional composition, may be regarded as a highlight of the Aesthetic movement and an early manifestation of Art Nouveau taste in England. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec, whose vibrant poster art often expressed the variety of roles of women in belle époque society—from femme nouvelle (a "new woman" who rejected the conventional ideals of femininity, domesticity, and subservience) to demimonde (20.33; (32.88.12). Female figures were often incorporated as fairies or sirens in the jewelry of René Lalique, Georges Fouquet, and Philippe Wolfers (1991.164; 2003.560; 2003.236). Art Nouveau style was particularly associated with France, where it was called variously Style Jules Verne, Le Style Métro (after Hector Guimard's iron and glass subway entrances), Art belle époque, and Art fin de siècle (49.85.11). In Paris, it captured the imagination of the public at large at the 1900 Exposition Universelle, the last and grandest of a series of fairs organized every eleven years from 1798. Various structures showcased the innovative style, including the Porte Monumentale entrance, an elaborate polychromatic dome with electronic lights designed by René Binet (1866–1911); the Pavillon Bleu, a restaurant alongside the Pont d'Iena at the foot of the Eiffel Tower featuring the work of Gustave Serrurier-Bovy (1858–1910) (1981.512.4); Art Nouveau Bing, a series of six domestic interiors which included Symbolist art (26.228.5); and the pavilion of the Union Centrale des Arts Décoratifs, an organization dedicated to the revival and modernization of the decorative arts as an economic stimulus and expression of national identity which offered an important display of decorative objects (1991.182.2; 26.228.7; 1988.287.1a,b). Sharing elements of the French Rococo (and its nineteenth-century revivals), including stylized motifs derived from nature, fantasy, and Japanese art, the furnishings exhibited were produced in the new taste and yet perpetuated an acclaimed tradition of French craftsmanship. The use of luxury veneers and finely cast gilt mounts in the furniture of leading cabinetmakers Georges de Feure (1868–1943), Louis Majorelle (1859–1926), Édouard Colonna (1862–1948), and Eugène Gaillard (1862–1933) indicated the Neo-Rococo influence of François Linke (1855–1946) (26.228.5). The Exposition Universelle was followed by two shows at which many luminaries of European Art Nouveau exhibited. They included the Glasgow International Exhibition in 1901 that featured the fantastical Russian pavilions of Fyodor Shekhtel' (1859–1926) and the Esposizione Internazionale d'Arte Decorativa Moderna at Turin in 1902 that showcased the work of furniture designer Carlo Bugatti of Milan (69.69). As in France, the "new art" was called by different names in the various style centers where it developed throughout Europe. In Belgium, it was called Style nouille or Style coup de fouet. In Germany, it was Jugendstil or "young style," after the popular journal Die Jugend (1991.182.2). Part of the broader Modernista movement in Barcelona, its chief exponent was the architect and redesigner of the Sagrada Familia (Holy Family) cathedral (Barcelona, begun 1882), Antoni Gaudí (1852–1926). In Italy, it was named Arte nuova, Stile floreale, or La Stile Liberty after the London firm of Liberty & Co., which supplied Oriental ceramics and textiles to aesthetically aware Londoners in the 1870s and produced English Art Nouveau objects such as the Celtic Revival "Cymric" and "Tudric" ranges of silver by Archibald Knox (1864–1933). Other style centers included Austria and Hungary, where Art Nouveau was called the Sezessionstil. In Russia, Saint Petersburg and Moscow were the two centers of production for Stil' modern. "Tiffany Style" in the United States was named for the legendary Favrile glass designs of Louis Comfort Tiffany. Although international in scope, Art Nouveau was a short-lived movement whose brief incandescence was a precursor of modernism, which emphasized function over form and the elimination of superfluous ornament. Although a reaction to historic revivalism, it brought Victorian excesses to a dramatic fin-de-siècle crescendo. Its influence has been far reaching and is evident in Art Deco furniture designs, whose sleek surfaces are enriched by exotic wood veneers and ornamental inlays. Dramatic Art Nouveau—inspired graphics became popular in the turbulent social and political milieu of the 1960s, among a new generation challenging conventional taste and ideas. | |
| Cybele Gontar Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art |






















