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<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| https://www.czechcollectors.org/Collection%20of%20the%20Month.html |
<!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML//EN">
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<!-- META HTTP-EQUIV="Refresh" CONTENT="40; URL=sounds/welcome.au" -->
<TITLE>Star Trek: The Next Generation</TITLE>
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<TR>
<TD VALIGN=TOP ALIGN=CENTER><H1>1987</H1></TD>
<TD ALIGN=CENTER><BR></TD>
<TD VALIGN=TOP ALIGN=CENTER><H1>1994</H1><BR></TD>
</TR>
<TR><TD ALIGN=CENTER COLSPAN=3>``Star Trek: The Next Generation'' was created by <A HREF="roddenberry.html">Gene Roddenberry</A></TD></TR>
<TR><TD ALIGN=CENTER COLSPAN=3> <IMG LOWSRC="/st-tng/pics/blank.gif" ALT="" WIDTH=560 HEIGHT=5 SRC="/st-tng/pics/hrule.gif"><BR>
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</TABLE>
<H2 ALIGN=CENTER><A HREF="/st-tng/episodes.html">Episodes</A> <IMG ALT="-o-" WIDTH=15 HEIGHT=15 SRC="/st-tng/pics/star.gif">
<A HREF="/st-tng/cast.html">Cast</A> <IMG ALT="-o-" WIDTH=15 HEIGHT=15 SRC="/st-tng/pics/star.gif">
<A HREF="/st-tng/trivia.html">Trivia</A> <BR>
<A HREF="/st-tng/search.html">Search</A> <IMG ALT="-o-" WIDTH=15 HEIGHT=15 SRC="/st-tng/pics/star.gif"> <A HREF="/st-tng/notes.html">Notes</A> <BR>
<A HREF="/st-tng/whatsnew.html">What's New (June/10/1995)</A></H2>
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<A HREF="notes.html"><IMG LOWSRC="/st-tng/pics/blank.gif" HSPACE=5 BORDER=0 ALIGN=RIGHT ALT="Andrew Tong" WIDTH=78 HEIGHT=78 SRC="/st-tng/pics/stamp.gif"></A>
<P ALIGN=CENTER> Technical design, graphic design, interactive features, HTML & CGI programming by <A HREF="/~werdna/">Andrew Tong</A>. || All materials Copyright © 1987-1995 by their respective authors.
|| Document created: <I><b >May 23, 1994</b></I>
|| Last Modified: <b><I>March 12, 1995</I></b><br>
<b>This site is STATIC, saved for historical purposes as one of the FIRST Star-Trek Fan sites on the internet 1994!</b>
<HR>
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|
Star Trek: The Next Generation
[](cgi-bin/imagemap/index)
| |
| --- |
| |
| 1987 | | 1994 |
| ``Star Trek: The Next Generation'' was created by [Gene Roddenberry](roddenberry.html) |
|
[(13K)](cgi-bin/imagemap/cast-index)
|
## [Episodes](/st-tng/episodes.html) -o-
[Cast](/st-tng/cast.html) -o-
[Trivia](/st-tng/trivia.html)
[Search](/st-tng/search.html) -o- [Notes](/st-tng/notes.html)
[What's New (June/10/1995)](/st-tng/whatsnew.html)
---
[](notes.html)
Technical design, graphic design, interactive features, HTML & CGI programming by [Andrew Tong](/~werdna/). || All materials Copyright © 1987-1995 by their respective authors.
|| Document created: ***May 23, 1994***
|| Last Modified: ***March 12, 1995***
**This site is STATIC, saved for historical purposes as one of the FIRST Star-Trek Fan sites on the internet 1994!**
---
Welcome, Microsoft users
Powered by [Hosting.GraphixWizard.com](http://Hosting.GraphixWizard.com)
Sponsored by [36EL Registry](http://www.36el.com)
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<div align="center"><pre class="VSFont17">Page generated in 0.001774 seconds. Your ip is 35.230.70.185<br>Design and code by venom, VENOM Software.</pre></div> <p>
</p>
</div>
</body>
</html>
|
VENOM Software
setInterval(function(){$.post('refresh\_session.php');}, 600000); // 10 minutes (in ms)
[](news.php)
*
*
*
*
*
| | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| | [Valid HTML 4.01!](http://validator.w3.org/check?uri=referer) | | [Valid CSS!](http://jigsaw.w3.org/css-validator/check/referer) | | Powered by PHP5
Powered by MySQL | |
```
Page generated in 0.001774 seconds. Your ip is 35.230.70.185
Design and code by venom, VENOM Software.
```
| http://venomsoftware.de/index.php |
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"><head>
<title>Spooky</title>
</head><body>
<script language="JavaScript" src="http://freehostedscripts.net/ghitcounter.php?site=ID382166&s=65"></script>
<audio controls autoplay loop >
<source src="spooky.ogg" type="audio/ogg">
Your browser does not support the audio tag.
</audio>
<body background="patternbg.jpg">
<iframe src="http://free.timeanddate.com/clock/i4cva3f2/n3547/fn7/fs28/fcf90/tct/pct/ftb/tt1" frameborder="0" width="464" height="41" allowTransparency="true"></iframe>
<br>
<img src="./skele300.gif">
<img src="./skele300.gif">
<style>
img[width="400"]{
float:right;
}
* {
font-family: "Comic Sans MS", sans-serif;
}
.comments{
position: fixed;
bottom: 0px;
left: 0px;
}
.shirt{
position: fixed;
bottom: 0px;
right: 0px;
}
</style>
<img src="./skeleworm.gif" width="500" height="300" >
<img src="./skeleworm.gif">
<img src="./skeleworm.gif">
<br>
<blink><marquee scrollamount="7"><font style="box-shadow: face="Comic Sans MS" color="75F514" size="40">
<div><span style="color:#ff0000;">s</span><span style="color:#ff0900;">p</span><span style="color:#ff1200;">o</span><span style="color:#ff1b00;">o</span><span style="color:#ff2400;">k</span><span style="color:#ff2d00;">t</span><span style="color:#ff3600;"> </span><span style="color:#ff3f00;">s</span><span style="color:#ff4900;">p</span><span style="color:#ff5200;">o</span><span style="color:#ff5b00;">o</span><span style="color:#ff6400;">k</span><span style="color:#ff6d00;">t</span><span style="color:#ff7600;"> </span><span style="color:#ff7f00;">s</span><span style="color:#ff8800;">p</span><span style="color:#ff9100;">o</span><span style="color:#ff9a00;">o</span><span style="color:#ffa400;">k</span><span style="color:#ffad00;">t</span><span style="color:#ffb600;"> </span><span style="color:#ffbf00;">s</span><span style="color:#ffc800;">p</span><span style="color:#ffd100;">o</span><span style="color:#ffda00;">o</span><span style="color:#ffe400;">k</span><span style="color:#ffed00;">t</span><span style="color:#fff600;"> </span><span style="color:#ffff00;">s</span><span style="color:#ebff00;">p</span><span style="color:#d8ff00;">o</span><span style="color:#c4ff00;">o</span><span style="color:#b1ff00;">k</span><span style="color:#9dff00;">t</span><span style="color:#89ff00;"> </span><span style="color:#76ff00;">s</span><span style="color:#62ff00;">p</span><span style="color:#4eff00;">o</span><span style="color:#3bff00;">o</span><span style="color:#27ff00;">k</span><span style="color:#14ff00;">t</span><span style="color:#00ff00;"> </span><span style="color:#00ff12;">s</span><span style="color:#00ff24;">p</span><span style="color:#00ff37;">o</span><span style="color:#00ff49;">o</span><span style="color:#00ff5b;">k</span><span style="color:#00ff6d;">t</span><span style="color:#00ff80;"> </span><span style="color:#00ff92;">s</span><span style="color:#00ffa4;">p</span><span style="color:#00ffb6;">o</span><span style="color:#00ffc8;">o</span><span style="color:#00ffdb;">k</span><span style="color:#00ffed;">t</span><span style="color:#00ffff;"> </span><span style="color:#00edff;">s</span><span style="color:#00dbff;">p</span><span style="color:#00c8ff;">o</span><span style="color:#00b6ff;">o</span><span style="color:#00a4ff;">k</span><span style="color:#0092ff;">t</span><span style="color:#007fff;"> </span><span style="color:#006dff;">s</span><span style="color:#005bff;">p</span><span style="color:#0049ff;">o</span><span style="color:#0037ff;">o</span><span style="color:#0024ff;">k</span><span style="color:#0012ff;">t</span><span style="color:#0000ff;"> </span></div>
</blink>
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
<img src="./skelefast.gif">
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</font>
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<a href="http://www.redbubble.com/people/blazetime/works/14301913-4-spooky-skeletong?p=t-shirt&ref=work_carousel_work_portfolio_1"> buy the shirt pls </a>
</font>
</body></html>
|
Spooky
Your browser does not support the audio tag.
img[width="400"]{
float:right;
}
\* {
font-family: "Comic Sans MS", sans-serif;
}
.comments{
position: fixed;
bottom: 0px;
left: 0px;
}
.shirt{
position: fixed;
bottom: 0px;
right: 0px;
}
spookt spookt spookt spookt spookt spookt spookt spookt spookt spookt
[](http://blazeti.me/comments/)
[buy the shirt pls](http://www.redbubble.com/people/blazetime/works/14301913-4-spooky-skeletong?p=t-shirt&ref=work_carousel_work_portfolio_1)
| https://blazeti.me/spooky/ |
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=windows-1252">
<meta name="GENERATOR" content="Microsoft FrontPage 4.0">
<meta name="keywords" content="Irish Midi Files, Irish Songs, Irish Music, Irish Song Lyrics, Irish Midis, Karaokes, Karaoke Files, Irish Karaokes, Irish Karaoke Files, Guitaraokes">
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<body background="_themes/safari/saftextr.jpg" bgcolor="#000000" text="#CCCCCC" link="#CC9933" vlink="#999966" alink="#FFCC33"><!--msnavigation--><table border="0" cellpadding="0" cellspacing="0" width="100%"><tr><td><!--mstheme--><font face="Trebuchet MS, Arial, Helvetica">
<p align="center"><b><font face="Times New Roman" size="5" color="#FF0000"><a href="index.htm"> Home</a>
<a href="lyrics.htm">Irish Lyrics</a>
<a href="midifiles.htm">Irish Midi Files</a>
<a href="karaokes.htm">Irish
Karaokes</a> <a href="original_songs.htm">Original
Songs</a></font></b>
</p>
<p align="center"><b><font face="Times New Roman" size="5" color="#FF0000">
<a href="my_family1.htm">My Family</a> <a href="frank_lennon.htm">Frank Lennon</a>
<a href="estepona.htm">Estepona</a> <a href="an_irish_blessing.htm">An Irish
Blessing </a> <a href="learn_an_irish_song.htm">Learn
An Irish Song</a></font></b>
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<a href="guitar_lyrics.htm">Guitar Class Lyrics</a> <a href="guitar_class_sheets.htm">Guitar Class
Sheets</a> <a href="Guitar%20Class%20Mpegs/">Guitar Class Videos
and MP3s </a> <a href="Session%20Recordings/">Recording
Sessions</a> </font></b>
</p>
<p align="center"><b><font face="Times New Roman" size="5" color="#FF0000"><a href="a_song_that_changed_my_life.htm">A
Song That Influenced My Life</a> </font><font face="Times New Roman" size="5" color="#CC9900">("Tom
Dooley")</font></b>
</p>
<p align="center"><b><a href="mailto:flennon0@gmail.com"><font face="Times New Roman" size="5" color="#00FF00">flennon0@gmail.com</font></a></b>
</p>
<p align="center"><img border="0" src="Ukraine/Ukrainain%20flag.jpg" width="466" height="313"></p>
<h1 align="center"><!--mstheme--><font color="#CC6600"><font color="#00FF00">THIS WEBSITE SUPPORTS THE UKRAINIAN
PEOPLE IN THEIR STRUGGLE</font><!--mstheme--></font></h1>
<p align="center">
</p>
<!--mstheme--></font></td></tr><!--msnavigation--></table><!--msnavigation--><table border="0" cellpadding="0" cellspacing="0" width="100%"><tr><!--msnavigation--><td valign="top"><!--mstheme--><font face="Trebuchet MS, Arial, Helvetica">
<p align="center"> </p>
<p align="center"><img border="0" src="images/lennon_large.jpg" width="168" height="225"></p>
<p align="center"><b><font face="Courier New" color="#00FF00" size="6">Frank
Lennon's</font></b></p>
<p align="center"><b><font face="Arial Black" size="7" color="#FFFF00"><img border="0" src="flag.gif" width="68" height="50">
</font><font face="Arial Black" size="7" color="#FFCC00">"IRISH
MIDI FILES" </font><font face="Arial Black" size="7" color="#FFFF00"> <img border="0" src="flag.gif" width="68" height="50"> </font></b></p>
<p align="center"><b><font face="Arial Black" size="7" color="#FF0000">and</font></b></p>
<p align="center"><b><font face="Arial Black" size="7" color="#00FF00">"IRISH
KARAOKES"</font><font face="Arial Black" size="7" color="#00CCFF"> </font></b></p>
<p align="center"><img border="0" src="images/earth.gif" width="100" height="100"></p>
<i><b>
<p align="center"><u><font face="Times New Roman" color="#FF0000" size="4">ALL
TITLES ARRANGED BY FRANK LENNON</font></u></p>
<font face="Times New Roman" size="3" color="#00FF00">
<p align="center"><u><font face="Times New Roman" size="4" color="#FF0000">PLEASE
ACKNOWLEDGE IF POSTING ON ANOTHER WEBSITE</font></u></p>
<p align="center"><font face="Times New Roman" color="#00FF00" size="2">[IF
YOU WISH TO POST ANY OF THESE MIDI FILES ON YOUR OWN WEBSITE PLEASE FEEL FREE TO
DO SO BUT ALSO PLEASE GIVE RECOGNITION TO THE FACT THAT I ARRANGED THESE IRISH
MIDI FILES, BY POSTING WITH THEM, MY NAME AND/OR WEBSITE ADDRESS]</font></p>
<p align="center"><font face="Times New Roman" size="3" color="#FF0000">(while
some of these songs may not be of Irish origin, they will be heard played in
Irish bars)</font></p>
<p align="center">(NB:
Midi Files are like Karaoke without the words. If you click on a midi file it
should use your soundcard to play. If you have a good soundcard and the midi
file is well arranged it should sound realistic like music on a CD. Midi files
may be song tracks, symphonies, jingles etc.)</p>
</font>
</b>
<font face="Times New Roman" size="3" color="#00FF00">
<p align="left"><font face="Times New Roman" size="4" color="#FFFF00">All </font>
</font><font face="Times New Roman" size="4" color="#FFFF00">my Irish </font><font color="#FFFF00"><font face="Times New Roman" size="3">M</font><font face="Times New Roman" size="4">id</font></font><font face="Times New Roman" size="4" color="#FFFF00">i<font face="Times New Roman" size="3" color="#00FF00">
</font><font face="Times New Roman">F</font></font><font face="Times New Roman" size="3" color="#00FF00"><font face="Times New Roman" size="4" color="#FFFF00">iles were arranged using the 128 GM sounds and settings on a Korg NS5R Sound
Module and Roland's "Virtual Sound Canvas". As your sound source may be different, these MIDI files may require tweaking. For
example, instead of using the mandolin sound from one of the many NS5R sound banks, I
chose instead to "create" the sound using one of the GM guitar sounds as these
GM sounds can be found on almost all sound sources. While this is acceptable on my sound
source, some changes may be required on your sound source. My tenor banjo sound may also
need fixing. Other settings such as reverb, chorus, transpose etc may need
re-aligning. These files were all arranged to closely resemble a typical Irish ballad group
(I used to play in one called "Folklore" many years ago) with a possible
selection of guitar, 5 string banjo, tenor banjo, flute, tin whistle, bodhran and bass -
no uileann pipes sound is possible as not even the GM bagpipes sound is anywhere
near realistic. I have used poetic licence to enhance many of the songs to sound the way I
would love to have them sound. These files may be used in the teaching or learning of Irish
songs or "ballads" as they're called here in Ireland or indeed may be used as
backing tracks in a "live" performance situation. As a matter of fact you will
find that most of them have intros, endings, key changes, additional instrumental verses
etc. for use as "live" backing tracks so haul out that guitar, hitch your sound source to a PA
system, crank up the volume, open the "lyrics" page and a bottle of Guinness and
pretend you're in your favourite Irish singing pub in Dublin and you're the
singer!!!!!!!!</font></p>
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<a href="http://pub47.bravenet.com/guestbook/show.php?usernum=3991760389&cpv=1">
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Dooley")</font></b>
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**[Home](index.htm)
[Irish Lyrics](lyrics.htm)
[Irish Midi Files](midifiles.htm)
[Irish
Karaokes](karaokes.htm) [Original
Songs](original_songs.htm)**
**[My Family](my_family1.htm) [Frank Lennon](frank_lennon.htm)
[Estepona](estepona.htm) [An Irish
Blessing](an_irish_blessing.htm) [Learn
An Irish Song](learn_an_irish_song.htm)**
**[Guitar Class Lyrics](guitar_lyrics.htm) [Guitar Class
Sheets](guitar_class_sheets.htm) [Guitar Class Videos
and MP3s](Guitar%20Class%20Mpegs/) [Recording
Sessions](Session%20Recordings/)**
**[A
Song That Influenced My Life](a_song_that_changed_my_life.htm) ("Tom
Dooley")**
**[flennon0@gmail.com](mailto:flennon0@gmail.com)**
THIS WEBSITE SUPPORTS THE UKRAINIAN
PEOPLE IN THEIR STRUGGLE
|
| |
| --- |
|
**Frank
Lennon's**
**"IRISH
MIDI FILES"**
**and**
**"IRISH
KARAOKES"**
***ALL
TITLES ARRANGED BY FRANK LENNON
PLEASE
ACKNOWLEDGE IF POSTING ON ANOTHER WEBSITE
[IF
YOU WISH TO POST ANY OF THESE MIDI FILES ON YOUR OWN WEBSITE PLEASE FEEL FREE TO
DO SO BUT ALSO PLEASE GIVE RECOGNITION TO THE FACT THAT I ARRANGED THESE IRISH
MIDI FILES, BY POSTING WITH THEM, MY NAME AND/OR WEBSITE ADDRESS]
(while
some of these songs may not be of Irish origin, they will be heard played in
Irish bars)
(NB:
Midi Files are like Karaoke without the words. If you click on a midi file it
should use your soundcard to play. If you have a good soundcard and the midi
file is well arranged it should sound realistic like music on a CD. Midi files
may be song tracks, symphonies, jingles etc.)**
All
my Irish Midi
Files were arranged using the 128 GM sounds and settings on a Korg NS5R Sound
Module and Roland's "Virtual Sound Canvas". As your sound source may be different, these MIDI files may require tweaking. For
example, instead of using the mandolin sound from one of the many NS5R sound banks, I
chose instead to "create" the sound using one of the GM guitar sounds as these
GM sounds can be found on almost all sound sources. While this is acceptable on my sound
source, some changes may be required on your sound source. My tenor banjo sound may also
need fixing. Other settings such as reverb, chorus, transpose etc may need
re-aligning. These files were all arranged to closely resemble a typical Irish ballad group
(I used to play in one called "Folklore" many years ago) with a possible
selection of guitar, 5 string banjo, tenor banjo, flute, tin whistle, bodhran and bass -
no uileann pipes sound is possible as not even the GM bagpipes sound is anywhere
near realistic. I have used poetic licence to enhance many of the songs to sound the way I
would love to have them sound. These files may be used in the teaching or learning of Irish
songs or "ballads" as they're called here in Ireland or indeed may be used as
backing tracks in a "live" performance situation. As a matter of fact you will
find that most of them have intros, endings, key changes, additional instrumental verses
etc. for use as "live" backing tracks so haul out that guitar, hitch your sound source to a PA
system, crank up the volume, open the "lyrics" page and a bottle of Guinness and
pretend you're in your favourite Irish singing pub in Dublin and you're the
singer!!!!!!!!
You
are visitor numberto
my Irish Midi website*
|
| |
| --- |
|
***[Guestbook](http://users4.smartgb.com/g/g.php?a=s&i=g44-80286-7e)***
**[Home](index.htm)
[Irish Lyrics](lyrics.htm) [Irish Midi Files](midifiles.htm)
[Irish
Karaokes](karaokes.htm) [Original
Songs](original_songs.htm)**
**[My Family](my_family1.htm) [Frank Lennon](frank_lennon.htm)
[Estepona](estepona.htm) [An Irish
Blessing](an_irish_blessing.htm) [Learn An Irish
Song](learn_an_irish_song.htm)**
**[Guitar Class Lyrics](guitar_lyrics.htm) [Guitar Class
Sheets](guitar_class_sheets.htm) [Guitar Class Videos
and MP3s](Guitar%20Class%20Mpegs/) [Recording Sessions](Session%20Recordings/)**
**[A
Song That Influenced My Life](a_song_that_changed_my_life.htm) ("Tom
Dooley")**
**[flennon0@gmail.com](mailto:flennon0@gmail.com)** |
| http://www.irishmidifiles.ie/ |
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<H2 align="center">StarChild Question of the Month for November 2001</H2>
<H2>Question:</H2>
<P>How do we measure the distances to things in space?</P>
<!--=====================================-->
<P ALIGN="center"><IMG SRC="/Images/heasarc/icons/shut_l.gif" alt="shuttle divider"></P><P>
<H2>Answer:</H2>
<P>It is not an easy thing to measure the distances to objects in the
<A HREF = "/docs/StarChild/glossary_level2/glossary_text.html#universe">universe</A> since these objects are usually very far away. We can't just run
out there with a ruler! To measure distances in the universe, we will need
to construct what is commonly referred to as a "cosmic distance ladder".
In other words, <A HREF = "/docs/StarChild/glossary_level2/glossary_text.html#astronomer">astronomers</A> use different methods to determine the distances
to objects; the specific method which is used depends on how far away the
object is. But all of the methods are wonderful combinations of science
and mathematics!</P>
<P>The links below will take you to descriptions of various common methods.</P>
<UL>
<LI><A HREF="/docs/StarChild/questions/radar.html">
Radar - measuring distances in our solar system</a></LI>
<LI><A HREF="/docs/StarChild/questions/parallax.html">
Parallax - measuring distances to nearby stars</a></LI>
<LI><A HREF="/docs/StarChild/questions/cepheids.html">
Cepheids - measuring distances in our Galaxy and to nearby galaxies</a></LI>
<LI><A HREF="/docs/StarChild/questions/supernovae.html">
Supernovae - measuring distances to other galaxies</a></LI>
<LI><A HREF="/docs/StarChild/questions/redshift.html">
Redshift and Hubble's Law - measuring distances to objects far, far away</a>
</LI>
</UL>
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How do we measure the distances to things in space?
## StarChild Question of the Month for November 2001
## Question:
How do we measure the distances to things in space?
## Answer:
It is not an easy thing to measure the distances to objects in the
[universe](/docs/StarChild/glossary_level2/glossary_text.html#universe) since these objects are usually very far away. We can't just run
out there with a ruler! To measure distances in the universe, we will need
to construct what is commonly referred to as a "cosmic distance ladder".
In other words, [astronomers](/docs/StarChild/glossary_level2/glossary_text.html#astronomer) use different methods to determine the distances
to objects; the specific method which is used depends on how far away the
object is. But all of the methods are wonderful combinations of science
and mathematics!
The links below will take you to descriptions of various common methods.
* [Radar - measuring distances in our solar system](/docs/StarChild/questions/radar.html)
* [Parallax - measuring distances to nearby stars](/docs/StarChild/questions/parallax.html)
* [Cepheids - measuring distances in our Galaxy and to nearby galaxies](/docs/StarChild/questions/cepheids.html)
* [Supernovae - measuring distances to other galaxies](/docs/StarChild/questions/supernovae.html)
* [Redshift and Hubble's Law - measuring distances to objects far, far away](/docs/StarChild/questions/redshift.html)
| | | | |
| --- | --- | --- | --- |
| [Return to StarChild homepage](/docs/StarChild/StarChild.html)
| [Return to the StarChild Main Page](/docs/StarChild/StarChild.html) | [Go to Imagine the Universe!](http://imagine.gsfc.nasa.gov/) (A site for ages 14 and up.) | [Imagine the Universe!](http://imagine.gsfc.nasa.gov/docs/homepage.html) |
The StarChild site is a service of the
[High Energy Astrophysics Science Archive
Research Center (HEASARC)](http://heasarc.gsfc.nasa.gov/),
[Dr. Alan Smale (Director)](https://science.gsfc.nasa.gov/sed/bio/alan.p.smale), within the
[Astrophysics Science Division (ASD)](http://astrophysics.gsfc.nasa.gov/) at
[NASA/](http://www.nasa.gov/)
[GSFC](http://www.nasa.gov/centers/goddard/home/).
StarChild Authors: [The StarChild Team](/docs/StarChild/team.html)
StarChild Graphics & Music: [Acknowledgments](/docs/StarChild/graphics.html)
StarChild Project Leader: [Dr. Laura A.
Whitlock](/docs/StarChild/whitlock.html)
Curator: [J.D. Myers](mailto:john.d.myers@nasa.gov)
Responsible NASA Official: Phil Newman
[Privacy Policy and Important Notices](http://www.nasa.gov/about/highlights/HP_Privacy.html)
| https://starchild.gsfc.nasa.gov/docs/StarChild/questions/question39.html |
<html>
<body background="back3.gif">
<head> <title> Australian Stone Tools on display in the ANU.</title></head>
<body>
<center><font size=18>AUSTRALIAN<br> STONE TOOLS<br> on display in the <br>ANU<H3>by
<br>Stephanie Hawkins<h3></font></center>
<center><img src="stline.gif"><p>
<H3>Email me at: Stephanie.Hawkins@anu.edu.au</h3>
<img src="stline.gif"></center><br>
<p><h3> The focus of this web site is a basic appraisal of a collection of Aboriginal Stone Artefacts currently on loan to the Department of Archaeology and Anthropology at the Australian National University from the Australian Museum, Sydney.<p>
This web site is aimed at year 12 students or first year university students who have a general interest in Aboriginal history and would to know more about Aboriginal stone tools.
<p>
Stone Tools play an important role in <a href="Prehistory.html">Australian Aboriginal Prehistory</a>. By making this collection of Aboriginal Stone Tools accessable to everyone it provides an introduction and basic knowledge of Australian Prehistoric Stone Tools.
<p>
The collection has been divided into <b>function</B> groups that are representative of stone tool types.<br><br>
<img align=right height=200 width =180 border=1 src="pmanax.gif"> <br>
<ul>
<li> <a href="TheCollection.html">THE COLLECTION</a></ul><br>
<ul>
<li> <a href="StoneWorking.html">Stone Working</a>
<li> <a href="WoodWorking.html">Wood Working</a>
<li> <a href="FoodPreparation.html">Food Preparation</a>
<li> <a href="Hunting.html">Hunting</a>
<li> <a href="Ceremonial&Ritual.html">Ceremonial
& Ritual</a>
<li> <a href="Utility.html">Utility</a></ul><br>
<ul>
<li> <a href="ast.html">About Stone Tools</a>
<li> <a href="mast.html">More About Stone
Tools</a></ul>
<br>
<table>
<tr><td><img height=32 width=32 border=2 src="a-z.gif"> <a href="Glossary.html"><b>GLOSSARY</b></a></td><td> <img height=32 width=32 border=2 src="books.gif"> <a href="Bibliography.html"><b>BIBLIOGRAPHY</b></a></td></tr>
<tr><td><img height=32 width=32 border=2 src="iconoz.gif"> <a href="Map.html"><b>MAP</b></a></td><td> <img height=32 width=32 border=2 src="sy131a.gif"> <a href="OtherRelatedSites.html"><b>OTHER RELATED SITES</b></a></td></tr></table>
<pre>
<center><img src="stline.gif"></center>
</pre>
</body></html>
|
Australian Stone Tools on display in the ANU.
AUSTRALIAN
STONE TOOLS
on display in the
ANU### by
Stephanie Hawkins
### Email me at: Stephanie.Hawkins@anu.edu.au
### The focus of this web site is a basic appraisal of a collection of Aboriginal Stone Artefacts currently on loan to the Department of Archaeology and Anthropology at the Australian National University from the Australian Museum, Sydney.
This web site is aimed at year 12 students or first year university students who have a general interest in Aboriginal history and would to know more about Aboriginal stone tools.
Stone Tools play an important role in [Australian Aboriginal Prehistory](Prehistory.html). By making this collection of Aboriginal Stone Tools accessable to everyone it provides an introduction and basic knowledge of Australian Prehistoric Stone Tools.
The collection has been divided into **function** groups that are representative of stone tool types.
* [THE COLLECTION](TheCollection.html)
* [Stone Working](StoneWorking.html)* [Wood Working](WoodWorking.html)* [Food Preparation](FoodPreparation.html)* [Hunting](Hunting.html)* [Ceremonial
& Ritual](Ceremonial&Ritual.html)* [Utility](Utility.html)
* [About Stone Tools](ast.html)* [More About Stone
Tools](mast.html)
| | |
| --- | --- |
| [**GLOSSARY**](Glossary.html) | [**BIBLIOGRAPHY**](Bibliography.html) |
| [**MAP**](Map.html) | [**OTHER RELATED SITES**](OtherRelatedSites.html) |
```
```
| http://rubens.anu.edu.au/raid1/student_projects/tools/homepage.html |
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On these pages, I present solid information on (currently) 117 different
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To navigate through my site, use the <A class=int onClick="position('search'); return false;" href="#search">search engine</A>,
browse the <A class=int onClick="position('index'); return false;" href="#index">indices</A> or go to the
<A class=int onClick="position('spices'); return false;" href="#spices">list
of all spices</A>.<P>
<P class=alert>I am on an extended journey that leads me through the Indian subcontinent. To learn more of my past travelling route, and to see some pictures from well-known and lesser knows places in India, open the <A href="mailme.html">contact page</A>. <SPAN id=xnewdiary>Also, for those able to read German, I regularly publish updates to my <A href="../reise/index.html?ref=0e">travelogue</A> which currently holds about 150 entries about places in India, Sri Lanka, Bangladesh and Nepal, and their foods.</SPAN>
<P><HR style="clear:right"> <BR clear=right>
<SCRIPT language=JavaScript type="text/javascript"><!--
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<A name="spices"><B>List of all spices:</B></A>
<P>
<DIV id=nametab class=nametab>
<DIV>
<P><SPAN class=ini><A href="Trac_cop.html"><SPAN>A</SPAN>jwain</A></SPAN>
<P><SPAN><A href="Prun_dul.html">Almond</A></SPAN>
<P><SPAN><A href="Pime_dio.html">Allspice</A></SPAN>
<P><SPAN><A href="Pimp_ani.html">Anise</A></SPAN>
<P><SPAN><A href="Bixa_ore.html">Annatto</A></SPAN>
<P><SPAN><A href="Feru_ass.html">Asa foetida</A></SPAN>
<P><SPAN class=ini><A href="Ocim_bas.html"><SPAN>B</SPAN>asil</A></SPAN>
<P><SPAN><A href="Alli_urs.html">Bearâs Garlic</A></SPAN>
<P><SPAN><A href="Amom_sub.html">Black Cardamom</A></SPAN>
<P><SPAN><A href="Buni_per.html">Black Cumin</A></SPAN>
<P><SPAN><A href="Bras_nig.html">Black Mustard</A></SPAN>
<P><SPAN><A href="Trig_cae.html">Blue Fenugreek</A></SPAN>
<P><SPAN><A href="Peum_bol.html">Boldo</A></SPAN>
<P><SPAN><A href="Bora_off.html">Borage</A></SPAN>
<P><SPAN class=ini><A href="Capp_spi.html"><SPAN>C</SPAN>aper</A></SPAN>
<P><SPAN><A href="Caru_car.html">Caraway</A></SPAN>
<P><SPAN><A href="Elet_car.html">Cardamom</A></SPAN>
<P><SPAN><A href="Cinn_cas.html">Cassia (Chinese Cinnamon)</A></SPAN>
<P><SPAN><A href="Apiu_gra.html">Celery</A></SPAN>
<P><SPAN><A href="Cinn_zey.html">Ceylon Cinnamon</A></SPAN>
<P><SPAN><A href="Hout_cor.html">Chameleon Plant</A></SPAN>
<P><SPAN><A href="Vite_agn.html">Chaste Tree</A></SPAN>
<P><SPAN><A href="Anth_cer.html">Chervil</A></SPAN>
<P><SPAN><A href="Caps_fru.html">Chile</A></SPAN>
<P><SPAN><A href="Alli_sch.html">Chive</A></SPAN>
</DIV>
<DIV>
<P><SPAN><A href="Myrr_odo.html">Cicely</A></SPAN>
<P><SPAN><A href="Syzy_aro.html">Clove</A></SPAN>
<P><SPAN><A href="Cori_sat.html">Coriander</A></SPAN>
<P><SPAN><A href="Coco_nuc.html">Coconut</A></SPAN>
<P><SPAN><A href="Lepi_sat.html">Cresses</A></SPAN>
<P><SPAN><A href="Pipe_cub.html">Cubeb Pepper</A></SPAN>
<P><SPAN><A href="Cumi_cym.html">Cumin</A></SPAN>
<P><SPAN><A href="Murr_koe.html">Curry leaf</A></SPAN>
<P><SPAN class=ini><A href="Chen_amb.html"><SPAN>E</SPAN>pazote</A></SPAN>
<P><SPAN class=ini><A href="Anet_gra.html"><SPAN>D</SPAN>ill</A></SPAN>
<P><SPAN class=ini><A href="Foen_vul.html"><SPAN style="margin-right: -0.12em">F</SPAN>ennel</A></SPAN>
<P><SPAN><A href="Trig_foe.html">Fenugreek</A></SPAN>
<P><SPAN><A href="Boes_pan.html">Fingerroot</A></SPAN>
<P><SPAN class=ini><A href="Myri_gal.html"><SPAN>G</SPAN>ale</A></SPAN>
<P><SPAN><A href="Alli_sat.html">Garlic</A></SPAN>
<P><SPAN><A href="Zing_off.html">Ginger</A></SPAN>
<P><SPAN><A href="Afra_mel.html">Grains of Paradise</A></SPAN>
<P><SPAN><A href="Alpi_gal.html">Greater Galangale</A></SPAN>
<P><SPAN class=ini><A href="Armo_rus.html"><SPAN>H</SPAN>orseradish</A></SPAN>
<P><SPAN><A href="Hyss_off.html">Hyssop</A></SPAN>
<P><SPAN class=ini><A href="Cinn_tam.html"><SPAN>I</SPAN>ndian Bay-leaf</A></SPAN>
<P><SPAN><A href="Cinn_bur.html">Indonesian Cinnamon</A></SPAN>
<P><SPAN><A href="Euge_pol.html">Indonesian Bay-Leaf</A></SPAN>
</DIV>
<DIV>
<P><SPAN class=ini><A href="Juni_com.html"><SPAN>J</SPAN>uniper</A></SPAN>
<P><SPAN class=ini><A href="Citr_hys.html"><SPAN>K</SPAN>affir Lime</A></SPAN>
<P><SPAN class=ini><A href="Laur_nob.html"><SPAN>L</SPAN>aurel</A></SPAN>
<P><SPAN><A href="Lava_ang.html">Lavender</A></SPAN>
<P><SPAN><A href="Citr_lim.html">Lemon</A></SPAN>
<P><SPAN><A href="Meli_off.html">Lemon Balm</A></SPAN>
<P><SPAN><A href="Cymb_cit.html">Lemon Grass</A></SPAN>
<P><SPAN><A href="Back_cit.html">Lemon Myrtle</A></SPAN>
<P><SPAN><A href="Lipp_cit.html">Lemon Verbena</A></SPAN>
<P><SPAN><A href="Kaem_gal.html">Lesser Galangale</A></SPAN>
<P><SPAN><A href="Glyc_gla.html">Licorice</A></SPAN>
<P><SPAN><A href="Citr_aur.html">Lime</A></SPAN>
<P><SPAN><A href="Eryn_foe.html">Long Coriander</A></SPAN>
<P><SPAN><A href="Pipe_lon.html">Long Pepper</A></SPAN>
<P><SPAN><A href="Levi_off.html">Lovage</A></SPAN>
<P><SPAN class=ini><A href="Prun_mah.html"><SPAN>M</SPAN>ahaleb cherry</A></SPAN>
<P><SPAN><A href="Mang_ind.html">Mango</A></SPAN>
<P><SPAN><A href="Majo_hor.html">Marjoram</A></SPAN>
<P><SPAN><A href="Pipe_aur.html">Mexican Pepper-leaf</A></SPAN>
<P><SPAN><A href="Tage_luc.html">Mexican tarragon</A></SPAN>
<P><SPAN><A href="Arte_vul.html">Mugwort</A></SPAN>
<P><SPAN><A href="Myrt_com.html">Myrtle</A></SPAN>
<P><SPAN class=ini><A href="Xylo_aet.html"><SPAN>N</SPAN>egro Pepper</A></SPAN>
<P><SPAN><A href="Nige_sat.html">Nigella</A></SPAN>
</DIV>
<DIV>
<P><SPAN><A href="Myri_fra.html">Nutmeg & Mace</A></SPAN>
<P><SPAN class=ini><A href="Olea_eur.html"><SPAN>O</SPAN>live</A></SPAN>
<P><SPAN><A href="Alli_cep.html">Onion</A></SPAN>
<P><SPAN><A href="Citr_sin.html">Orange</A></SPAN>
<P><SPAN><A href="Orig_vul.html">Oregano</A></SPAN>
<P><SPAN class=ini><A href="Pand_odo.html"><SPAN style="margin-right: -0.18em">P</SPAN>andanus flower</A></SPAN>
<P><SPAN><A href="Pand_ama.html">Pandanus leaf</A></SPAN>
<P><SPAN><A href="Caps_ann.html">Paprika</A></SPAN>
<P><SPAN><A href="Spil_acm.html">Paracress</A></SPAN>
<P><SPAN><A href="Petr_cri.html">Parsley</A></SPAN>
<P><SPAN><A href="Pipe_nig.html">Pepper</A></SPAN>
<P><SPAN><A href="Ment_pip.html">Peppermint</A></SPAN>
<P><SPAN><A href="Schi_ter.html">Pepper Rosé</A></SPAN>
<P><SPAN><A href="Peri_fru.html">Perilla</A></SPAN>
<P><SPAN><A href="Puni_gra.html">Pomegranate</A></SPAN>
<P><SPAN><A href="Papa_som.html">Poppy</A></SPAN>
<P><SPAN><A href="Cucu_pep.html">Pumpkin</A></SPAN>
<P><SPAN class=ini><A href="Limn_aro.html"><SPAN>R</SPAN>ice paddy herb</A></SPAN>
<P><SPAN><A href="Eruc_sat.html">Rocket</A></SPAN>
<P><SPAN><A href="Rosa_dam.html">Rose</A></SPAN>
<P><SPAN><A href="Rosm_off.html">Rosemary</A></SPAN>
<P><SPAN><A href="Ruta_gra.html">Rue</A></SPAN>
<P><SPAN class=ini><A href="Cart_tin.html"><SPAN>S</SPAN>afflower</A></SPAN>
</DIV>
<DIV>
<P><SPAN><A href="Croc_sat.html">Saffron</A></SPAN>
<P><SPAN><A href="Salv_off.html">Sage</A></SPAN>
<P><SPAN><A href="Sass_alb.html">Sassafras</A></SPAN>
<P><SPAN><A href="Satu_hor.html">Savory</A></SPAN>
<P><SPAN><A href="Sesa_ind.html">Sesame</A></SPAN>
<P><SPAN><A href="Zant_pip.html">Sichuan Pepper</A></SPAN>
<P><SPAN><A href="Silphion.html">Silphion</A></SPAN>
<P><SPAN><A href="Arte_abr.html">Southernwood</A></SPAN>
<P><SPAN><A href="Illi_ver.html">Star Anise</A></SPAN>
<P><SPAN><A href="Rhus_cor.html">Sumac</A></SPAN>
<P><SPAN class=ini><A href="Tama_ind.html"><SPAN style="margin-right: -0.2em">T</SPAN>amarind</A></SPAN>
<P><SPAN><A href="Arte_dra.html">Tarragon</A></SPAN>
<P><SPAN><A href="Tasm_lan.html">Tasmanian Pepper</A></SPAN>
<P><SPAN><A href="Thym_vul.html">Thyme</A></SPAN>
<P><SPAN><A href="Dipt_odo.html">Tonka bean</A></SPAN>
<P><SPAN><A href="Curc_lon.html">Turmeric</A></SPAN>
<P><SPAN class=ini><A href="Vani_pla.html"><SPAN style="margin-right: -0.15em">V</SPAN>anilla</A></SPAN>
<P><SPAN><A href="Cinn_lou.html">Vietnamese Cinnamon</A></SPAN>
<P><SPAN><A href="Pers_odo.html">Vietnamese coriander</A></SPAN>
<P><SPAN class=ini><A href="Wasa_jap.html"><SPAN style="margin-right: -0.15em">W</SPAN>asabi</A></SPAN>
<P><SPAN><A href="Pers_hyd.html">Water pepper</A></SPAN>
<P><SPAN><A href="Sina_alb.html">White Mustard</A></SPAN>
<P><SPAN class=ini><A href="Curc_zed.html"><SPAN>Z</SPAN>edoary</A></SPAN>
</DIV></DIV>
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In fall 2007, the <A class=ext lang="de" hreflang="de" href="http://www.naturundmensch.de/">Landesmuseum für Natur und Mensch</A>
in Oldenburg (Germany) will present an exhibition <Q><A hreflang="de" class=ext href="http://www.naturundmensch.de/gewuerze/html/konzept/gewuerze_konzept_01.html">Chile, Devilâs Dung and Saffron</A></Q>.
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Oldenburg on <B>May 29th and 30th, 2006</B>. In this meeting, several experts from different fields (archeology,
ethnobotany, ethnology, chemistry) will give talks presenting research data on spices
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<DT><A name="index"><B>Indices:</B></A>
<DD><DL>
<DT><A href="spice_small.html">English Index</A>
<DD> lists English synonyms and botanical names
<DT><A href="spice_large.html">Alphabetic Index</A>
<DD> More than 10000 names in about 80 different languages (<I>really</I> large file)<BR>Languages can be enabled and disabled by a flexible selection form.
<DT><A href="spice_multi.html">More foreign language indices</A>
<DD> 16 additional indices according to the writing system used
<DL class=mini><DT>Multilingual:<DD> <A href="spice_hellenic.html">Greek</A>, <A href="spice_cyr.html">Cyrillic</A>, <A href="spice_hebraic.html">Hebrew</A>, <A href="spice_arabic.html">Arabic</A>, <A href="spice_indic.html">Indic</A>, <A href="spice_hanzi.html">Chinese/Japanese</A>, <A href="spice_thai.html">Thai/Lao</A>
<DT>Monolingual:<DD> <A href="spice_geez.html">Amharic</A>, <A href="spice_kartvelian.html">Georgian</A>, <A href="spice_hayeren.html">Armenian</A>, <A href="spice_tibetan.html">Tibetan</A>, <A href="spice_thaana.html">Dhivehi</A>, <A href="spice_hangul.html">Korean</A>, <A href="spice_kana.html">Japanese</A>, <A href="spice_manipuri.html">Manipuri</A>, <A href="spice_viet_nam.html">Vietnamese</A>
</DL>
<DT><A href="spice_geo.html">Geographic Index</A>
<DD> according to country of origin or main usage area
<DT> <A href="spice_morph.html">Morphologic Index</A>
<DD> plant part used for cooking
<DT><A href="spice_bot.html">Botanic Index</A>
<DD> plants arranged in systematic botanic order
<DT><A href="spice_mix.html">Spice Mixture Index</A>
<DD> quick key to main ingredients to about 20 traditional spice
mixtures
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<TD id=toccell1b>
<DL>
<DT><B>Other Texts:</B>
<DD><DL>
<DT><A href="spice_over.html">Overview</A>
<DD>Traditional welcome message, copyright, disclaimer, ...<BR>
Please read the note on <A href="spice_over.html#copy">copyright</A>!
<DT><A href="spice_intro.html">Introduction</A>
<DD>Some information and ideas on various topics related to spices
<DT><A href="spice_bib.html">Literature</A>
<DD>Lots of books (mostly German, I apologize)
<DT><A href="spice_www.html">WEB-Pointers</A>
<DD>Some links referring to spices and cooking
<DT><A href="spice_where.html">Spice Sources</A>
<DD>Where to get unusual herbs and spices (applies mostly
to readers in Europe and the USA)
<DT><A href="spice_photo.html">List of Pictures</A>
<DD>Technical and copyright issues with my pictures
</DL>
</DL>
<TR><TD id=toccell2>
<DL>
<DT><B>Other Texts:</B>
<DD><DL>
<DT><A href="spice_over.html">Overview</A>
<DD>Traditional welcome message, copyright, disclaimer, ...<BR>
Please read the note on <A href="spice_over.html#copy">copyright</A>!
<DT><A href="spice_intro.html">Introduction</A>
<DD>Some information and ideas on various topics related to spices
<DT><A href="spice_bib.html">Literature</A>
<DD>Lots of books (mostly German, I apologize)
<DT><A href="spice_www.html">WEB-Pointers</A>
<DD>Some links referring to spices and cooking
<DT><A href="spice_where.html">Spice Sources</A>
<DD>Where to get unusual herbs and spices (applies mostly
to readers in Europe and the USA)
<DT><A href="spice_photo.html">List of Pictures</A>
<DD>Technical and copyright issues with my pictures
</DL>
</DL>
</TABLE>
<HR>
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A <A hreflang="de" href="../germ/index.html" >German version</A>
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Es gibt auch eine <A hreflang="de" href="../germ/index.html" >deutsche Version</A> dieses Sites.
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<LI class=main> <A href="index.html">Gernot Katzerâs Spice Pages <SPAN class=x><SPAN>Table of Content page</SPAN></SPAN></A>
<LI><A href="spice_index.html">Indices <SPAN class=x><SPAN>Various indices to search for a particular spice</SPAN></SPAN></A>
<UL>
<LI><A href="spice_small.html">English <SPAN class=x><SPAN>All English spice names, sorted alphabetically</SPAN></SPAN></A>
<LI><A href="spice_multi.html">Multilingual <SPAN class=x><SPAN>Search spices by foreign names</SPAN></SPAN></A>
<UL>
<LI><A href="spice_large.html">Alphabetic <SPAN class=x><SPAN>More than 10000 spice names in 70+ languages</SPAN></SPAN></A>
<LI><A href="spice_hellenic.html">Greek Script<SPAN class=x><SPAN>Search spices names in Old and Modern Greek</SPAN></SPAN></A>
<LI><A href="spice_cyr.html">Cyrillic Script<SPAN class=x><SPAN>Search spices names in RusÂsian, BulÂgaÂrian, Kazakh,â¦</SPAN></SPAN></A>
<LI><A href="spice_hebraic.html">Hebrew Script<SPAN class=x><SPAN>Search spices names in Hebrew and Yiddish</SPAN></SPAN></A>
<LI><A href="spice_arabic.html">Arabic Script<SPAN class=x><SPAN> Search spice names in Arabic, Farsi, Urdu,â¦</SPAN></SPAN></A>
<LI><A href="spice_indic.html">Indic Scripts<SPAN class=x><SPAN>Search spice names in Hindi, Bengali, Tamil, Telugu,â¦</SPAN></SPAN></A>
<LI><A href="spice_hanzi.html">Hanzi & Kanji <SPAN class=x><SPAN>Search spice names in ChiÂnese and Japanese</SPAN></SPAN></A>
<LI class=monolingual><A href="spice_multi.html">More ⦠<SPAN class=x><SPAN>Spice names in rarer tongues</SPAN></SPAN></A>
<UL class=higher>
<LI><A href="spice_tibetan.html">Tibetan <SPAN class=x><SPAN>Spice names from the Himalayas</SPAN></SPAN></A>
<LI><A href="spice_manipuri.html">Manipuri <SPAN class=x><SPAN>Spice names from North East India</SPAN></SPAN></A>
<LI><A href="spice_thai.html">Thai/Lao <SPAN class=x><SPAN>Spice names from ThaiÂland and Laos</SPAN></SPAN></A>
<LI><A href="spice_khmer.html">Khmer <SPAN class=x><SPAN>Spice names from Cambodia</SPAN></SPAN></A>
<LI><A href="spice_viet_nam.html">Vietnamese <SPAN class=x><SPAN>Spice names from Vietnam</SPAN></SPAN></A>
<LI><A href="spice_geez.html">Geâez <SPAN class=x><SPAN>Spice names from East Africa</SPAN></SPAN></A>
<LI><A href="spice_thaana.html">Thaana <SPAN class=x><SPAN>Spice names from Maldives</SPAN></SPAN></A>
<LI><A href="spice_hangul.html">Hangul <SPAN class=x><SPAN>Spice names from Korea</SPAN></SPAN></A>
<LI><A href="spice_kana.html">Kana <SPAN class=x><SPAN>Spice names from Japan</SPAN></SPAN></A>
<LI><A href="spice_kartvelian.html">Georgian <SPAN class=x><SPAN>Spice names from Georgia</SPAN></SPAN></A>
<LI><A href="spice_hayeren.html">Armenian <SPAN class=x><SPAN>Spice names from Armenia</SPAN></SPAN></A>
</UL>
</UL>
<LI><A href="spice_geo.html">Geographic <SPAN class=x><SPAN>Spices sorted according to region of origin or frequent usage</SPAN></SPAN></A>
<LI><A href="spice_bot.html">Botanical <SPAN class=x><SPAN>Spices sorted according to plant families</SPAN></SPAN></A>
<LI><A href="spice_morph.html">Morphologic <SPAN class=x><SPAN>Spices sorted according to part of the plant</SPAN></SPAN></A>
<LI><A href="spice_mix.html">Spice Mixtures <SPAN class=x><SPAN>Index of spice mixtures and their main ingredients</SPAN></SPAN></A>
</UL>
<LI> <A href="spice_search.html">Search <SPAN class=x><SPAN>Explanation how to use the search engine</SPAN></SPAN></A>
<LI> <A href="spice_other.html">Other <SPAN class=x><SPAN>Some other texts on spices</SPAN></SPAN></A>
<UL>
<LI><A href="spice_intro.html">Introduction <SPAN class=x><SPAN>Some introduction, definition, notes on copyrightâ¦</SPAN></SPAN></A>
<LI><A href="spice_over.html">Overview <SPAN class=x><SPAN>Overview on this site, plant chemistry,â¦</SPAN></SPAN></A>
<LI><A href="spice_bib.html">References <SPAN class=x><SPAN>Where to learn more of spices</SPAN></SPAN></A>
<UL>
<LI><A href="spice_bib.html">Literature <SPAN class=x><SPAN>Some books on spices, ethnic cookery, chemistry, scriptsâ¦</SPAN></SPAN></A>
<LI><A href="spice_www.html">Weblinks <SPAN class=x><SPAN>Links to some interesting sites</SPAN></SPAN></A>
<LI><A href="spice_photo.html">Photo Sources <SPAN class=x><SPAN>Detailed listing of all photos, copyrightâ¦</SPAN></SPAN></A>
</UL>
<LI><A href="spice_where.html">Spice Sources <SPAN class=x><SPAN>Commercial sources for spices and ethnical flavourings</SPAN></SPAN></A>
</UL>
<LI> <A href="../germ/index.html" onClick="translate_handler(); return false" lang="de" hreflang="de">German (Deutsch) <SPAN class=x><SPAN>Die Seite können Sie auch auf Deutsch lesen</SPAN></SPAN> </A>
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<LI><A href="../index.html">Personal Home Page <SPAN class=x><SPAN>My home page with some more info on me</SPAN></SPAN></A>
<LI><A href="mailme.html?subject=index">Email <SPAN class=x><SPAN>Contact me with questions, suggestions, complaints, â¦</SPAN></SPAN></A>
</UL>
</UL>
<P>
<FORM action="http://search.freefind.com/find.html" id=ffform method="GET" >
<DIV>
<INPUT type=hidden name="id" size="0" value="9047905">
<INPUT type=hidden name="pid" size="0" value="r">
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<INPUT type=hidden name="style" value="">
<SPAN title="Enter the name of a spice, ingredient, food or cooking technique">Quick Search</SPAN>:
<INPUT type=text name=query id=searchfield alt="Enter search term" size="12">
<BR><A class=ext href="http://search.freefind.com">FreeFind Search</A>
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<A id=killie6 style="display: block; margin: 2px; float: right; border:0" href="http://www.ie6nomore.com/"><IMG style="border:0" alt="IE6 no more!" title="Internet Explorer 6 must die!" src="../ienomore_small.gif"></A>
<![endif]-->
<A onClick="position('top'); return false;" class=int href="#top">Top</A>Â Â Â
<A onClick="position('spices'); return false;" class=int href="#spices">All spices</A>Â Â Â
<A onClick="position('search'); return false;" class=int href="#search">Search</A>Â Â Â
<A onClick="position('index'); return false;" class=int href="#index">Indices</A>Â Â Â
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Welcome to Gernot Katzer's Spice Pages
<!--
select\_stylesheet() // -->
[This site works better with JavaScript enabled!](spice_technote.html#javascript)
[Go to Table of Contents](index.html)
<!--
write\_welcome ()
// -->
# Welcome to Gernot Katzerâs Spice Pages
Change the [Page Style](spice_display.html) to: [Default](javascript: set_stylesheet('default') "Fixed Navigation and full background images"), [Plain](javascript: set_stylesheet('nobg') "Fixed Navigation and no background images"), [Flow](javascript: set_stylesheet('flow') "Flowing Navigation and full background images")
[](spice_photo.html#title)
On these pages, I present solid information on (currently) 117 different
spice plants. Emphasis is on their usage in ethnic cuisines,
particularly in Asia; furthermore, I discuss their history, chemical constituents,
and the etymology of their names. Last but not least, there are numerous
photos featuring the live plants or the dried spices.
To navigate through my site, use the [search engine](#search),
browse the [indices](#index) or go to the
[list
of all spices](#spices).
I am on an extended journey that leads me through the Indian subcontinent. To learn more of my past travelling route, and to see some pictures from well-known and lesser knows places in India, open the [contact page](mailme.html). Also, for those able to read German, I regularly publish updates to my [travelogue](../reise/index.html?ref=0e) which currently holds about 150 entries about places in India, Sri Lanka, Bangladesh and Nepal, and their foods.
---
<!--
//write\_ie5\_bug();
// -->
**List of all spices:**
[Ajwain](Trac_cop.html)
[Almond](Prun_dul.html)
[Allspice](Pime_dio.html)
[Anise](Pimp_ani.html)
[Annatto](Bixa_ore.html)
[Asa foetida](Feru_ass.html)
[Basil](Ocim_bas.html)
[Bearâs Garlic](Alli_urs.html)
[Black Cardamom](Amom_sub.html)
[Black Cumin](Buni_per.html)
[Black Mustard](Bras_nig.html)
[Blue Fenugreek](Trig_cae.html)
[Boldo](Peum_bol.html)
[Borage](Bora_off.html)
[Caper](Capp_spi.html)
[Caraway](Caru_car.html)
[Cardamom](Elet_car.html)
[Cassia (Chinese Cinnamon)](Cinn_cas.html)
[Celery](Apiu_gra.html)
[Ceylon Cinnamon](Cinn_zey.html)
[Chameleon Plant](Hout_cor.html)
[Chaste Tree](Vite_agn.html)
[Chervil](Anth_cer.html)
[Chile](Caps_fru.html)
[Chive](Alli_sch.html)
[Cicely](Myrr_odo.html)
[Clove](Syzy_aro.html)
[Coriander](Cori_sat.html)
[Coconut](Coco_nuc.html)
[Cresses](Lepi_sat.html)
[Cubeb Pepper](Pipe_cub.html)
[Cumin](Cumi_cym.html)
[Curry leaf](Murr_koe.html)
[Epazote](Chen_amb.html)
[Dill](Anet_gra.html)
[Fennel](Foen_vul.html)
[Fenugreek](Trig_foe.html)
[Fingerroot](Boes_pan.html)
[Gale](Myri_gal.html)
[Garlic](Alli_sat.html)
[Ginger](Zing_off.html)
[Grains of Paradise](Afra_mel.html)
[Greater Galangale](Alpi_gal.html)
[Horseradish](Armo_rus.html)
[Hyssop](Hyss_off.html)
[Indian Bay-leaf](Cinn_tam.html)
[Indonesian Cinnamon](Cinn_bur.html)
[Indonesian Bay-Leaf](Euge_pol.html)
[Juniper](Juni_com.html)
[Kaffir Lime](Citr_hys.html)
[Laurel](Laur_nob.html)
[Lavender](Lava_ang.html)
[Lemon](Citr_lim.html)
[Lemon Balm](Meli_off.html)
[Lemon Grass](Cymb_cit.html)
[Lemon Myrtle](Back_cit.html)
[Lemon Verbena](Lipp_cit.html)
[Lesser Galangale](Kaem_gal.html)
[Licorice](Glyc_gla.html)
[Lime](Citr_aur.html)
[Long Coriander](Eryn_foe.html)
[Long Pepper](Pipe_lon.html)
[Lovage](Levi_off.html)
[Mahaleb cherry](Prun_mah.html)
[Mango](Mang_ind.html)
[Marjoram](Majo_hor.html)
[Mexican Pepper-leaf](Pipe_aur.html)
[Mexican tarragon](Tage_luc.html)
[Mugwort](Arte_vul.html)
[Myrtle](Myrt_com.html)
[Negro Pepper](Xylo_aet.html)
[Nigella](Nige_sat.html)
[Nutmeg & Mace](Myri_fra.html)
[Olive](Olea_eur.html)
[Onion](Alli_cep.html)
[Orange](Citr_sin.html)
[Oregano](Orig_vul.html)
[Pandanus flower](Pand_odo.html)
[Pandanus leaf](Pand_ama.html)
[Paprika](Caps_ann.html)
[Paracress](Spil_acm.html)
[Parsley](Petr_cri.html)
[Pepper](Pipe_nig.html)
[Peppermint](Ment_pip.html)
[Pepper Rosé](Schi_ter.html)
[Perilla](Peri_fru.html)
[Pomegranate](Puni_gra.html)
[Poppy](Papa_som.html)
[Pumpkin](Cucu_pep.html)
[Rice paddy herb](Limn_aro.html)
[Rocket](Eruc_sat.html)
[Rose](Rosa_dam.html)
[Rosemary](Rosm_off.html)
[Rue](Ruta_gra.html)
[Safflower](Cart_tin.html)
[Saffron](Croc_sat.html)
[Sage](Salv_off.html)
[Sassafras](Sass_alb.html)
[Savory](Satu_hor.html)
[Sesame](Sesa_ind.html)
[Sichuan Pepper](Zant_pip.html)
[Silphion](Silphion.html)
[Southernwood](Arte_abr.html)
[Star Anise](Illi_ver.html)
[Sumac](Rhus_cor.html)
[Tamarind](Tama_ind.html)
[Tarragon](Arte_dra.html)
[Tasmanian Pepper](Tasm_lan.html)
[Thyme](Thym_vul.html)
[Tonka bean](Dipt_odo.html)
[Turmeric](Curc_lon.html)
[Vanilla](Vani_pla.html)
[Vietnamese Cinnamon](Cinn_lou.html)
[Vietnamese coriander](Pers_odo.html)
[Wasabi](Wasa_jap.html)
[Water pepper](Pers_hyd.html)
[White Mustard](Sina_alb.html)
[Zedoary](Curc_zed.html)
---
Use [FreeFind](http://www.freefind.com)
to search within these pages
([Help](spice_search.html))
search this site only
search the entire web
---
| | | |
| --- | --- | --- |
|
**Indices:**
[English Index](spice_small.html)
lists English synonyms and botanical names
[Alphabetic Index](spice_large.html)
More than 10000 names in about 80 different languages (*really* large file)Languages can be enabled and disabled by a flexible selection form.
[More foreign language indices](spice_multi.html)
16 additional indices according to the writing system used
Multilingual: [Greek](spice_hellenic.html), [Cyrillic](spice_cyr.html), [Hebrew](spice_hebraic.html), [Arabic](spice_arabic.html), [Indic](spice_indic.html), [Chinese/Japanese](spice_hanzi.html), [Thai/Lao](spice_thai.html)
Monolingual: [Amharic](spice_geez.html), [Georgian](spice_kartvelian.html), [Armenian](spice_hayeren.html), [Tibetan](spice_tibetan.html), [Dhivehi](spice_thaana.html), [Korean](spice_hangul.html), [Japanese](spice_kana.html), [Manipuri](spice_manipuri.html), [Vietnamese](spice_viet_nam.html)
[Geographic Index](spice_geo.html)
according to country of origin or main usage area
[Morphologic Index](spice_morph.html)
plant part used for cooking
[Botanic Index](spice_bot.html)
plants arranged in systematic botanic order
[Spice Mixture Index](spice_mix.html)
quick key to main ingredients to about 20 traditional spice
mixtures
**Other Texts:**
[Overview](spice_over.html)
Traditional welcome message, copyright, disclaimer, ...
Please read the note on [copyright](spice_over.html#copy)!
[Introduction](spice_intro.html)
Some information and ideas on various topics related to spices
[Literature](spice_bib.html)
Lots of books (mostly German, I apologize)
[WEB-Pointers](spice_www.html)
Some links referring to spices and cooking
[Spice Sources](spice_where.html)
Where to get unusual herbs and spices (applies mostly
to readers in Europe and the USA)
[List of Pictures](spice_photo.html)
Technical and copyright issues with my pictures
|
**Other Texts:**
[Overview](spice_over.html)
Traditional welcome message, copyright, disclaimer, ...
Please read the note on [copyright](spice_over.html#copy)!
[Introduction](spice_intro.html)
Some information and ideas on various topics related to spices
[Literature](spice_bib.html)
Lots of books (mostly German, I apologize)
[WEB-Pointers](spice_www.html)
Some links referring to spices and cooking
[Spice Sources](spice_where.html)
Where to get unusual herbs and spices (applies mostly
to readers in Europe and the USA)
[List of Pictures](spice_photo.html)
Technical and copyright issues with my pictures
|
| |
---
A [German version](../germ/index.html)
of this site is also available.
Es gibt auch eine [deutsche Version](../germ/index.html) dieses Sites.
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---
*For questions and comments,
please contact
[Gernot Katzer (मसाला-वाला)](mailme.html)
(treabgxngmre)*
---
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---
* [Gernot Katzerâs Spice Pages Table of Content page](index.html)* [Indices Various indices to search for a particular spice](spice_index.html)
+ [English All English spice names, sorted alphabetically](spice_small.html)+ [Multilingual Search spices by foreign names](spice_multi.html)
- [Alphabetic More than 10000 spice names in 70+ languages](spice_large.html)- [Greek ScriptSearch spices names in Old and Modern Greek](spice_hellenic.html)- [Cyrillic ScriptSearch spices names in RusÂsian, BulÂgaÂrian, Kazakh,â¦](spice_cyr.html)- [Hebrew ScriptSearch spices names in Hebrew and Yiddish](spice_hebraic.html)- [Arabic Script Search spice names in Arabic, Farsi, Urdu,â¦](spice_arabic.html)- [Indic ScriptsSearch spice names in Hindi, Bengali, Tamil, Telugu,â¦](spice_indic.html)- [Hanzi & Kanji Search spice names in ChiÂnese and Japanese](spice_hanzi.html)- [More ⦠Spice names in rarer tongues](spice_multi.html)
* [Tibetan Spice names from the Himalayas](spice_tibetan.html)* [Manipuri Spice names from North East India](spice_manipuri.html)* [Thai/Lao Spice names from ThaiÂland and Laos](spice_thai.html)* [Khmer Spice names from Cambodia](spice_khmer.html)* [Vietnamese Spice names from Vietnam](spice_viet_nam.html)* [Geâez Spice names from East Africa](spice_geez.html)* [Thaana Spice names from Maldives](spice_thaana.html)* [Hangul Spice names from Korea](spice_hangul.html)* [Kana Spice names from Japan](spice_kana.html)* [Georgian Spice names from Georgia](spice_kartvelian.html)* [Armenian Spice names from Armenia](spice_hayeren.html)+ [Geographic Spices sorted according to region of origin or frequent usage](spice_geo.html)+ [Botanical Spices sorted according to plant families](spice_bot.html)+ [Morphologic Spices sorted according to part of the plant](spice_morph.html)+ [Spice Mixtures Index of spice mixtures and their main ingredients](spice_mix.html)* [Search Explanation how to use the search engine](spice_search.html)* [Other Some other texts on spices](spice_other.html)
+ [Introduction Some introduction, definition, notes on copyrightâ¦](spice_intro.html)+ [Overview Overview on this site, plant chemistry,â¦](spice_over.html)+ [References Where to learn more of spices](spice_bib.html)
- [Literature Some books on spices, ethnic cookery, chemistry, scriptsâ¦](spice_bib.html)- [Weblinks Links to some interesting sites](spice_www.html)- [Photo Sources Detailed listing of all photos, copyrightâ¦](spice_photo.html)+ [Spice Sources Commercial sources for spices and ethnical flavourings](spice_where.html)* [German (Deutsch) Die Seite können Sie auch auf Deutsch lesen](../germ/index.html)
<!--
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* [Contact](mailme.html?subject=index)
+ [Technote Web design stuff, list of known bugs, feedback welcome!](spice_technote.html)+ [Personal Home Page My home page with some more info on me](../index.html)+ [Email Contact me with questions, suggestions, complaints, â¦](mailme.html?subject=index)
Quick Search:
[FreeFind Search](http://search.freefind.com)
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[Top](#top)Â Â Â
[All spices](#spices)Â Â Â
[Search](#search)Â Â Â
[Indices](#index)Â Â Â
[Bottom](#bottom)
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GrimGrains
| http://grimgrains.com/ |
<HTM>
<HEAD>
<TITLE>Xchomp Unofficial Home page </TITLE>
</HEAD>
<BODY>
<A HREF="frchomp.htm"> Page francaise</A>
<center>
<TABLE border="0" width="75%" cellspacing="0" cellpadding="5">
<TR bgcolor="#000000">
<TD align="center">
<A href="#intro"><FONT face="Helvetica,Arial" color="#ffffff"><B>Introduction</B></FONT></A>
<A href="#intruc"><FONT face="Helvetica,Arial" color="#ffffff"><B>Instruction</B></FONT></A>
<A href="#control"><FONT face="Helvetica,Arial" color="#ffffff"><B>game controls</B></FONT></A>
<A href="#downloader"><FONT face="Helvetica,Arial" color="#ffffff"><B>downloader</B></FONT></A>
</TD>
</TR>
</TABLE>
</center>
<Center><H1>Xchomp Unofficial Home page </H1></Center>
<Center><IMG SRC="xchomp1.gif"></Center>
<OL>
<A name="intro"></A>
<LI><Center>INTRODUCTION</Center><br>
<p>Hello, and welcome to xchomp. Xchomp is a game closely patterned after
Pac-Man(tm) that runs under the X window system. I've tried to make the
game as close as possible to the original Pac-Man. However, I have not
seen a Pac-Man arcade machine for years, so all the elements of the game
have been recalled from memory. Also, I've added something which I
always felt was missing from Pac-Man, namely several different mazes.</p>
<hr>
<A name="intruc"></A>
<LI><Center>INSTRUCTIONS FOR PLAYING</Center>
<p>
The point of this game, as in all arcade-style games, is to amass the
highest possible score. However, some may find that the fun in the game
is in trying to reach the highest possible level. At least, that's what
I thought was fun about the original. You, the player, are the circular
mouth moving around the maze. Your opponents are the four ghosts following
you around. Touching a ghost will cost you a life. When you start each
level, the maze is filled with dots. Eating these dots (by simply going
over them), gives you 10 points for each. You must eat all the dots on a
maze to advance to the next level.<p>
<Center><IMG SRC="xchomp3.gif"></Center><br>
<p>On each maze, you will also find several large flashing dots; these are
the power-dots. Eating one of these will add 50 points to your score,
and temporarily give you the ability to eat the ghosts. While the ghosts
can be eaten, they are white (transparent), they move at a reduced speed,
and they try to run away from you. When they turn back to a solid color,
they are back to their normal state, and they return to following you
around. They won't become solid suddenly; they will flash for a couple
of seconds to warn you. While they're flashing, you can still eat them.</p>
<Center><IMG SRC="xchomp2.gif"></Center><br>
<p>Eating a ghost adds points to your score, and the number of points is
momentarily displayed on the screen. This action turns the ghost into
a harmless pair of eyes. In this state, the ghost moves very quickly,
seeking return to the ghost box in the center of the maze. Once it gets
there, it is "reborn", and goes back to chasing you around the maze.</p>
<p>The levels of the game are designated by symbols. The first few levels
are "fruit" levels, that is, they are designated by little pictures of
fruit on the bottom of the xchomp window. For example, the first level
is the "cherry" level. Once in a while (twice on every level), the
symbol corresponding to the current level appears in the maze. It will
stay there only for a few seconds; eating it adds a number of points to
your score. At the higher levels, this is a very significant number.
In any case, when you eat a fruit, or other such symbol, the corresponding
point value is briefly displayed on the screen.</p>
Reaching a score of 10,000 awards you an extra life.
<hr>
<A name="control"></A>
<LI><Center>GAME CONTROLS</Center><br>
<p>This is strictly a keyboard-controlled game. The arcade game had very
simple controls -- one four-directional joystick. In xchomp, all control
is through the arrow keys. Hitting an arrow key in xchomp is equivalent
to pushing the joystick in the corresponding direction and holding it down;
the player on the screen will continue moving in its current direction
until motion in the specified direction is possible, in which case it will
switch to that direction, or until it hits a wall, in which case it will
stop and wait for a key press corresponding to a valid direction. If this
sounds complex, forget it, and just play the game. I believe you'll find
the controls pretty natural. It can be thought of like this: the player
on the screen will always try to move in the direction of the last key
pressed, and if it can't, it'll keep moving in the direction it's moving
until it can. Only one key press is remembered -- the last one. Don't
hold down the keys; just hit them; otherwise, there may be times when
you're pressing two keys at a time and the second one won't register.</p>
<p>The game can be paused by pressing the space bar or by iconifying the xchomp
window (the latter definitely works on Sun and DECwindows servers). While
the game is paused, you can abort it by pressing 'R'. This will return
you to the title screen. Pressing 'Q' will cause xchomp to terminate. If
you iconify the xchomp window, the game will be in the paused state when
you de-iconify it.</p>
<A name="downloader"></A>
<H2>Downloader</H2>
<UL>
<LI><A HREF="ftp://ftp.informatik.hu-berlin.de/pub/os/linux/distributions/LST/lst_18/install/xappl4/xchomp.tgz"> En allemangne 18.4K 1997 May 9 xchomp.tgz</A>
<LI><A HREF="ftp://ftp.cso.uiuc.edu/pub/encap/rs6000-ibm-aix3.2.5/xchomp.tgz">14.9K 1997 Nov 27 xchomp.tgz pour AIX</A>
<LI><A HREF="ftp://ftp.tu-cottbus.de/pub/unix/hpux/LSA/hpux/Games/Arcade/xchomp-1.0/">xchomp pour HPUX</A>
<LI><A HREF="ftp://ftp.ese-metz.fr/pub9/susix/source/games/xchomp-linux.tar.z">XChomp a metz : 49.5K 1997 Mar 3 xchomp-linux.tar.z</A>
<LI><A HREF="ftp://ftp.etud.insa-tlse.fr/pub/redhat/rpms/rangueil/xchomp.html">xchomp distrib:Linux RPMS en france</A>
<LI><A HREF="ftp://ftp.sunsite.auc.dk/local/local/linux/RPMS/xchomp.html">xchomp distrib:Linux RPMS au denmark</A>
</UL>
<H2><U>L'auteur</U></H2>
<TABLE>
<TR><TD></TD><TD> Polygen Corporation </TD></TR>
<TR><TD> Jerry J. Shekhel</TD> <TD>Waltham, MA 02254 </TD></TR>
<TR><TD></TD><TD> (617) 890-2888 </TD></TR>
</TABLE>
</BODY>
</HTML>
|
Xchomp Unofficial Home page
[Page francaise](frchomp.htm)
| |
| --- |
| [**Introduction**](#intro)
[**Instruction**](#intruc)
[**game controls**](#control)
[**downloader**](#downloader) |
# Xchomp Unofficial Home page
2. INTRODUCTION
Hello, and welcome to xchomp. Xchomp is a game closely patterned after
Pac-Man(tm) that runs under the X window system. I've tried to make the
game as close as possible to the original Pac-Man. However, I have not
seen a Pac-Man arcade machine for years, so all the elements of the game
have been recalled from memory. Also, I've added something which I
always felt was missing from Pac-Man, namely several different mazes.
---
- INSTRUCTIONS FOR PLAYING
The point of this game, as in all arcade-style games, is to amass the
highest possible score. However, some may find that the fun in the game
is in trying to reach the highest possible level. At least, that's what
I thought was fun about the original. You, the player, are the circular
mouth moving around the maze. Your opponents are the four ghosts following
you around. Touching a ghost will cost you a life. When you start each
level, the maze is filled with dots. Eating these dots (by simply going
over them), gives you 10 points for each. You must eat all the dots on a
maze to advance to the next level.
On each maze, you will also find several large flashing dots; these are
the power-dots. Eating one of these will add 50 points to your score,
and temporarily give you the ability to eat the ghosts. While the ghosts
can be eaten, they are white (transparent), they move at a reduced speed,
and they try to run away from you. When they turn back to a solid color,
they are back to their normal state, and they return to following you
around. They won't become solid suddenly; they will flash for a couple
of seconds to warn you. While they're flashing, you can still eat them.
Eating a ghost adds points to your score, and the number of points is
momentarily displayed on the screen. This action turns the ghost into
a harmless pair of eyes. In this state, the ghost moves very quickly,
seeking return to the ghost box in the center of the maze. Once it gets
there, it is "reborn", and goes back to chasing you around the maze.
The levels of the game are designated by symbols. The first few levels
are "fruit" levels, that is, they are designated by little pictures of
fruit on the bottom of the xchomp window. For example, the first level
is the "cherry" level. Once in a while (twice on every level), the
symbol corresponding to the current level appears in the maze. It will
stay there only for a few seconds; eating it adds a number of points to
your score. At the higher levels, this is a very significant number.
In any case, when you eat a fruit, or other such symbol, the corresponding
point value is briefly displayed on the screen.
Reaching a score of 10,000 awards you an extra life.
---
- GAME CONTROLS
This is strictly a keyboard-controlled game. The arcade game had very
simple controls -- one four-directional joystick. In xchomp, all control
is through the arrow keys. Hitting an arrow key in xchomp is equivalent
to pushing the joystick in the corresponding direction and holding it down;
the player on the screen will continue moving in its current direction
until motion in the specified direction is possible, in which case it will
switch to that direction, or until it hits a wall, in which case it will
stop and wait for a key press corresponding to a valid direction. If this
sounds complex, forget it, and just play the game. I believe you'll find
the controls pretty natural. It can be thought of like this: the player
on the screen will always try to move in the direction of the last key
pressed, and if it can't, it'll keep moving in the direction it's moving
until it can. Only one key press is remembered -- the last one. Don't
hold down the keys; just hit them; otherwise, there may be times when
you're pressing two keys at a time and the second one won't register.
The game can be paused by pressing the space bar or by iconifying the xchomp
window (the latter definitely works on Sun and DECwindows servers). While
the game is paused, you can abort it by pressing 'R'. This will return
you to the title screen. Pressing 'Q' will cause xchomp to terminate. If
you iconify the xchomp window, the game will be in the paused state when
you de-iconify it.
## Downloader
* [En allemangne 18.4K 1997 May 9 xchomp.tgz](ftp://ftp.informatik.hu-berlin.de/pub/os/linux/distributions/LST/lst_18/install/xappl4/xchomp.tgz)* [14.9K 1997 Nov 27 xchomp.tgz pour AIX](ftp://ftp.cso.uiuc.edu/pub/encap/rs6000-ibm-aix3.2.5/xchomp.tgz)* [xchomp pour HPUX](ftp://ftp.tu-cottbus.de/pub/unix/hpux/LSA/hpux/Games/Arcade/xchomp-1.0/)* [XChomp a metz : 49.5K 1997 Mar 3 xchomp-linux.tar.z](ftp://ftp.ese-metz.fr/pub9/susix/source/games/xchomp-linux.tar.z)* [xchomp distrib:Linux RPMS en france](ftp://ftp.etud.insa-tlse.fr/pub/redhat/rpms/rangueil/xchomp.html)* [xchomp distrib:Linux RPMS au denmark](ftp://ftp.sunsite.auc.dk/local/local/linux/RPMS/xchomp.html)## L'auteur
| | |
| --- | --- |
| | Polygen Corporation |
| Jerry J. Shekhel | Waltham, MA 02254 |
| | (617) 890-2888 |
| http://vidalc.chez.com/xchomp/xchomp.html |
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<img border="0" src="3storms.jpg" alt="The Three Storms!" width="315" height="234"><img border="0" src="vs.gif" alt="versus" width="71" height="234"><img border="0" src="britney-spears0.jpg" alt="Britney Spears" width="234" height="234"><br>
<font face="Verdana,Arial,Helvetica" size="2">by: <b>
<a href="mailto:webmaster@i-mockery.com?subject=The Three Storms vs Britney Spears!">
-RoG-</a></b></font></p>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2">Surely you
have all seen one of the great martial arts / action films of all time:<br>
<b>BIG TROUBLE IN LITTLE CHINA</b></font></p>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2">But did
you ever wonder what the <b>Three Storms</b> have been up to now that
they're not acting in great movies like that anymore? Well, they've
decided to take on all of the evils of the world.<br>
And they're destroying each evil, one at a time, starting with <b>Britney
Spears</b>!<br>
That being said, allow me to refresh your memory on these three martial
arts madmen!</font></p>
<p align="center">
<img border="0" src="3storms-2.jpg" alt="Rain. Thunder. Lightning." width="312" height="300"></p>
<ul>
<li>
<p align="left"><font face="Verdana,Arial,Helvetica" size="2"><b>RAIN</b>
: The "pretty boy" of the group. But don't let his good
looks and long hair deceive you. Rain can jump 20 feet in the air and
cut you in half with his swords in a split second!<br>
<br>
</font></li>
<li>
<p align="left"><font face="Verdana,Arial,Helvetica" size="2"><b>THUNDER</b>
: The guy with the bad temper. Thunder is always angry at something
and he tends to take out his anger on one of two things: 1) people or
2) furniture. He's always yelling and he seems to have digestion
problems which cause him to explode.<br>
<br>
</font></li>
<li>
<p align="left"><font face="Verdana,Arial,Helvetica" size="2"><b>LIGHTNING</b>
: The show-off of the group. Lightning knows he kicks ass and he
flaunts it by shooting electricity bolts all over the place. The kids
love watching this guy in action, he puts any light show at a rock
concert to shame!</font></li>
</ul>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2">Ok, now
that we're all familiar with this trio of terror, we must ask one simply
question.<br>
WHICH ONE WILL DESTROY BRITNEY SPEARS? Fortunately, we took photos of the
entire<br>
bloody battle and in the end, we're happy to say that Good has triumphed
over Evil!<br>
<b>
So onto the battle...</b></font></p>
<p align="center">
<img border="0" src="rain.jpg" alt=""I offer you this pretty red nerf ball!"" width="316" height="235"><br>
<font face="Verdana,Arial,Helvetica" size="2">As you can see, Rain was
distracted by the big show that Britney Spears put on.<br>
In particular, her male dancers. Rain just knew he could "dance up a
storm" much<br>
better than any of them could. So he offered Britney a nerf ball in
exchange for a job.<br>
He was crushed when she turned him down. Last we heard, Rain retreated
into the<br>
mountains and has been practicing his dancing skills ferociously ever
since.</font></p>
<p align="center">
<img border="0" src="thunder.jpg" alt="I need Ex-Lax! Please!" width="345" height="259"><br>
<font face="Verdana,Arial,Helvetica" size="2">As stated earlier, Thunder
has severe digestive/constipation problems. <br>
Possibly he has swallowed too much anger. It's hard to say...<br>
Either way, he was unable to fight Britney due to a doctor's appointment.<br>
Word is the <b>enema</b> went very well and he is at home recovering in
bed.</font></p>
<p align="center">
<img border="0" src="britney0.jpg" alt=""I am Stronger!"" width="269" height="199"><br>
<font face="Verdana,Arial,Helvetica" size="2">After having avoided being
killed by two of the Three Storms, Britney Spears<br>
was feeling pretty cocky. So to brag to all, she wrote a song entitled,
"Stronger".<br>
Too bad for her, there was one Storm that would NOT tolerate such
insolence.</font></p>
<p align="center">
<img border="0" src="lightning1.jpg" alt="NOW YOU DIE!" width="268" height="200"><img border="0" src="lightning2.jpg" alt="AAAAAAIIIIIEEEEEE!!!!!" width="267" height="200"><br>
<font face="Verdana,Arial,Helvetica" size="2">That's right, <b>LIGHTNING</b>
wasn't about to take any crap from some stupid pop-star slut.<br>
So he put on his trusty hat (you gotta look good when yer kickin ass) and
let out his rage!</font></p>
<p align="center">
<img border="0" src="britney1.jpg" alt=""I Am Str......AAAAAAAAAAAAH!!!!"" width="300" height="199"><br>
<font face="Verdana,Arial,Helvetica" size="2">Ouch, that's gotta hurt!
Britney had no idea what hit her!</font></p>
<p align="center">
<img border="0" src="britney2.jpg" alt=""Holy shit Tyrone! He done burned up Britney like a chicken wing!"" width="400" height="267"><br>
<font face="Verdana,Arial,Helvetica" size="2">""Holy shit Tyrone! He done burned up Britney like a chicken wing!"<br>
"Stronger my ass..."<br>
Yep, when Lightning was done with her, Britney was nothing more than a<br>
pile of ash that he stomped into the ground. Her dancers were in total
dismay,<br>
so they ran into the mountains to find Rain in hopes of making sweet love
to him.</font></p>
<p align="center">
<img border="0" src="winner.jpg" alt="WINNER!" width="350" height="261"><br>
<font face="Verdana,Arial,Helvetica" size="2">So in the end, the evil that
was Britney Spears was destroyed<br>
and our hero, <b>LIGHTNING</b>, has saved us all from her wretched music<br>
and her slutty ways forever. Thank you Lightning... THANK YOU!</font></p>
<p align="center">
<font face="Verdana,Arial,Helvetica" size="2"><b>
<a href="mailto:webmaster@i-mockery.com?subject=The Three Storms vs Britney Spears!">
-RoG-</a></b></font></p>
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The Three Storms!versusBritney Spears
by: **[-RoG-](mailto:webmaster@i-mockery.com?subject=The Three Storms vs Britney Spears!)**
Surely you
have all seen one of the great martial arts / action films of all time:
**BIG TROUBLE IN LITTLE CHINA**
But did
you ever wonder what the **Three Storms** have been up to now that
they're not acting in great movies like that anymore? Well, they've
decided to take on all of the evils of the world.
And they're destroying each evil, one at a time, starting with **Britney
Spears**!
That being said, allow me to refresh your memory on these three martial
arts madmen!
Rain. Thunder. Lightning.* **RAIN**
: The "pretty boy" of the group. But don't let his good
looks and long hair deceive you. Rain can jump 20 feet in the air and
cut you in half with his swords in a split second!
* **THUNDER**
: The guy with the bad temper. Thunder is always angry at something
and he tends to take out his anger on one of two things: 1) people or
2) furniture. He's always yelling and he seems to have digestion
problems which cause him to explode.
* **LIGHTNING**
: The show-off of the group. Lightning knows he kicks ass and he
flaunts it by shooting electricity bolts all over the place. The kids
love watching this guy in action, he puts any light show at a rock
concert to shame!
Ok, now
that we're all familiar with this trio of terror, we must ask one simply
question.
WHICH ONE WILL DESTROY BRITNEY SPEARS? Fortunately, we took photos of the
entire
bloody battle and in the end, we're happy to say that Good has triumphed
over Evil!
**So onto the battle...**
"I offer you this pretty red nerf ball!"
As you can see, Rain was
distracted by the big show that Britney Spears put on.
In particular, her male dancers. Rain just knew he could "dance up a
storm" much
better than any of them could. So he offered Britney a nerf ball in
exchange for a job.
He was crushed when she turned him down. Last we heard, Rain retreated
into the
mountains and has been practicing his dancing skills ferociously ever
since.
I need Ex-Lax! Please!
As stated earlier, Thunder
has severe digestive/constipation problems.
Possibly he has swallowed too much anger. It's hard to say...
Either way, he was unable to fight Britney due to a doctor's appointment.
Word is the **enema** went very well and he is at home recovering in
bed.
"I am Stronger!"
After having avoided being
killed by two of the Three Storms, Britney Spears
was feeling pretty cocky. So to brag to all, she wrote a song entitled,
"Stronger".
Too bad for her, there was one Storm that would NOT tolerate such
insolence.
NOW YOU DIE!AAAAAAIIIIIEEEEEE!!!!!
That's right, **LIGHTNING**
wasn't about to take any crap from some stupid pop-star slut.
So he put on his trusty hat (you gotta look good when yer kickin ass) and
let out his rage!
"I Am Str......AAAAAAAAAAAAH!!!!"
Ouch, that's gotta hurt!
Britney had no idea what hit her!
"Holy shit Tyrone! He done burned up Britney like a chicken wing!"
""Holy shit Tyrone! He done burned up Britney like a chicken wing!"
"Stronger my ass..."
Yep, when Lightning was done with her, Britney was nothing more than a
pile of ash that he stomped into the ground. Her dancers were in total
dismay,
so they ran into the mountains to find Rain in hopes of making sweet love
to him.
WINNER!
So in the end, the evil that
was Britney Spears was destroyed
and our hero, **LIGHTNING**, has saved us all from her wretched music
and her slutty ways forever. Thank you Lightning... THANK YOU!
**[-RoG-](mailto:webmaster@i-mockery.com?subject=The Three Storms vs Britney Spears!)**
---
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too.
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[**DONATE TO OUR ZOMBIE MOVIE!**](http://www.i-mockery.com/zombie)
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---
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*No portion of I-Mockery may be reprinted in any form without prior consent
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| http://www.i-mockery.com/minimocks/3storms/ |
<html>
<head>
<title> Heidi, Christy, Brian, and Carl's ELEC301 Project Home Page </title>
</head>
<body bgcolor="#000000" text="#C0C0C0">
<p> </p>
<table border="0" cellpadding="15" width="800" bgcolor="#C0C0C0">
<tr>
<td width="150" VALIGN="top" align="left" bgcolor="#C0C0C0"><a
href="Default.htm"><font face="Arial"
color="#FFFFFF"><strong>HOME</strong></font></a><p><a
href="Images.htm"><font face="Arial" color="#FFFFFF"><strong>IMAGES</strong></font></a></p>
<p><font face="Arial" color="#FFFFFF"><strong>FINAL REPORT<big><br>
</big><small><a href="DCT.htm">DCT Transform</a><br>
<a href="Haar.htm">Haar Wavelet Transform</a></small><br>
<small><a href="Quantization.htm">quantization
methods </a><br>
<a href="Results.htm">results</a><br>
<a href="Conclusions.htm">conclusions</a></small></strong></font></p>
<p align="left"><a href="References.htm"><font
face="Arial" color="#FFFFFF"><strong>REFERENCES/LINKS</strong></font></a></p>
<p><font face="Arial" color="#FFFFFF"><strong>MATLAB CODE<br>
<small>DCT Code:</small><br>
<a href="total.htm"><small>total.m</small></a><br>
<a href="scale.htm"><small>scale.m</small></a><br>
<small>Haar Wavelet Code:</small><br>
<a href="h_transform.htm"><small>h_transform.m</small></a><br>
<a href="nrmlMat2.htm"><small>nrmlMat2.m</small></a><br>
<a href="inrmlMat2.htm"><small>inrmlMat2.m</small></a><br>
<a href="Quntze.htm"><small>Quntze.m</small></a><br>
<a href="IQuntze.htm"><small>IQuntze.m</small></a><br>
<a href="BinOut.htm"><small>BinOut.m</small></a><br>
<a href="makeImage.htm"><small>makeImage.m</small></a><br>
<a href="makeBitMask.htm"><small>makeBitMask.m</small></a><br>
<a href="haar_col.htm"><small>haar_col.m</small></a><br>
<a href="haar_row.htm"><small>haar_row.m</small></a><br>
<a href="ihaar_col.htm"><small>ihaar_col.m</small></a><br>
<a href="ihaar_row.htm"><small>ihaar_row.m</small></a><br>
<a href="statcom2.htm"><small>statcom2.m</small></a><br>
<br>
<br>
<small></small></strong></font></p>
<p><font face="Arial" color="#FFFFFF"><strong><br>
</strong></font></td>
<td valign="top" width="550" bgcolor="#000000"><h3 align="center"><img src="flash.gif"
width="550" height="174" alt="flash.gif (80595 bytes)"></h3>
<h3 align="center"><font face="Arial" color="#0000FF"><big>ELEC301
Project Home Page</big></font></h3>
<p><font color="#000000"> </font><img src="Defaul1.jpg" alt="wpe67.jpg (2127 bytes)"
WIDTH="550" HEIGHT="6"></p>
<p class="MsoNormal"><font color="#C0C0C0"><small><span style="font-family:Arial">Digital
images inherently take up a great deal of space. For purposes of transmitting files
containing images or for storing image files, it is desirable to somehow decrease the size
of the image files.<span style="mso-spacerun: yes"> </span>There are various methods
of image compression that can be employed to provide savings in data size.<span
style="mso-spacerun: yes"> </span>These methods can be evaluated using two
criteria:<span style="mso-spacerun: yes"> </span>a) quantification of the savings
achieved and b) whether or not they retain enough information to recreate the original
image within some acceptable error margin.<o:p></o:p></span></small></font></p>
<p class="MsoNormal"><font color="#C0C0C0"><small><span style="font-family:Arial"> <o:p>With
regard to these criteria, image compression methods can be classified into two categories:
lossy and lossless.<span style="mso-spacerun: yes"> </span>Lossy methods allow error
into the recreated image because they use various approximation techniques to achieve high
compression rates.<span style="mso-spacerun: yes"> </span>JPEG is an example of a
popular lossy compression technique.<span style="mso-spacerun: yes"> </span>Lossless
compression reduces image files by identifying redundancies in the data allowing for
perfect recreation of the original image but delivering low compression rates.<span
style="mso-spacerun:
yes"> </span>GIF is an example of a frequently used lossless
compression method.<o:p></o:p></span></small></font></p>
<p class="MsoNormal"><font color="#C0C0C0"><small><span style="font-family:Arial">There
are several different classifications of coding techniques that are used to facilitate
compression.<span style="mso-spacerun: yes"> </span>Pixel coding, as the name
implies, codes each pixel in the image separately. When a pixel value occurs frequently,
it gets a "short" encoding, (i.e. small number of bits), while the more exotic
pixel values receive larger encodings. Predictive coding takes advantage of the fact that
in most images, the value of one pixel is likely to be similar to the values of the pixels
around it. In predictive coding quantized post values are used to predict future values.
The most commonly used coding technique and the technique of interest in this project is
called transform coding.<span style="mso-spacerun: yes"> </span><o:p></span></small></font></p>
<p class="MsoNormal"><font color="#C0C0C0"><small><span style="font-family:Arial">When
performing image compression using transform coding, the first step in the compression
routine is to take an image represented by x by y pixels of data and transform the
representation of the image into some new x by y pixels of data.<span
style="mso-spacerun: yes"> </span>The original image typically has its energy, or
important information, scattered throughout the image.<span style="mso-spacerun: yes">
</span>When the energy is randomly distributed, compression is difficult.<span
style="mso-spacerun: yes"> </span>The objective of the transformation is to relocate
a large percentage of the images energy into a specific region.<span
style="mso-spacerun: yes"> </span>For our project we have chosen to concentrate on
two methods of transform compression: the discrete cosine transform (DCT) and the Haar
wavelet transform.</span></small></font></p>
<span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"><p><font
color="#C0C0C0">After the image transformation routine has been completed, the next step
in the image compression process is amplitude digitization also known as quantization.<span
style="mso-spacerun: yes"> </span>During quantization each pixel of the transformed
digital image is mapped to a discrete number.<span style="mso-spacerun: yes"> </span>Each
integer in range of numbers used in the mapping symbolize a color.<span
style="mso-spacerun: yes"> </span>In this project we explored different types of
quantization routines.</font></span></p>
<p><font color="#C0C0C0"> <img src="Defaul1.jpg" alt="wpe67.jpg (2127 bytes)"
WIDTH="550" HEIGHT="6"></font></p>
<p><font face="Arial" color="#C0C0C0"><small>This project was completed as a portion of <a
href="http://www-ece.rice.edu/~richb/">Richard Baraniuk</a>'s </small><br>
<small>1999 class on <a href="http://www.dsp.rice.edu/courses/elec301/">Signals and
Systems</a> at Rice University.</small></font></p>
<p><font color="#C0C0C0"><img src="Defaul1.jpg" alt="wpe67.jpg (2127 bytes)" WIDTH="550"
HEIGHT="6"> </font></p>
<p><font size="2" face="Arial" color="#C0C0C0">Contact the authors:<br>
<a href="mailto:nofences@rice.edu">nofences@rice.edu</a><br>
<a href="mailto:heidit@caam.rice.edu">heidit@caam.rice.edu</a><br>
<a href="mailto:hard@rice.edu">hard@rice.edu</a><br>
<a href="mailto:bwang@rice.edu">bwang@rice.edu</a></font></p>
<p><font color="#000000" size="2" face="Arial"><br>
</font></td>
</tr>
</table>
</body>
</html>
|
Heidi, Christy, Brian, and Carl's ELEC301 Project Home Page
| | |
| --- | --- |
| [**HOME**](Default.htm)[**IMAGES**](Images.htm)
**FINAL REPORT
[DCT Transform](DCT.htm)
[Haar Wavelet Transform](Haar.htm)
[quantization
methods](Quantization.htm)
[results](Results.htm)
[conclusions](Conclusions.htm)**
[**REFERENCES/LINKS**](References.htm)
**MATLAB CODE
DCT Code:
[total.m](total.htm)
[scale.m](scale.htm)
Haar Wavelet Code:
[h\_transform.m](h_transform.htm)
[nrmlMat2.m](nrmlMat2.htm)
[inrmlMat2.m](inrmlMat2.htm)
[Quntze.m](Quntze.htm)
[IQuntze.m](IQuntze.htm)
[BinOut.m](BinOut.htm)
[makeImage.m](makeImage.htm)
[makeBitMask.m](makeBitMask.htm)
[haar\_col.m](haar_col.htm)
[haar\_row.m](haar_row.htm)
[ihaar\_col.m](ihaar_col.htm)
[ihaar\_row.m](ihaar_row.htm)
[statcom2.m](statcom2.htm)**
| flash.gif (80595 bytes)
ELEC301
Project Home Page
wpe67.jpg (2127 bytes)
Digital
images inherently take up a great deal of space. For purposes of transmitting files
containing images or for storing image files, it is desirable to somehow decrease the size
of the image files. There are various methods
of image compression that can be employed to provide savings in data size. These methods can be evaluated using two
criteria: a) quantification of the savings
achieved and b) whether or not they retain enough information to recreate the original
image within some acceptable error margin.
With
regard to these criteria, image compression methods can be classified into two categories:
lossy and lossless. Lossy methods allow error
into the recreated image because they use various approximation techniques to achieve high
compression rates. JPEG is an example of a
popular lossy compression technique. Lossless
compression reduces image files by identifying redundancies in the data allowing for
perfect recreation of the original image but delivering low compression rates. GIF is an example of a frequently used lossless
compression method.
There
are several different classifications of coding techniques that are used to facilitate
compression. Pixel coding, as the name
implies, codes each pixel in the image separately. When a pixel value occurs frequently,
it gets a "short" encoding, (i.e. small number of bits), while the more exotic
pixel values receive larger encodings. Predictive coding takes advantage of the fact that
in most images, the value of one pixel is likely to be similar to the values of the pixels
around it. In predictive coding quantized post values are used to predict future values.
The most commonly used coding technique and the technique of interest in this project is
called transform coding.
When
performing image compression using transform coding, the first step in the compression
routine is to take an image represented by x by y pixels of data and transform the
representation of the image into some new x by y pixels of data. The original image typically has its energy, or
important information, scattered throughout the image.
When the energy is randomly distributed, compression is difficult. The objective of the transformation is to relocate
a large percentage of the images energy into a specific region. For our project we have chosen to concentrate on
two methods of transform compression: the discrete cosine transform (DCT) and the Haar
wavelet transform.
After the image transformation routine has been completed, the next step
in the image compression process is amplitude digitization also known as quantization. During quantization each pixel of the transformed
digital image is mapped to a discrete number. Each
integer in range of numbers used in the mapping symbolize a color. In this project we explored different types of
quantization routines.
wpe67.jpg (2127 bytes)
This project was completed as a portion of [Richard Baraniuk](http://www-ece.rice.edu/~richb/)'s
1999 class on [Signals and
Systems](http://www.dsp.rice.edu/courses/elec301/) at Rice University.
wpe67.jpg (2127 bytes)
Contact the authors:
[nofences@rice.edu](mailto:nofences@rice.edu)
[heidit@caam.rice.edu](mailto:heidit@caam.rice.edu)
[hard@rice.edu](mailto:hard@rice.edu)
[bwang@rice.edu](mailto:bwang@rice.edu)
|
| https://www.clear.rice.edu/elec301/Projects99/imcomp/ |
<html>
<head>
<meta http-equiv="Content-Type"
content="text/html; charset=iso-8859-1">
<meta name="GENERATOR" content="Microsoft FrontPage Express 2.0">
<title> Repetitive Strain Injury: How to prevent, identify, and manage RSI
</title>
</head>
<! Repetitive strain injuries>
<! Repetitive stress injury>
<! Repetitive stress injuries>
<! Repetitive motion disorder>
<! Computer related injury>
<! Ergonomic>
<! Cumulative trauma disorder>
<! Thoracic outlet syndrome>
<! Carpal tunnel syndrome>
<! Cubital tunnel syndrome>
<! Occupational overuse injury>
<! Occupational overuse injuries>
<body bgcolor="#FFFFFF">
<h1>Repetitive Strain Injury</h1>
<p>Repetitive Strain Injury (RSI) is a potentially debilitating condition
resulting from overusing the hands to perform a repetitive task, such as
typing, clicking a mouse, or writing. Anyone who uses a computer regularly
is at risk and should know about RSI. Unfortunately, most people are
uninformed and do not understand what RSI is or how serious it can be.
This webpage is intended to educate computer users about RSI, and to
provide useful suggestions for prevention and treatment. Much of the
information provided here is also relevant for RSIs derived from other
activities such as playing an instrument, gaming, or any other repetitive
task. The page additionally contains a few specific pieces of advice for
students. </p>
<p>This webpage was written and is maintained by <a
href="http://www.eecs.umich.edu/~cscott">Clay Scott</a>. I have formatted
the site as a single page in order to minimize clicking, and so that you
can easily print the page if you prefer. You may feel free to contact me
if you have questions that I might be able to answer (email preferred)). I
have been living with RSI since 1997.
</p>
<table border="0" bgcolor="#FFFF00">
<tr>
<td><b>Disclaimer</b>: I am not a medical doctor, and have no
medical training. While every attempt is made to keep
this page up-to-date with the best medical advice I have
received, it is not a substitute for obtaining
professional medical advice, diagnosis, or treatment. </td>
</tr>
</table>
<p>Last modified Oct. 18, 2021.</p>
<h1><a name="#menu"></a>Menu</h1>
<table border="3" cellpadding="15" cellspace="10">
<tr>
<td valign="top"><a href="##whatis">What is RSI?</a> <ul>
<li><a href="##risk">Who is at risk?</a> </li>
<li><a href="##symptoms">What are the symptoms of RSI?</a>
</li>
<li><a
href="##repercusions">Repercusions
of RSI </a></li>
</ul>
<p><a href="##prevention">Preventing RSI</a> </p>
<ul>
<li><a href="##bother">Why bother?</a> </li>
<li><a href="##posture">Good posture is crucial</a> </li>
<li><a href="##workstation">Setting up your
workstation</a> </li>
<li><a href="##technique">Proper technique: typing,
mousing, and writing</a> </li>
<li><a href="##stretch">Stretching and strengthening</a>
</li>
<li><a href="##ten">Ten tips for preventing RSI</a> </li>
</ul>
</td>
<td valign="top"><a href="##treatment">If you develop RSI</a>
<ul>
<li><a href="##stop">STOP TYPING!(?)</a> </li>
<li><a href="##help">When to seek help</a> </li>
<li><a href="##doctor">Finding a good doctor</a> </li>
<li><a href="##relief">Relief</a> </li>
<li><a href="##surgery">Surgery?</a> </li>
<li><a href="##recovery">Recovery and maintainence</a></li>
<li><a href="##voice">Voice activated software</a> </li>
<li><a href="##coping">Coping with RSI</a> </li>
</ul>
<p><a href="##resources">Additional resources</a> </p>
<ul>
<li><a href="##rice">Resources for students</a> </li>
<li><a href="##book">Two must read books</a> </li>
<li><a href="##online">Online resources</a> </li>
</ul>
</td>
</tr>
</table>
<h1><a name="#whatis">What is RSI?</a></h1>
<p>(Adapted from <a href="##book"><em>Repetitive Strain Injury</em></a>
by Dr. Emil Pascarelli and Deborah Quilter)</p>
<p>In simple medical terms, repetitive strain injury (RSI) is
defined as a cumulative trauma disorder (CTD) stemming from
prolonged repetitive, forceful, or awkward hand movements. The
result is damage to muscles, tendons, and nerves of the neck,
shoulder, forearm, and hand, which can cause pain, weakness,
numbness, or impairment of motor control.</p>
<p>You may wonder how seemingly innocuous activities such as
typing and clicking a mouse button could possibly be harmful.
Fine hand movements, repeated hour after hour, day after day,
thousands upon thousands of times, eventually strain the muscles
and tendons of the forearms, wrists, and fingers, causing
microscopic tears. Injured muscles tend to contract, decreasing
the range of motion necessary for stress free work. The sheaths
that cover delicate tendons run out of lubrication because they
aren't given time to rest, so tendon and sheath chafe, resulting
in pain. Due to this abrasion, tendons become inflamed, and begin
to pinch neighboring nerves. This can result in numbness,
tingling, or hypersensitivity to touch. Unless this cycle is
interrupted, it repeats itself over and over, and a long-term,
chronic problem results.</p>
<p>Repetitive strain injury can affect more than just your hands
and wrists. Poor posture can lead to severe neck and back
injuries. Staring at a computer screen can lead to eye strain.
Repetitive reaching for a mouse can lead to arm and neck strain
as well as spinal asymmetry.</p>
<p>RSI is not a specific medical diagnosis, but rather a family
of disorders. Many people mistakenly equate RSI with carpal
tunnel syndrome, even though CTS is only one particular form of
RSI. One recent study even reported that frequent computer users
are no more likely to develop CTS than non-computer users. Don't
let this mislead you, though. Many other forms of RSI do come on
as a result of frequent computer use.</p>
<h3><a name="#risk">Who is at risk?</a></h3>
<p>The <font color="#0000FF">three primary risk factors</font>
are <font color="#FF0000">poor posture</font>, <font
color="#FF0000">poor technique</font>, and <font color="#FF0000">overuse</font>.
These topics are discussed in depth in the section on <a
href="##prevention">prevention</a>. In addition to these, there
are several other risk factors to be aware of. While they may not
cause RSI on their own, they can increase your risk if you
already possess one of the three primary risk factors. The
following list (adapted from <a href="##book">Pascarelli and
Quilter</a>) lists several risk factors. You may be at risk for
developing an RSI if you:</p>
<ul>
<li>Have poor posture</li>
<li>Have poor technique</li>
<li>Use a computer more than two to four hours a day</li>
<li>Have a job that requires constant computer use,
especially heavy input</li>
<li>Don't take frequent breaks</li>
<li>Are loose-jointed</li>
<li>Don't exercise regularly</li>
<li>Work in a high-pressure environment</li>
<li>Have arthritis, diabetes, or another serious medical
condition</li>
<li>Keep your fingernails long</li>
<li>Have an unhealthy, stressful, or sedentary lifestyle</li>
<li>Weigh more than you should</li>
<li>Don't sleep well</li>
<li>Are afraid to ask for better accommodations</li>
<li>Won't accept that you are at risk when you
really are</li>
</ul>
<p>Consult <a href="##book">Pascarelli and Quilter</a> for further
information.</p>
<h3><a name="#symptoms">What are the symptoms of RSI?</a></h3>
<p>The primary warning sign of RSI is pain in the upper
extremities (fingers, palms, wrists, forearms, shoulders). The
pain may be burning, aching, or shooting. It could be local
(e.g., fingertips) or diffuse (e.g., the entire forearm). The
pain will typically be increased after a long session of computer
use. Keep in mind, however, you can have severe RSI without
experiencing pain. The following checklist (adapted from <a
href="##book">Pascarelli and Quilter</a>), can help you determine
whether you have RSI:</p>
<p>Do you experience:</p>
<ul>
<li>Fatigue or lack of endurance?</li>
<li>Weakness in the hands or forearms?</li>
<li>Tingling, numbness, or loss of sensation?</li>
<li>Heaviness: Do your hands feel like dead weight?</li>
<li>Clumsiness: Do you keep dropping things?</li>
<li>Lack of strength in your hands? Is it harder to open
jars? Cut vegetables?</li>
<li>Lack of control or coordination?</li>
<li>Chronically cold hands?</li>
<li>Heightened awareness? Just being slightly more aware of a
body part can be a clue that something is wrong.</li>
<li>Hypersensitivity?</li>
<li>Frequent self-massage (subconsciously)?</li>
<li>Sympathy pains? Do your hands hurt when someone else
talks about their hand pain?</li>
</ul>
<p>In addition to these symptoms, RSI can also lead to behavioral
changes. You may not even be aware of these changes. For example,
do you:</p>
<ul>
<li>Avoid using the injured hand?</li>
<li>Use your nondominant hand more frequently?</li>
<li>Use your forearm, feet, or shoulder to open doors?</li>
<li>Avoid wearing or buying certain kinds of clothing because
it is too difficult to put them on?</li>
<li>Change shopping habits because you can't carry as much as
you once could?</li>
<li>Keep dropping things?</li>
<li>Find you can't chop food? </li>
<li>Not play sports you once enjoyed?</li>
<li>Have trouble hooking bras or putting on jewelry?</li>
<li>Not wear bracelets because your wrists are tender? </li>
<li>Have trouble with keys or brushing teeth?</li>
<li>Feel overly protective of your hands?</li>
</ul>
<h3><a name="#repercusions">Repercusions of RSI</a></h3>
<p>If you develop RSI, and do not take steps to correct the
problem, there may be serious repercussions. When my RSI was at
its worst, I was unable to open doors, prepare my own food, do
laundry, drive, write, type, and shake hands. This lasted for
half a year. I was unable to type regularly for about three
years. Many RSI sufferers complain of similar problems. In
addition to limiting your day-to-day functionality, this
decreased independence can cause a significant emotional burden.</p>
<p>RSI can limit your ability to perform at work. Recent Supreme
Court rulings do not view RSI as a disability, and hence, RSI is
not covered under the Americans With Disabilities Act.
(Apparently typing is not a "major life activity,"
according to a recent <a
href="http://supct.law.cornell.edu/supct/html/00-1089.ZO.html">opinion</a>
authored by Sandra Day O'Connor,
for those whose job requires significant amounts of typing.)
Therefore your employer may fire you if you are unable to perform
your job because of your RSI. The prospect of changing
(radically, in many cases) your profession is obviously a
daunting thought. For students, most
universities are willing to make accommodations, but lost productivity due
to RSI could still delay your
graduation one or two years. And once you graduate, your next
employer may not be as accommodating.</p>
<p><a href="##menu">Menu</a> </p>
<h1><a name="#prevention">Preventing RSI</a></h1>
<p>As with all health-related issues, it is wise to eat well,
exercise, listen to your body, and avoid destructive behavior.
However, there are some specific precautions you can take to help
prevent the onset of RSI.</p>
<h3><a name="#bother">Why bother?</a></h3>
<p>When you first notice symptoms of RSI, you have already done
substantial damage to yourself. RSI can take months, even years
to develop, and you can expect it to take at least twice as long
to heal. It has been several years since my RSI was at its worst,
and even now I must limit my typing. Even if you feel no pain or
other symptoms of RSI, you would do well to heed the following
advice for RSI prevention, especially if you meet one of the <a
href="##risk">risk factors</a> outlined above.</p>
<h3><a name="#posture">Good posture is crucial</a></h3>
<p>What is good posture? For our purposes here, good posture is when you
are positioned in a way that minimizes the strain on your body. To put
it another way, good posture maximizes your ease. If you end your day
with a sore neck, back, etc., or your hip flexors or other muscles are
very tight, you should consider improving your poster.
</p>
<p>
I used to have a lengthy section here describing various specific tips
for sitting apparatuses, but the market for desks, chairs, etc. has been
impossible to keep with. I've also come to realize that different
people's bodies and needs vary dramatically. As you search for the ideal
seat, keep these general tips in mind (a) listen to your body, (b)
don't hesitate to seek physical therapy or other help to strengthen weak
muscles (a) take breaks regardless of whether you are feeling pain in
the moment, and (d) aim for adjustability, allowing you to optimize your
configuration and change position from time to time.
<h3><a name="#workstation">Setting up your workstation</a></h3>
<p>For general computing, there are three pieces of equipment that
require special attention: </p>
<ol>
<li><font color="#FF0000"><strong>Keyboard</strong></font>:
positioned above your thighs, you shoulder be able to reach
the keys with your elbows at your side and bent at
90 degrees, and your
forearms roughly parallel to the ground. If your elbows are
at more than a 90 angle, it will surely tire you out quickly. </li>
<li><font color="#FF0000"><strong>Mouse</strong></font>: just
to one side of your keyboard, so that you don't have to
lean, stretch, or hunch to work it. Many people have one
shoulder noticeably lower than the other - this can be
caused by repetitive stretching for a mouse;</li>
<li><font color="#FF0000"><strong>Monitor</strong></font>:
directly in front of you (not off to the side), such that
your eye level is somewhere between the top of the screen
and 20% from the top. The screen should be about 15-25
inches from your eyes.</li>
</ol>
<p>This last point is very important, but can be problematic if
you only have one desk, and like space to write. In this case, I
suggest one of three possibilities: (i) Find another place to
write, such as the library; (ii) Get a cheap computer desk if you
have room in your office; (iii) Find a rolling or sliding tray to
put your monitor on, so you can move it aside when you need to
write. If you don't position your monitor correctly, it can lead
to severe neck strain over time. For example, if your monitor is
too far back on your desk (or if your font is too small), you
will have the tendency to hunch forward and jut your head out, in
a subconcious effort to see the screen better. This leads to
another key point: <font color="#FF0000"><strong>Don't use really
small fonts</strong></font>! It leads to poor posture and eye
strain.</p>
<p>If you use a laptop, you will find it is vitually impossible to use
good posture. This is why <font color="#FF0000"><strong>I strongly
recommend against the use of a laptop as an everyday
computer</strong></font>. I used a laptop all through college, and I know
it contributed to my RSI. If you do most of your work on a laptop, you
really need to find a separate keyboard so that you can put your laptop on
a box or some books, and have your monitor at eye level. You could
alternatively find a separate monitor, but laptop keyboards tend to be too
small. Another novel solution is the lightweight and highly portable
<a href="http://www.therooststand.com/">Roost Stand</a>.</p>
<h3><a name="#technique">Proper technique: typing, mousing,
and writing</a></h3>
<p>There are three keys to proper typing technique.</p>
<ol>
<li><font color="#FF0000"><strong>Keep your wrists straight</strong></font>:
the straighter your wrists, the less strain you put on
the tendons and nerves that run through your wrist. A
split keyboard may aid you in keeping your wrists
straight. </li>
<li><font color="#FF0000"><strong>Let your hands float</strong></font>:
This means don't rest your wrists on the desk, keyboard,
or a wrist rest when you are typing. Let them hover over
the keys. This has three advantages: (i) You allow the
big muscles in your back to share some of the work; (ii)
It allows you to keep your wrists straight, which is
impossible if they're planted on a wrist rest; (iii) It's
easier to reach the hard-to-reach keys (next item).</li>
<li><font color="#FF0000"><strong>Don't strain your fingers</strong></font>:
When you need to press a hard-to-reach key, like CTRL,
SHIFT, BACKSPACE, etc., don't stretch out your pinky.
Instead, move your whole hand and use your index or
middle finger to press the key. Don't use one hand when
you need to hit two keys simultaneously, e.g. CTRL-X,
SHIFT-Y. Think before you type: unnecessary
retyping/editting can add up. Use a light touch when
typing: don't pound the keys.</li>
</ol>
<p>An <a
href="http://www.repetitive-strain-injury.de/english">ergonomic posture
reminder</a> that you can post near your computer was created by Clemens
Conrad.</p>
<p>There is another keyboard layout, in addition to the standard QWERTY
layout. Called the <a
href="http://en.wikipedia.org/wiki/Dvorak_Simplified_Keyboard">Dvorak</a>
layout, it was designed to minimize the movement of your fingers as you
type. In contrast, QWERTY was designed to maximize the amount of finger
movement, so as to avoid jammed levers in old mechanical typewriters.
Most operating systems allow you to switch your keyboard to this format
(in Windows, try Control panel -> Regional and Language Settings ->
Languages -> Details). When I switched
to the Dvorak layout, there was about a month of transition time where I
wasn't able to type as fast as I used to. Now, I have less pain in my
hands than before I made the switch. You can find Dvorak typing tutors
online.
<p>In addition to Dvorak, there is yet another layout called
<a href="http://colemak.com/">Colemak</a> that
is designed to improve upon Dvorak. For example, Dvorak has the "s" and
"l" letters typed by the right pinky which puts execive strain on this
digit. It is not currently standard in operating systems like Dvorak is,
but you can download the software from the link above.
</p>
<p>Using a mouse can be even more harmful than typing. Here are
three reasons why this is so:</p>
<ul>
<li>All the work is done by one finger. Double clicking and
dragging can be especially straining.</li>
<li>Modern windows-based machines rely heavily on the use of
a mouse.</li>
<li>Users often do not position the mouse properly. Instead,
they stretch for the mouse, which can lead to
increased strain, a drooping shoulder, and pain extending up into
the shoulder and
neck.</li>
</ul>
<p>My solution for these problems has been to switch to a <a
href="http://www.kensington.com/">trackball</a>. This has the advantage
that the mouse is stationary: you don't have to move your whole arm to
move the pointer across the screen, which reduces strain on the arm,
shoulder, back, and neck. It also has extra buttons, which can be
programmed to double-click or drag with a single click. Moreover, the work
is more evenly distributed among the fingers. Actually, I have two mouses.
One is a trackball on the left, and the other is a standard mouse on the
right that I use for scrolling and moving but never clicking.</p>
<table border="0">
<tr>
<td><p align="left">Standard mouse</p>
<p><img src="rsi/mouse.jpg"></p>
</td>
<td><p align="right">Trackball</p>
<p><img src="rsi/trackball.jpg" width="132" height="120"></p>
</td>
</tr>
</table>
Another option is <a
href="https://www.youtube.com/channel/UCcl3XGnNT85XmCNj38MhXPA
">RollerMouse</a>, a stationary
mouse that sits in front of your keyboard. It eliminates the need to reach
for and grip a mouse allowing your hand and wrist to maintain a neutral,
relaxed position. You can control the cursor by gliding your fingers over
a rollerbar and lightly pushing on the bar to perform a left-click. Other
added benefits include the ability to effortlessly switch between right
and left hand or share the work load between the two. The mechanical click
has been replaced with a digital click to help users avoid trigger finger.
Users can also enjoy a frictionless scroll wheel and 7 customizable
buttons to program often used hotkeys.
<p><img src="rsi/rollermouse.jpg" width="400"></p>
<p>Another solution is to use key commands to operate in a
windows environment, rather than the mouse. Once you learn the
commands, this method is often faster than mousing. <font
color="#FF0000">A solution that will not work</font> is switching
which hand you use to click the mouse. This may provide temporary
relief, but soon your other hand will be as bad as the first.</p>
<p>In addition to typing and mousing, <font color="#FF0000">writing
can add significant strain to your hands</font>. It is important
to hold your writing utensil lightly. Someone should be able to
pull it out of your hand when you are writing. It also helps to
use a writing utensil that doesn't require you to push down too
hard. Ball point pens should be avoided. I recommend soft lead
pencils, or the Dr. Grip Gel Ink pen.</p>
<h3><a name="#stretch">Stretching and strengthening</a></h3>
<p>In this section I offer some specific recommendations for
stretching and strengthening exercises that have helped me. These fall
under the category of prevention as well as recovery. Most of them you can
easily do in your office during breaks, which you should take every
hour or so.</p>
<p><font color="#FF0000"><strong>Wall stretch</strong></font>:
This is my favorite stretch. It is great for stretching out the
shoulder, arm, wrist, and hand all at once. Extend the arm along
a wall, with arm parallel to the ground and palm facing wall.
Attempt to open chest so that shoulders are perpendicular to arm.
Extend fingers and palm away from wall as much as possible. Your
hand may tingle - this is OK. Hold for 30-60 seconds. Try with
the arm at different angles. Repeat on other side.</p>
<p align="center"><img src="rsi/wall.JPG" width="400"
height="300"> </p>
<p><font color="#FF0000"><strong>Doorway</strong></font>: This
stretches the pecs and shoulder. Hold elbow at a right angle, and
place forearm along door frame, as shown. Lunge forward, keeping
chest and pelvis facing squarely forward. Hold 30-60 seconds. Try
holding arms at different angles. Repeat on other side.</p>
<p align="center"><img src="rsi/doorway.JPG" width="400"
height="300"> </p>
<p><font color="#FF0000"><strong>Back and neck
strengthening</strong></font><strong>:</strong> The other thing I do that
really helps is an exercise that involves one of those big exercise balls,
a long dowel rod, and a couple of 3 (or 2) pound dumbbells. You get on
your knees, lay your chest on the ball, put the rod on your back so that
it makes contact with your rear, back, and head (to keep the spine
neutral). The ball should be big enough so that the rod is sloping
slightly up. Then just slowly raise the dumbbells off the ground and lower
back down. You can have the arms at different angles, but start with them
extending behind you, as that is easier. Also try turning your head from
side to side occasionally as you go, to activate the neck muscles. You do
not need heavy weights for this exercise to be effective, and heavy
weights may in fact strain your already fatigued muscles.
<p><font color="#FF0000"><strong>Correct
breathing</strong></font><strong>:</strong> It's amazing how stress and
computer use can corrupt our natural way of breathing. I highly recommend
Barbara Conable's short little book on breathing called <a
href="http://www.amazon.com/Structures-Movement-Breathing-Primer-Choruses/dp/1579990991/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1205954896&sr=1-1">
The Structures and Movement of Breathing: A Primer for Choirs and Choruses
</a>. Don't worry that it is written for choirs, there's a lot of useful
info for everyone. </p>
<p><font color="#FF0000"><strong>Eye
palming</strong></font><strong>:</strong> A relaxation technique for the
eyes is to place your fingers crossed over your forehead and cover the
eyes with your palms. Do not apply pressure to the eyeball. Just
concentrate on the blackness for a while. Another simple but great
technique is to just look out the window at a distant scene.</p>
<p>The above exercises are primarly geared toward
relieving/preventing the symptoms of RSI. If you want to
eliminate the root causes of RSI, you must focus more on
stretching, strengthening, and re-educating the core muscles of your body
responsible for maintaining proper alignment and posture. It is
not possible for me to explain how to do this here. However,
there are several practices/techniques that aim at this goal,
including <a href="http://www.yogasite.com/">yoga</a>, Pilates,
the <a href="http://www.alexandertechnique.com/">Alexander
techique</a>, the <a href="http://www.feldenkrais.com/">Feldenkrais
method</a>, and T'ai Chi. You can probably find a group class in the
$10-20 range in your area if you live in a large city or near a
University. Yoga and
Pilates can also be learned from books and videos, but it is
usually better to learn from a teacher and to practice with a
group. Personally, I have derived benefit from yoga, Pilates, and
especially the <a href="http://www.alexandertechnique.com/">Alexander
techique</a>.</p>
<p>More articles on posture, balance, etc. may be found at
<a href="http://www.coreawareness.com/">Core Awareness</a>.<p>
<h3><a name="#ten">Ten easy ways to reduce your risk of
developing RSI</a></h3>
<ol>
<li>TAKE BREAKS! when using your computer. Every hour or
so, get up and walk around, get a drink of water, stretch
whatever muscles are tight, and look out the window at a
far off object (to rest your eyes).
</li>
<li>Use <a href="##posture">good posture</a>. If you can't
hold good posture, it probably means it's time for you to
take a break from typing. If you are perpetually
struggling to maintain good posture, you probably need to
adjust your workstation or chair, or develop some of the
support muscles necessary for good posture.</li>
<li>Use an ergonomically optimized <a
href="##workstation">workstation</a>
to reduce strain on your body.</li>
<li>Exercise regularly. Include strengthening, stretching,
and aerobic exercises. I find yoga and Pilates especially
helpful.</li>
<li>Only use the computer as much as you have to. Don't email
people when you could walk down the hall or pick up the
phone and talk to them. It's not only better for your
hands - it's friendlier. Think before you type to avoid
unnecessary editting.</li>
<li>Don't stretch for the hard-to-reach keys, e.g. BACKSPACE,
ENTER, SHIFT, CONTROL... basically everything but the
letters. Instead, move your entire hand so that you may
press the desired key with ease. This is crucial when you
are programming or typing something in LaTeX, where non-letter
keys are used extensively. </li>
<li>Let your hands float above the keyboard when you type,
and move your entire arm when moving your mouse or typing
hard-to-reach keys, keeping the wrist joint straight at
all times. This lets the big muscles in your arm,
shoulder, and back do most of the work, instead of the
smaller, weaker, and more vulnerable muscles in your hand
and wrist. If you find it difficult to do this, then your
shoulder and back muscles are probably too weak. It is
OK, and in fact a good idea, to rest your elbows/wrists
when you are not typing.</li>
<li>Use two hands to type combination key strokes, such as
those involving the SHIFT and CONTROL keys. </li>
<li>When writing, avoid gripping the writing utensil tightly.
Someone should be able to easily pull the writing utensil
out of your hand when you are writing. If your pen or
pencil requires you to press too hard, get a new one (my
favorite is Dr. Grip Gel Ink)</li>
<li>Realize that you are not invincible. RSI can happen to
you. Don't be afraid to ask for help. </li>
</ol>
<p><a href="##menu">Menu</a> </p>
<h1><a name="#treatment">If you develop RSI</a></h1>
<p>Be prepared to make some changes in your lifestyle and your
computer habits. In particular, make an extra effort to follow
the guidelines laid out in the previous section on prevention.
Following these guidelines can decrease your recovery time, and
help you avoid relapses in the future. </p>
<h3><a name="#stop">STOP TYPING!(?)</a></h3>
<p>OK, it's not always quite that easy. Very few people have the luxury of
being able to avoid typing altogether. However, if you think carefully,
you'll find there are many ways to eliminate unnecessary typing from your
life. For example, instead of sending e-mail, use the phone, or better
yet, get out of your chair, walk down the hall, and speak face-to-face to
the person. Drop out of your fantasy baseball league. Rely on newspapers
and books for information, and stop surfing the Web so much. Instead of
playing solitaire on the computer, buy yourself a real deck of cards, and
play it the old-fashioned way. Just check your email twice a day. Et
cetera. In general, eliminate unnecessary computer use from your life. And
a whole lot of it is unnecessary. It may seem like a sacrifice, but your
health is worth it.</p>
<p>One technique I use is the following: when I am at my office,
throughout the day I use an index card to record all of the e-mails I wish
to send. I keep the index card in my back pocket. Then as soon as I get
home from work, I will use my dictation software to compose all of the
e-mails in one sitting. This has many advantages: it saves me from the
tendency to type quick e-mails with my hands while at work; I am less
distracted by e-mail at work; if you don't respond to an e-mail right
away, sometimes the need to ever respond goes away; once people learn that
you don't respond to e-mails right away, they send you less e-mail.</p>
<p>For typing that you just can't avoid, consider using <a
href="##voice">voice activated software</a>, or arrange to have someone
type for you. Grad students, you might ask your deparment coordinator if
there are any clerical assistants that you could borrow.</p>
<h3><a name="#help">When to seek help</a></h3>
<p>If you believe that you may have developed RSI, the first
thing you should do is to implement all of the prevention
strategies outlined above. If you find that your situation
continues to worsen, you should consider seeking professional
medical advice. A general rule of thumb is that if your hands
still hurt a couple of days after you last typed, you need to see
a doctor.</p>
<h3><a name="#doctor">Finding a good doctor or therapist</a></h3>
<p>If you have RSI, finding a good doctor or physical therapist is
definitely worth the time and money.</p>
<p>Unfortunately, finding a doctor who is competent to diagnose
and treat RSI can be a challenge. Some doctors doubt the
existence of RSI, and many others dismiss it as an insignificant
problem. Some doctors don't know the first thing about treatment,
while others encourage their patients to undergo unnecessary (and
possibly dangerous) surgery in hope of a quick fix. With that in
mind, know that you must be careful and selective when choosing a
physician. </p>
<p>Most general practicioners will be unable to give you specific advice.
However, your primary care physician can still be a valuable ally. If he or
she can recommend a good physical therapist, and is willing to write you a
prescription for PT, that is often the best way to go. The PT can diagnose
you and formulate a treatment plan.</p>
<p>If you or your insurance or PCP insist on seeing a specialist,
in my experience, the best doctors are <em>physiatrists</em>,
sometimes listed under Physical Medicine and Rehabilitation.
Check with your health-care provider to find physicians in your
area.</p>
<p>In general, your doctor/therapist should prescribe treatment that focuses
on the cause of your symptoms, rather than the symptoms themselves. In other
words, the treatment should not be focused on pain management, although that
may be one aspect. Rather, it should be focused on correcting your posture,
and improving your anatomical function, so that, with time, your body will
heal itself. Treatment should typically consist of visits to a physical
therapist, coupled with a home exercise program. The focus of this program
is to stretch overly tight muscles, and strengthen weak ones. Remember
however, that no amount of physical therapy and strengthening/stretching can
overcome excessive typing, poor posture, a bad workstation, or poor typing
technique.</p>
<p>When you first visit with any health care provider, be sure to
ask them about their experience in treating RSI. If they do not seem
knowledgable, ask for a referal to someone with more experience.</p>
<h3><a name="#relief">Relief</a></h3>
<p> In terms of short term relief, there are some simple things I've found
that help me. One is to massage my forearms with a tennis ball. Put the
tennis ball on the ground or some non-slick surface (like carpet) and
press down on it with your forearm and roll it around. Try a variety of
positions and movements, and also be sure to massage the top of your
forearm, applying the ball with your other hand.
<p>I also recommend the tennis ball self massage to the muscles in between
the spine and shoulder blades. Stand up against the wall and find a tender
spot, and hold/breathe into it for 3 cycles. Then move to a new spot and
repeat. As you get used to it you can stay longer in those trouble spots.
(Thanks to Henriette Bruun for this suggestion).
<p>Another thing is a hot/cold water bath. Fill two sinks or buckets,
one with water as hot as you can stand, the other with water as cold as
you can stand (use ice). Soak your arms and wrists in each bath for 2-3
minutes at a time, and alternate baths about 3 times each. This is very
good for numbness/tingling kinds of discomfort.
<p>Keeping your hands warm while you type is critical. When it's cold,
consider wearing a pair of thin liner gloves with the fingertips cut off.
Or take occasional breaks to run your hands under warm water.
<p>Finally, the wall and doorway stretches above can provide some
degree of relief.</p>
<h3><a name="#surgery">Surgery?</a></h3>
<p>Is surgery ever the right choice? Recall that there are many different
types of RSI. For one particular form of RSI, namely carpal tunnel
syndrome, a minimally invasive and effective surgical procedure has been
established. Look for a hand center in your area to consult with a
physician about this option. To determine that you have CTS and not some
other RSI, they should perform a nerve conduction study, known as an
electromyogram. Also keep in mind that even if you have surgery and it is
successful, your symptoms may return if you do not improve your computer
habits.
<p>For other forms of RSI, surgery may not be an appropriate treatment.
Even if you have CTS, you may wish to consider nonsurgical options
(workload reduction, improved ergonomics, physical therapy; see above).
Without surgery, recovery is still very much possible. In my case, I did
not have CTS, and never considered surgery. At it's worst, the severity of
the pain in my hands/wrists was about a 9 out of 10, and I could barely
grip even the lightest objects (e.g., I would turn faucets on and off
using my elbow). Now, I play tennis and the banjo regularly, and do a
minimal amount of typing, relying on dictation software for the rest. I
still have occaisonal pain when my workload increases, but it goes away
with a couple days rest. It's not a complete recovery, but it's sufficient
for my lifestyle.
<h3><a name="#recovery">Recovery and maintainence</a></h3>
<p>Here are five general tips that I have found to be helpful. If you
don't think you are able to spare the time or money to implement these
ideas, think again. You are probably underestimating the value of a
healthy body.</p>
<ol>
<li>Rest as much as possible (from the activity causing your
injury). Many aspects of your injury can only heal with
rest and time.</li>
<li>Excercise regularly, including stretching and strengthing
of core muscles (abs, gluts, hamstrings, etc.). For some
specific stretches, see the section on <a
href="##stretch">stretching
and strengthening</a>. I have found yoga and
Pilates to be beneficial. Aerobic excerise is good as long as it
doesn't aggravate the injury.
</li>
<li>Find a good doctor and stick to his or her program for
you.</li>
<li>Work hard to develop discipline regarding your posture
and typing habits.</li>
<li>Be patient and persistent.</li>
</ol>
<h3><a name="#voice">Voice activated software</a></h3>
<p>There are several voice activated applications intended for document
composition. I have used Dragon NaturallySpeaking for several years.
However, Google now provides their cloud-based voice recognition tool in
Google Docs, and I have been using this more and more.
</p>
<p>If you purchace voice activation software, you don't need the most
recent release; an earlier version should serve your purposes at a lower
cost, and place less demand on your computer's cpu and memory.</p>
<p>I have found that the microphones that come with NaturallySpeaking
break easily and are highly sensitive to ambient noise. Therefore I
recommend purchasing your own headset separately. I use <a
href="http://www.amazon.com/Logitech-Headset-Premium-Laser-Tuned-981-000195/dp/B003NREDG4">this
model</a> made by Logitech. With this microphone, I
have no trouble using NaturallySpeaking in my office, where the air vents
make it too noisy for the cheaper microphones to work effectively.
</p>
<p>Those who do not have an American accent
may want to take extra care, since these programs may be designed around
an American accent (I'm not sure). Do not expect to be able to use
dictation software to do computer programming;
As for composing technical documents,
i.e., documents that use specialized jargon or equations,
I haven't found
any application well-suited to this problem yet.
Make sure your computer's
processor speed is 20-30% faster than the recommended speed for good
perfomance. </p>
<h3><a name="#coping">Coping with RSI</a></h3>
<p>An advanced case of RSI can cause a significant emotional
burden. Because of your limited use of your hands, you'll
constantly be asking other people for help just to get by in
life. It can be quite challenging, for example, to ask someone
you don't know to give up their seat on the bus for you because
your hands are too weak to hold the hand rail. On the other hand,
you will find that most people are willing to help you out in
your time of need. Take advantage of close friends and mentors
who would be willing to listen to your struggles, and help you
sort out your thougts and feelings. Universities often have Counseling
Centers that
are free to students.</p>
<p><a href="##menu">Menu</a> </p>
<h1><a name="#resources">Additional resources</a></h1>
<h3><a name="#rice">Resources for students</a></h3>
<p>Most Universities now have a Disabled Student Services (DSS) office
that can make your life easier if you have an RSI. DSS can possibly
arrange for you to have extensions on assignments that are to be written
or typed, and they can also arrange for a scribe to assist with writing or
typing. Other accommodations may also be available. </p>
<p>Please note that typically <i>DSS can not offer you any assistance
unless you have written documentation from a licensed physician</i>
that details the nature and severity of your problem, the medical
treatments currently prescribed, the expected time of recovery,
the accommodations you would benefit from during your recovery,
and the credentials of the diagnosing physician. </p>
<h3><a name="#book">Two must read books</a></h3>
<p><a
href="http://www.amazon.com/Repetitive-Strain-Injury-Computer-Users/dp/0471595330/ref=sr_1_1?ie=UTF8&s=books&qid=1265169449&sr=8-1"><cite>Repetitive
Strain Injury: a Computer User's Guide</cite></a>, by Pascarelli and
Quilter (John Wiley and Sons, 1994), is a comprehensive source of
information on how to prevent, live with, and recover from RSI. Much of
the information from this webpage comes from this book, and the book
contains far more detail than I was able to include here. Deborah Quilter
maintains an RSI website (see below).</p>
<p>Another excellent book is <a
href="http://www.amazon.com/Carpal-Syndrome-Therapy-Computer-Professionals/dp/0965510999/ref=sr_1_1?ie=UTF8&s=books&qid=1265169572&sr=8-1"><em>It's
Not Carpal Tunnel Syndrome! RSI
Theory & Therapy for Computer Professionals</em></a><font size="4">
</font><font size="3">by Suparna Damany and Jack Bellis (Simax, 2001).
This gives a very down to earth, plain-spoken account of what RSI is, how
it should and should not be treated, and plenty of good practical advice
on coping, home-remedies, and getting professional help. The authors also
maintain a website devoted to the RSI cause (see below).</font></p>
<h3><a name="#online">Online resources</a></h3>
<ul>
<li><a href="http://www.rsi.deas.harvard.edu">Harvard RSI
Action</a>, where I got the idea (and some of the
content) for this web page. A variety of perspectives on
RSI, and lots of advice for those dealing with serious
RSI problems. </li>
<li><a href="http://www.rsiprogram.com/">RSI Program</a>:
Collection of RSI resources maintained by the authors of<em>
It's Not Carpal Tunnel Syndrome! </em>(see above)</li>
<li><a href="http://www.rsihelp.com/">RSIHelp</a>: Deborah Quilter's
site.
<li><a
href="http://massagetrack.com/repetitive-strain-injury-recovery-formula/">Eric
Shannon's RSI page</a>.
<li><a
href="http://rsi.unl.edu/">Paul
Marxhausen's RSI page</a>.</li>
<li><a href="http://www.tifaq.org">The Typing Injury FAQ</a>.</li>
<li>IBM's <a
href="http://www.pc.ibm.com/us/healthycomputing/index.html">Healthy
Computing website</a>.</li>
<li>The <a
href="http://www.osha.gov/SLTC/ergonomics/index.html">OSHA</a> web
page, for scientific or statistical
documentation on RSI. </li>
<li>Sandra Day O'Connor's <a
href="http://supct.law.cornell.edu/supct/html/00-1089.ZO.html">opinion</a>
from <em>Toyota v. Williams</em>.</li>
</ul>
<p><a href="##menu">Menu</a> </p>
<hr>
<p>Please direct comments and questions to <a
href="http://www.eecs.umich.edu/~cscott">Clay Scott</a>
</p>
<p>You are visitor number <img
src="http://counter.digits.net/wc/-d/4/clayrsi" align="middle"
hspace="4" vspace="2" width="60" height="20"> </p>
<p><a href="http://www.digits.net/"><img src="rsi/wc.gif" border="1"
hspace="2" vspace="2" width="157" height="43"></a> </p>
<p>Hits history:<br>
Oct. 18, 2021: 951882<br>
July 31, 2014: 439,368<br>
Feb. 2, 2010: 85,560<br>
May 5, 2001: 0 (counter created)
</p>
</body>
</html>
|
Repetitive Strain Injury: How to prevent, identify, and manage RSI
# Repetitive Strain Injury
Repetitive Strain Injury (RSI) is a potentially debilitating condition
resulting from overusing the hands to perform a repetitive task, such as
typing, clicking a mouse, or writing. Anyone who uses a computer regularly
is at risk and should know about RSI. Unfortunately, most people are
uninformed and do not understand what RSI is or how serious it can be.
This webpage is intended to educate computer users about RSI, and to
provide useful suggestions for prevention and treatment. Much of the
information provided here is also relevant for RSIs derived from other
activities such as playing an instrument, gaming, or any other repetitive
task. The page additionally contains a few specific pieces of advice for
students.
This webpage was written and is maintained by [Clay Scott](http://www.eecs.umich.edu/~cscott). I have formatted
the site as a single page in order to minimize clicking, and so that you
can easily print the page if you prefer. You may feel free to contact me
if you have questions that I might be able to answer (email preferred)). I
have been living with RSI since 1997.
| |
| --- |
| **Disclaimer**: I am not a medical doctor, and have no
medical training. While every attempt is made to keep
this page up-to-date with the best medical advice I have
received, it is not a substitute for obtaining
professional medical advice, diagnosis, or treatment. |
Last modified Oct. 18, 2021.
# Menu
| | |
| --- | --- |
| [What is RSI?](##whatis)* [Who is at risk?](##risk)
* [What are the symptoms of RSI?](##symptoms)
* [Repercusions
of RSI](##repercusions)
[Preventing RSI](##prevention) * [Why bother?](##bother)
* [Good posture is crucial](##posture)
* [Setting up your
workstation](##workstation)
* [Proper technique: typing,
mousing, and writing](##technique)
* [Stretching and strengthening](##stretch)
* [Ten tips for preventing RSI](##ten)
| [If you develop RSI](##treatment)* [STOP TYPING!(?)](##stop)
* [When to seek help](##help)
* [Finding a good doctor](##doctor)
* [Relief](##relief)
* [Surgery?](##surgery)
* [Recovery and maintainence](##recovery)
* [Voice activated software](##voice)
* [Coping with RSI](##coping)
[Additional resources](##resources) * [Resources for students](##rice)
* [Two must read books](##book)
* [Online resources](##online)
|
# What is RSI?
(Adapted from [*Repetitive Strain Injury*](##book)
by Dr. Emil Pascarelli and Deborah Quilter)
In simple medical terms, repetitive strain injury (RSI) is
defined as a cumulative trauma disorder (CTD) stemming from
prolonged repetitive, forceful, or awkward hand movements. The
result is damage to muscles, tendons, and nerves of the neck,
shoulder, forearm, and hand, which can cause pain, weakness,
numbness, or impairment of motor control.
You may wonder how seemingly innocuous activities such as
typing and clicking a mouse button could possibly be harmful.
Fine hand movements, repeated hour after hour, day after day,
thousands upon thousands of times, eventually strain the muscles
and tendons of the forearms, wrists, and fingers, causing
microscopic tears. Injured muscles tend to contract, decreasing
the range of motion necessary for stress free work. The sheaths
that cover delicate tendons run out of lubrication because they
aren't given time to rest, so tendon and sheath chafe, resulting
in pain. Due to this abrasion, tendons become inflamed, and begin
to pinch neighboring nerves. This can result in numbness,
tingling, or hypersensitivity to touch. Unless this cycle is
interrupted, it repeats itself over and over, and a long-term,
chronic problem results.
Repetitive strain injury can affect more than just your hands
and wrists. Poor posture can lead to severe neck and back
injuries. Staring at a computer screen can lead to eye strain.
Repetitive reaching for a mouse can lead to arm and neck strain
as well as spinal asymmetry.
RSI is not a specific medical diagnosis, but rather a family
of disorders. Many people mistakenly equate RSI with carpal
tunnel syndrome, even though CTS is only one particular form of
RSI. One recent study even reported that frequent computer users
are no more likely to develop CTS than non-computer users. Don't
let this mislead you, though. Many other forms of RSI do come on
as a result of frequent computer use.
### Who is at risk?
The three primary risk factors
are poor posture, poor technique, and overuse.
These topics are discussed in depth in the section on [prevention](##prevention). In addition to these, there
are several other risk factors to be aware of. While they may not
cause RSI on their own, they can increase your risk if you
already possess one of the three primary risk factors. The
following list (adapted from [Pascarelli and
Quilter](##book)) lists several risk factors. You may be at risk for
developing an RSI if you:
* Have poor posture
* Have poor technique
* Use a computer more than two to four hours a day
* Have a job that requires constant computer use,
especially heavy input
* Don't take frequent breaks
* Are loose-jointed
* Don't exercise regularly
* Work in a high-pressure environment
* Have arthritis, diabetes, or another serious medical
condition
* Keep your fingernails long
* Have an unhealthy, stressful, or sedentary lifestyle
* Weigh more than you should
* Don't sleep well
* Are afraid to ask for better accommodations
* Won't accept that you are at risk when you
really are
Consult [Pascarelli and Quilter](##book) for further
information.
### What are the symptoms of RSI?
The primary warning sign of RSI is pain in the upper
extremities (fingers, palms, wrists, forearms, shoulders). The
pain may be burning, aching, or shooting. It could be local
(e.g., fingertips) or diffuse (e.g., the entire forearm). The
pain will typically be increased after a long session of computer
use. Keep in mind, however, you can have severe RSI without
experiencing pain. The following checklist (adapted from [Pascarelli and Quilter](##book)), can help you determine
whether you have RSI:
Do you experience:
* Fatigue or lack of endurance?
* Weakness in the hands or forearms?
* Tingling, numbness, or loss of sensation?
* Heaviness: Do your hands feel like dead weight?
* Clumsiness: Do you keep dropping things?
* Lack of strength in your hands? Is it harder to open
jars? Cut vegetables?
* Lack of control or coordination?
* Chronically cold hands?
* Heightened awareness? Just being slightly more aware of a
body part can be a clue that something is wrong.
* Hypersensitivity?
* Frequent self-massage (subconsciously)?
* Sympathy pains? Do your hands hurt when someone else
talks about their hand pain?
In addition to these symptoms, RSI can also lead to behavioral
changes. You may not even be aware of these changes. For example,
do you:
* Avoid using the injured hand?
* Use your nondominant hand more frequently?
* Use your forearm, feet, or shoulder to open doors?
* Avoid wearing or buying certain kinds of clothing because
it is too difficult to put them on?
* Change shopping habits because you can't carry as much as
you once could?
* Keep dropping things?
* Find you can't chop food?
* Not play sports you once enjoyed?
* Have trouble hooking bras or putting on jewelry?
* Not wear bracelets because your wrists are tender?
* Have trouble with keys or brushing teeth?
* Feel overly protective of your hands?
### Repercusions of RSI
If you develop RSI, and do not take steps to correct the
problem, there may be serious repercussions. When my RSI was at
its worst, I was unable to open doors, prepare my own food, do
laundry, drive, write, type, and shake hands. This lasted for
half a year. I was unable to type regularly for about three
years. Many RSI sufferers complain of similar problems. In
addition to limiting your day-to-day functionality, this
decreased independence can cause a significant emotional burden.
RSI can limit your ability to perform at work. Recent Supreme
Court rulings do not view RSI as a disability, and hence, RSI is
not covered under the Americans With Disabilities Act.
(Apparently typing is not a "major life activity,"
according to a recent [opinion](http://supct.law.cornell.edu/supct/html/00-1089.ZO.html)
authored by Sandra Day O'Connor,
for those whose job requires significant amounts of typing.)
Therefore your employer may fire you if you are unable to perform
your job because of your RSI. The prospect of changing
(radically, in many cases) your profession is obviously a
daunting thought. For students, most
universities are willing to make accommodations, but lost productivity due
to RSI could still delay your
graduation one or two years. And once you graduate, your next
employer may not be as accommodating.
[Menu](##menu)
# Preventing RSI
As with all health-related issues, it is wise to eat well,
exercise, listen to your body, and avoid destructive behavior.
However, there are some specific precautions you can take to help
prevent the onset of RSI.
### Why bother?
When you first notice symptoms of RSI, you have already done
substantial damage to yourself. RSI can take months, even years
to develop, and you can expect it to take at least twice as long
to heal. It has been several years since my RSI was at its worst,
and even now I must limit my typing. Even if you feel no pain or
other symptoms of RSI, you would do well to heed the following
advice for RSI prevention, especially if you meet one of the [risk factors](##risk) outlined above.
### Good posture is crucial
What is good posture? For our purposes here, good posture is when you
are positioned in a way that minimizes the strain on your body. To put
it another way, good posture maximizes your ease. If you end your day
with a sore neck, back, etc., or your hip flexors or other muscles are
very tight, you should consider improving your poster.
I used to have a lengthy section here describing various specific tips
for sitting apparatuses, but the market for desks, chairs, etc. has been
impossible to keep with. I've also come to realize that different
people's bodies and needs vary dramatically. As you search for the ideal
seat, keep these general tips in mind (a) listen to your body, (b)
don't hesitate to seek physical therapy or other help to strengthen weak
muscles (a) take breaks regardless of whether you are feeling pain in
the moment, and (d) aim for adjustability, allowing you to optimize your
configuration and change position from time to time.
### Setting up your workstation
For general computing, there are three pieces of equipment that
require special attention:
1. **Keyboard**:
positioned above your thighs, you shoulder be able to reach
the keys with your elbows at your side and bent at
90 degrees, and your
forearms roughly parallel to the ground. If your elbows are
at more than a 90 angle, it will surely tire you out quickly.
2. **Mouse**: just
to one side of your keyboard, so that you don't have to
lean, stretch, or hunch to work it. Many people have one
shoulder noticeably lower than the other - this can be
caused by repetitive stretching for a mouse;
3. **Monitor**:
directly in front of you (not off to the side), such that
your eye level is somewhere between the top of the screen
and 20% from the top. The screen should be about 15-25
inches from your eyes.
This last point is very important, but can be problematic if
you only have one desk, and like space to write. In this case, I
suggest one of three possibilities: (i) Find another place to
write, such as the library; (ii) Get a cheap computer desk if you
have room in your office; (iii) Find a rolling or sliding tray to
put your monitor on, so you can move it aside when you need to
write. If you don't position your monitor correctly, it can lead
to severe neck strain over time. For example, if your monitor is
too far back on your desk (or if your font is too small), you
will have the tendency to hunch forward and jut your head out, in
a subconcious effort to see the screen better. This leads to
another key point: **Don't use really
small fonts**! It leads to poor posture and eye
strain.
If you use a laptop, you will find it is vitually impossible to use
good posture. This is why **I strongly
recommend against the use of a laptop as an everyday
computer**. I used a laptop all through college, and I know
it contributed to my RSI. If you do most of your work on a laptop, you
really need to find a separate keyboard so that you can put your laptop on
a box or some books, and have your monitor at eye level. You could
alternatively find a separate monitor, but laptop keyboards tend to be too
small. Another novel solution is the lightweight and highly portable
[Roost Stand](http://www.therooststand.com/).
### Proper technique: typing, mousing,
and writing
There are three keys to proper typing technique.
1. **Keep your wrists straight**:
the straighter your wrists, the less strain you put on
the tendons and nerves that run through your wrist. A
split keyboard may aid you in keeping your wrists
straight.
2. **Let your hands float**:
This means don't rest your wrists on the desk, keyboard,
or a wrist rest when you are typing. Let them hover over
the keys. This has three advantages: (i) You allow the
big muscles in your back to share some of the work; (ii)
It allows you to keep your wrists straight, which is
impossible if they're planted on a wrist rest; (iii) It's
easier to reach the hard-to-reach keys (next item).
3. **Don't strain your fingers**:
When you need to press a hard-to-reach key, like CTRL,
SHIFT, BACKSPACE, etc., don't stretch out your pinky.
Instead, move your whole hand and use your index or
middle finger to press the key. Don't use one hand when
you need to hit two keys simultaneously, e.g. CTRL-X,
SHIFT-Y. Think before you type: unnecessary
retyping/editting can add up. Use a light touch when
typing: don't pound the keys.
An [ergonomic posture
reminder](http://www.repetitive-strain-injury.de/english) that you can post near your computer was created by Clemens
Conrad.
There is another keyboard layout, in addition to the standard QWERTY
layout. Called the [Dvorak](http://en.wikipedia.org/wiki/Dvorak_Simplified_Keyboard)
layout, it was designed to minimize the movement of your fingers as you
type. In contrast, QWERTY was designed to maximize the amount of finger
movement, so as to avoid jammed levers in old mechanical typewriters.
Most operating systems allow you to switch your keyboard to this format
(in Windows, try Control panel -> Regional and Language Settings ->
Languages -> Details). When I switched
to the Dvorak layout, there was about a month of transition time where I
wasn't able to type as fast as I used to. Now, I have less pain in my
hands than before I made the switch. You can find Dvorak typing tutors
online.
In addition to Dvorak, there is yet another layout called
[Colemak](http://colemak.com/) that
is designed to improve upon Dvorak. For example, Dvorak has the "s" and
"l" letters typed by the right pinky which puts execive strain on this
digit. It is not currently standard in operating systems like Dvorak is,
but you can download the software from the link above.
Using a mouse can be even more harmful than typing. Here are
three reasons why this is so:
* All the work is done by one finger. Double clicking and
dragging can be especially straining.
* Modern windows-based machines rely heavily on the use of
a mouse.
* Users often do not position the mouse properly. Instead,
they stretch for the mouse, which can lead to
increased strain, a drooping shoulder, and pain extending up into
the shoulder and
neck.
My solution for these problems has been to switch to a [trackball](http://www.kensington.com/). This has the advantage
that the mouse is stationary: you don't have to move your whole arm to
move the pointer across the screen, which reduces strain on the arm,
shoulder, back, and neck. It also has extra buttons, which can be
programmed to double-click or drag with a single click. Moreover, the work
is more evenly distributed among the fingers. Actually, I have two mouses.
One is a trackball on the left, and the other is a standard mouse on the
right that I use for scrolling and moving but never clicking.
| | |
| --- | --- |
| Standard mouse
| Trackball
|
Another option is [RollerMouse](https://www.youtube.com/channel/UCcl3XGnNT85XmCNj38MhXPA
), a stationary
mouse that sits in front of your keyboard. It eliminates the need to reach
for and grip a mouse allowing your hand and wrist to maintain a neutral,
relaxed position. You can control the cursor by gliding your fingers over
a rollerbar and lightly pushing on the bar to perform a left-click. Other
added benefits include the ability to effortlessly switch between right
and left hand or share the work load between the two. The mechanical click
has been replaced with a digital click to help users avoid trigger finger.
Users can also enjoy a frictionless scroll wheel and 7 customizable
buttons to program often used hotkeys.
Another solution is to use key commands to operate in a
windows environment, rather than the mouse. Once you learn the
commands, this method is often faster than mousing. A solution that will not work is switching
which hand you use to click the mouse. This may provide temporary
relief, but soon your other hand will be as bad as the first.
In addition to typing and mousing, writing
can add significant strain to your hands. It is important
to hold your writing utensil lightly. Someone should be able to
pull it out of your hand when you are writing. It also helps to
use a writing utensil that doesn't require you to push down too
hard. Ball point pens should be avoided. I recommend soft lead
pencils, or the Dr. Grip Gel Ink pen.
### Stretching and strengthening
In this section I offer some specific recommendations for
stretching and strengthening exercises that have helped me. These fall
under the category of prevention as well as recovery. Most of them you can
easily do in your office during breaks, which you should take every
hour or so.
**Wall stretch**:
This is my favorite stretch. It is great for stretching out the
shoulder, arm, wrist, and hand all at once. Extend the arm along
a wall, with arm parallel to the ground and palm facing wall.
Attempt to open chest so that shoulders are perpendicular to arm.
Extend fingers and palm away from wall as much as possible. Your
hand may tingle - this is OK. Hold for 30-60 seconds. Try with
the arm at different angles. Repeat on other side.
**Doorway**: This
stretches the pecs and shoulder. Hold elbow at a right angle, and
place forearm along door frame, as shown. Lunge forward, keeping
chest and pelvis facing squarely forward. Hold 30-60 seconds. Try
holding arms at different angles. Repeat on other side.
**Back and neck
strengthening****:** The other thing I do that
really helps is an exercise that involves one of those big exercise balls,
a long dowel rod, and a couple of 3 (or 2) pound dumbbells. You get on
your knees, lay your chest on the ball, put the rod on your back so that
it makes contact with your rear, back, and head (to keep the spine
neutral). The ball should be big enough so that the rod is sloping
slightly up. Then just slowly raise the dumbbells off the ground and lower
back down. You can have the arms at different angles, but start with them
extending behind you, as that is easier. Also try turning your head from
side to side occasionally as you go, to activate the neck muscles. You do
not need heavy weights for this exercise to be effective, and heavy
weights may in fact strain your already fatigued muscles.
**Correct
breathing****:** It's amazing how stress and
computer use can corrupt our natural way of breathing. I highly recommend
Barbara Conable's short little book on breathing called [The Structures and Movement of Breathing: A Primer for Choirs and Choruses](http://www.amazon.com/Structures-Movement-Breathing-Primer-Choruses/dp/1579990991/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1205954896&sr=1-1). Don't worry that it is written for choirs, there's a lot of useful
info for everyone.
**Eye
palming****:** A relaxation technique for the
eyes is to place your fingers crossed over your forehead and cover the
eyes with your palms. Do not apply pressure to the eyeball. Just
concentrate on the blackness for a while. Another simple but great
technique is to just look out the window at a distant scene.
The above exercises are primarly geared toward
relieving/preventing the symptoms of RSI. If you want to
eliminate the root causes of RSI, you must focus more on
stretching, strengthening, and re-educating the core muscles of your body
responsible for maintaining proper alignment and posture. It is
not possible for me to explain how to do this here. However,
there are several practices/techniques that aim at this goal,
including [yoga](http://www.yogasite.com/), Pilates,
the [Alexander
techique](http://www.alexandertechnique.com/), the [Feldenkrais
method](http://www.feldenkrais.com/), and T'ai Chi. You can probably find a group class in the
$10-20 range in your area if you live in a large city or near a
University. Yoga and
Pilates can also be learned from books and videos, but it is
usually better to learn from a teacher and to practice with a
group. Personally, I have derived benefit from yoga, Pilates, and
especially the [Alexander
techique](http://www.alexandertechnique.com/).
More articles on posture, balance, etc. may be found at
[Core Awareness](http://www.coreawareness.com/).
### Ten easy ways to reduce your risk of
developing RSI
1. TAKE BREAKS! when using your computer. Every hour or
so, get up and walk around, get a drink of water, stretch
whatever muscles are tight, and look out the window at a
far off object (to rest your eyes).
2. Use [good posture](##posture). If you can't
hold good posture, it probably means it's time for you to
take a break from typing. If you are perpetually
struggling to maintain good posture, you probably need to
adjust your workstation or chair, or develop some of the
support muscles necessary for good posture.
3. Use an ergonomically optimized [workstation](##workstation)
to reduce strain on your body.
4. Exercise regularly. Include strengthening, stretching,
and aerobic exercises. I find yoga and Pilates especially
helpful.
5. Only use the computer as much as you have to. Don't email
people when you could walk down the hall or pick up the
phone and talk to them. It's not only better for your
hands - it's friendlier. Think before you type to avoid
unnecessary editting.
6. Don't stretch for the hard-to-reach keys, e.g. BACKSPACE,
ENTER, SHIFT, CONTROL... basically everything but the
letters. Instead, move your entire hand so that you may
press the desired key with ease. This is crucial when you
are programming or typing something in LaTeX, where non-letter
keys are used extensively.
7. Let your hands float above the keyboard when you type,
and move your entire arm when moving your mouse or typing
hard-to-reach keys, keeping the wrist joint straight at
all times. This lets the big muscles in your arm,
shoulder, and back do most of the work, instead of the
smaller, weaker, and more vulnerable muscles in your hand
and wrist. If you find it difficult to do this, then your
shoulder and back muscles are probably too weak. It is
OK, and in fact a good idea, to rest your elbows/wrists
when you are not typing.
8. Use two hands to type combination key strokes, such as
those involving the SHIFT and CONTROL keys.
9. When writing, avoid gripping the writing utensil tightly.
Someone should be able to easily pull the writing utensil
out of your hand when you are writing. If your pen or
pencil requires you to press too hard, get a new one (my
favorite is Dr. Grip Gel Ink)
10. Realize that you are not invincible. RSI can happen to
you. Don't be afraid to ask for help.
[Menu](##menu)
# If you develop RSI
Be prepared to make some changes in your lifestyle and your
computer habits. In particular, make an extra effort to follow
the guidelines laid out in the previous section on prevention.
Following these guidelines can decrease your recovery time, and
help you avoid relapses in the future.
### STOP TYPING!(?)
OK, it's not always quite that easy. Very few people have the luxury of
being able to avoid typing altogether. However, if you think carefully,
you'll find there are many ways to eliminate unnecessary typing from your
life. For example, instead of sending e-mail, use the phone, or better
yet, get out of your chair, walk down the hall, and speak face-to-face to
the person. Drop out of your fantasy baseball league. Rely on newspapers
and books for information, and stop surfing the Web so much. Instead of
playing solitaire on the computer, buy yourself a real deck of cards, and
play it the old-fashioned way. Just check your email twice a day. Et
cetera. In general, eliminate unnecessary computer use from your life. And
a whole lot of it is unnecessary. It may seem like a sacrifice, but your
health is worth it.
One technique I use is the following: when I am at my office,
throughout the day I use an index card to record all of the e-mails I wish
to send. I keep the index card in my back pocket. Then as soon as I get
home from work, I will use my dictation software to compose all of the
e-mails in one sitting. This has many advantages: it saves me from the
tendency to type quick e-mails with my hands while at work; I am less
distracted by e-mail at work; if you don't respond to an e-mail right
away, sometimes the need to ever respond goes away; once people learn that
you don't respond to e-mails right away, they send you less e-mail.
For typing that you just can't avoid, consider using [voice activated software](##voice), or arrange to have someone
type for you. Grad students, you might ask your deparment coordinator if
there are any clerical assistants that you could borrow.
### When to seek help
If you believe that you may have developed RSI, the first
thing you should do is to implement all of the prevention
strategies outlined above. If you find that your situation
continues to worsen, you should consider seeking professional
medical advice. A general rule of thumb is that if your hands
still hurt a couple of days after you last typed, you need to see
a doctor.
### Finding a good doctor or therapist
If you have RSI, finding a good doctor or physical therapist is
definitely worth the time and money.
Unfortunately, finding a doctor who is competent to diagnose
and treat RSI can be a challenge. Some doctors doubt the
existence of RSI, and many others dismiss it as an insignificant
problem. Some doctors don't know the first thing about treatment,
while others encourage their patients to undergo unnecessary (and
possibly dangerous) surgery in hope of a quick fix. With that in
mind, know that you must be careful and selective when choosing a
physician.
Most general practicioners will be unable to give you specific advice.
However, your primary care physician can still be a valuable ally. If he or
she can recommend a good physical therapist, and is willing to write you a
prescription for PT, that is often the best way to go. The PT can diagnose
you and formulate a treatment plan.
If you or your insurance or PCP insist on seeing a specialist,
in my experience, the best doctors are *physiatrists*,
sometimes listed under Physical Medicine and Rehabilitation.
Check with your health-care provider to find physicians in your
area.
In general, your doctor/therapist should prescribe treatment that focuses
on the cause of your symptoms, rather than the symptoms themselves. In other
words, the treatment should not be focused on pain management, although that
may be one aspect. Rather, it should be focused on correcting your posture,
and improving your anatomical function, so that, with time, your body will
heal itself. Treatment should typically consist of visits to a physical
therapist, coupled with a home exercise program. The focus of this program
is to stretch overly tight muscles, and strengthen weak ones. Remember
however, that no amount of physical therapy and strengthening/stretching can
overcome excessive typing, poor posture, a bad workstation, or poor typing
technique.
When you first visit with any health care provider, be sure to
ask them about their experience in treating RSI. If they do not seem
knowledgable, ask for a referal to someone with more experience.
### Relief
In terms of short term relief, there are some simple things I've found
that help me. One is to massage my forearms with a tennis ball. Put the
tennis ball on the ground or some non-slick surface (like carpet) and
press down on it with your forearm and roll it around. Try a variety of
positions and movements, and also be sure to massage the top of your
forearm, applying the ball with your other hand.
I also recommend the tennis ball self massage to the muscles in between
the spine and shoulder blades. Stand up against the wall and find a tender
spot, and hold/breathe into it for 3 cycles. Then move to a new spot and
repeat. As you get used to it you can stay longer in those trouble spots.
(Thanks to Henriette Bruun for this suggestion).
Another thing is a hot/cold water bath. Fill two sinks or buckets,
one with water as hot as you can stand, the other with water as cold as
you can stand (use ice). Soak your arms and wrists in each bath for 2-3
minutes at a time, and alternate baths about 3 times each. This is very
good for numbness/tingling kinds of discomfort.
Keeping your hands warm while you type is critical. When it's cold,
consider wearing a pair of thin liner gloves with the fingertips cut off.
Or take occasional breaks to run your hands under warm water.
Finally, the wall and doorway stretches above can provide some
degree of relief.
### Surgery?
Is surgery ever the right choice? Recall that there are many different
types of RSI. For one particular form of RSI, namely carpal tunnel
syndrome, a minimally invasive and effective surgical procedure has been
established. Look for a hand center in your area to consult with a
physician about this option. To determine that you have CTS and not some
other RSI, they should perform a nerve conduction study, known as an
electromyogram. Also keep in mind that even if you have surgery and it is
successful, your symptoms may return if you do not improve your computer
habits.
For other forms of RSI, surgery may not be an appropriate treatment.
Even if you have CTS, you may wish to consider nonsurgical options
(workload reduction, improved ergonomics, physical therapy; see above).
Without surgery, recovery is still very much possible. In my case, I did
not have CTS, and never considered surgery. At it's worst, the severity of
the pain in my hands/wrists was about a 9 out of 10, and I could barely
grip even the lightest objects (e.g., I would turn faucets on and off
using my elbow). Now, I play tennis and the banjo regularly, and do a
minimal amount of typing, relying on dictation software for the rest. I
still have occaisonal pain when my workload increases, but it goes away
with a couple days rest. It's not a complete recovery, but it's sufficient
for my lifestyle.
### Recovery and maintainence
Here are five general tips that I have found to be helpful. If you
don't think you are able to spare the time or money to implement these
ideas, think again. You are probably underestimating the value of a
healthy body.
1. Rest as much as possible (from the activity causing your
injury). Many aspects of your injury can only heal with
rest and time.
2. Excercise regularly, including stretching and strengthing
of core muscles (abs, gluts, hamstrings, etc.). For some
specific stretches, see the section on [stretching
and strengthening](##stretch). I have found yoga and
Pilates to be beneficial. Aerobic excerise is good as long as it
doesn't aggravate the injury.
3. Find a good doctor and stick to his or her program for
you.
4. Work hard to develop discipline regarding your posture
and typing habits.
5. Be patient and persistent.
### Voice activated software
There are several voice activated applications intended for document
composition. I have used Dragon NaturallySpeaking for several years.
However, Google now provides their cloud-based voice recognition tool in
Google Docs, and I have been using this more and more.
If you purchace voice activation software, you don't need the most
recent release; an earlier version should serve your purposes at a lower
cost, and place less demand on your computer's cpu and memory.
I have found that the microphones that come with NaturallySpeaking
break easily and are highly sensitive to ambient noise. Therefore I
recommend purchasing your own headset separately. I use [this
model](http://www.amazon.com/Logitech-Headset-Premium-Laser-Tuned-981-000195/dp/B003NREDG4) made by Logitech. With this microphone, I
have no trouble using NaturallySpeaking in my office, where the air vents
make it too noisy for the cheaper microphones to work effectively.
Those who do not have an American accent
may want to take extra care, since these programs may be designed around
an American accent (I'm not sure). Do not expect to be able to use
dictation software to do computer programming;
As for composing technical documents,
i.e., documents that use specialized jargon or equations,
I haven't found
any application well-suited to this problem yet.
Make sure your computer's
processor speed is 20-30% faster than the recommended speed for good
perfomance.
### Coping with RSI
An advanced case of RSI can cause a significant emotional
burden. Because of your limited use of your hands, you'll
constantly be asking other people for help just to get by in
life. It can be quite challenging, for example, to ask someone
you don't know to give up their seat on the bus for you because
your hands are too weak to hold the hand rail. On the other hand,
you will find that most people are willing to help you out in
your time of need. Take advantage of close friends and mentors
who would be willing to listen to your struggles, and help you
sort out your thougts and feelings. Universities often have Counseling
Centers that
are free to students.
[Menu](##menu)
# Additional resources
### Resources for students
Most Universities now have a Disabled Student Services (DSS) office
that can make your life easier if you have an RSI. DSS can possibly
arrange for you to have extensions on assignments that are to be written
or typed, and they can also arrange for a scribe to assist with writing or
typing. Other accommodations may also be available.
Please note that typically *DSS can not offer you any assistance
unless you have written documentation from a licensed physician*
that details the nature and severity of your problem, the medical
treatments currently prescribed, the expected time of recovery,
the accommodations you would benefit from during your recovery,
and the credentials of the diagnosing physician.
### Two must read books
[Repetitive
Strain Injury: a Computer User's Guide](http://www.amazon.com/Repetitive-Strain-Injury-Computer-Users/dp/0471595330/ref=sr_1_1?ie=UTF8&s=books&qid=1265169449&sr=8-1), by Pascarelli and
Quilter (John Wiley and Sons, 1994), is a comprehensive source of
information on how to prevent, live with, and recover from RSI. Much of
the information from this webpage comes from this book, and the book
contains far more detail than I was able to include here. Deborah Quilter
maintains an RSI website (see below).
Another excellent book is [*It's
Not Carpal Tunnel Syndrome! RSI
Theory & Therapy for Computer Professionals*](http://www.amazon.com/Carpal-Syndrome-Therapy-Computer-Professionals/dp/0965510999/ref=sr_1_1?ie=UTF8&s=books&qid=1265169572&sr=8-1)
by Suparna Damany and Jack Bellis (Simax, 2001).
This gives a very down to earth, plain-spoken account of what RSI is, how
it should and should not be treated, and plenty of good practical advice
on coping, home-remedies, and getting professional help. The authors also
maintain a website devoted to the RSI cause (see below).
### Online resources
* [Harvard RSI
Action](http://www.rsi.deas.harvard.edu), where I got the idea (and some of the
content) for this web page. A variety of perspectives on
RSI, and lots of advice for those dealing with serious
RSI problems.
* [RSI Program](http://www.rsiprogram.com/):
Collection of RSI resources maintained by the authors of*It's Not Carpal Tunnel Syndrome!* (see above)
* [RSIHelp](http://www.rsihelp.com/): Deborah Quilter's
site.
* [Eric
Shannon's RSI page](http://massagetrack.com/repetitive-strain-injury-recovery-formula/).
* [Paul
Marxhausen's RSI page](http://rsi.unl.edu/).
* [The Typing Injury FAQ](http://www.tifaq.org).
* IBM's [Healthy
Computing website](http://www.pc.ibm.com/us/healthycomputing/index.html).
* The [OSHA](http://www.osha.gov/SLTC/ergonomics/index.html) web
page, for scientific or statistical
documentation on RSI.
* Sandra Day O'Connor's [opinion](http://supct.law.cornell.edu/supct/html/00-1089.ZO.html)
from *Toyota v. Williams*.
[Menu](##menu)
---
Please direct comments and questions to [Clay Scott](http://www.eecs.umich.edu/~cscott)
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<HTML>
<HEAD>
<TITLE>WELCOME... TO THE EARTHBOUND CULT!! ....... BOING</TITLE>
</HEAD>
<BGSOUND SRC="graveyard.mid" LOOP="infinite">
<BODY BGCOLOR="black" BACKGROUND="cultback.jpg">
<CENTER>
<IMG SRC="flames.gif" WIDTH="100" ALIGN="left"><IMG SRC="goatskull.png" ALIGN="right">
<FONT SIZE="7" COLOR="#555555"><B>Welcome to the EarthBound <U><I><FONT FACE="Verdana">CuLt</FONT></I></U></B></FONT>
<BR>
<FONT SIZE="1" COLOR="purple">join us or you will DIe</FONT>______________________________________________
how about I sharpen you I just love sharpening. you don�t want me to sharpen?
</CENTER>
<FONT SIZE="6" FACE="Verdana" COLOR="#222222"> thou shalt not use the suporma<BR> obeyeth the mighty lord of scaraba <BR><BR>the meek shall inherit the deep darkness of stonehenge for all eternity</FONT>
<BR>
<CENTER>
<FONT SIZE="2" COLOR="gray">The Ten EarthBound Commandments
<BR>
I. Thou shalt not use the suporma<BR>
II. Thou shalt not question the existence of the Apple of Enlightenment<BR>
III. Thou shalt not steal from the Egg and Banana Stand<BR>
IV. Thou shalt not covet the Zombie Chick<BR>
V. Thou shalt not covet thy neighbor's Sword of Kings<BR>
VI. Thou shalt not neglect thine exit mouse<BR>
VII. Honor thy Courage<BR>
VIII. Thou shalt not fear the Photo Man<BR>
IX. Thou shalt not abuse thine Rock Candy<BR>
X. Honor thy Father and Mother... especially thy Father.<BR>
</FONT>
<IMG SRC="shrine_tomato.jpg">
<FONT COLOR="#551111" SIZE="6">you aren't with a guy whose eyebrows are connected and who also has a <FONT COLOR="gold">gold</FONT> tooth.</FONT>
<IMG SRC="Doooooolllllll.jpg">
<BR><BR><BR>
<FONT SIZE="2" COLOR="#550000">
JOIN USSSSSSSSSssssssssssssssssssssssssssssssssssssssssssssss
Yes you will No you will not Yesno you will wont
<IMG SRC="blueblue.jpg">
<BR><BR>
ss</FONT><BR>
<FONT SIZE="4" COLOR="#771111">Before the soup gets cold, we must care for Mani Mani. Before the knife gets rusty, we must care for Mani Mani.</FONT>
<A HREF="http://forum.starmen.net/?t=msg&th=22403">s</A>
THE SITE COMMANDS THEE
<FONT SIZE="3" COLOR="#444400">
<BR>Do not hold reverence for any muffin before blueberry<BR>
<BR>Do not represent such muffins by anything in the heaven above on the earth below or in the water below the land by any baked goods or piez
<BR>Do not bow down to such lords or worship them I am Reid your Czar a Lord who demands exclusive worship<BR>
<IMG SRC="ebtoilet.jpg">
<BR>Where My pants are concerned I keep in mind the width of the legs for their comfort to the twentythird and twentyfourth sizes
<BR>Do not take the name of reidman your Czar in capital but let the name of Reid be so raised reidemon will not allow the one who takes His name in majuscule to go unpunished
<BR>Remember Radio PSI on Friday Saturday and Sunday to keep it rolling You can work during the four weekdays and do all your tasks But the first sixth and seventh days are a tribute to your DJs
<BR><IMG SRC="Headperson.jpg">
<BR>Honor your Czar and Mato
<BR><MARQUEE><FONT SIZE="6" COLOR="orange">NessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNess</FONT></MARQUEE>
<BR><MARQUEE><FONT SIZE="5" FACE="Verdana" COLOR="#777720"> I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy </FONT></MARQUEE>
<BR>
<IMG SRC="sanctuary2.png">
<BR><BR>
<IMG SRC="eye.gif" ALIGN="right">Wrapped in the mighty arm of Giygas we will enter our eternal bliss. We hope to one day be a part of the darkness and fill it with the red blood of our bodies to enrich his darkness and to feed Sarsie. Then, once Giygas and Sarsie are completely charged by our blood, they then will wipe clean those who do not believe and usher in a new age of paradise!
<BR><IMG SRC="frog.png" ALIGN="center"><FONT SIZE="5" COLOR="#FF0000"><B>ONE OF US ONE OF US</B></FONT>
<BR>
<BR>
<BR><BR><BR><BR>xxx
<img src="nom.png" align="left" height="344" width="70" border="50"><font color="black" SIZE="6">Oh i love you</font><IMG SRC="love.png" align="left" valign="bottom"><BR><BR><<font color="white" face="comic sans">LooooOOOOOv</font><FONT SIZE="2" COLOR="#11002">mr<br>saturn<br>licklicklick<br>killkilllick<br> noheaven<br> heaven<br> no<br> no only<br>saturnvalley yes<br> you say<br> yes to me notome<br> boing? boing?<br><br> gnobi?</FONT>
<BR><BR><BR>orange kid give me your juice the bus cannot run
<BR><BR><BR><BR><BR>give ........................ friends....... you hit bat at me<BR><BR> no at me? kay-oooooola
<BR><BR><BR><BR><BR><font color="#660000" SIZE="7">ZoooooooooOOOOm</font> mm!
<BR><BR>
<FONT SIZE="3" COLOR="white">EarthBoundisregardedbycriticsasoneofthegreatestRPGsontheSNES,aswellasoneofthebestofthe1990s.The gamehasalsobecomeacultclassic</FONT>
<BR>
<FONT SIZE="3" COLOR="white">EarthBoundisgreatestRPGsaswellasoneofthebestofthe1990shasalsobecomeacultclassic</FONT>
<BR>
<FONT SIZE="3" COLOR="white">EarthBoundgreatestebesthasbecomecult</FONT>
<BR>
<FONT SIZE="3" COLOR="white">EarthBoundbesthas<FONT SIZE="6">cult</FONT></FONT>
<BR>
<FONT SIZE="3" COLOR="white">EarthBound<b>cult</b></FONT>
<BR>
<FONT SIZE="3" COLOR="white">cult</FONT>
<BR>
<FONT SIZE="3" COLOR="white"><b>CULT</b></FONT>
<BR>
<FONT SIZE="4" COLOR="tomato"><b>CULT</b></FONT><FONT SIZE="5" COLOR="#FF0000"><b>CULT</b></FONT>
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<FONT SIZE="6" COLOR="#CC0000"><b>CULT</b></FONT><FONT SIZE="7" COLOR="#880000"><b>CULT</b></FONT>
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<font color="#444444">sexy tasty</font>
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WELCOME... TO THE EARTHBOUND CULT!! ....... BOING
**Welcome to the EarthBound *CuLt***
join us or you will DIe\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_
how about I sharpen you I just love sharpening. you don�t want me to sharpen?
thou shalt not use the suporma
obeyeth the mighty lord of scaraba
the meek shall inherit the deep darkness of stonehenge for all eternity
The Ten EarthBound Commandments
I. Thou shalt not use the suporma
II. Thou shalt not question the existence of the Apple of Enlightenment
III. Thou shalt not steal from the Egg and Banana Stand
IV. Thou shalt not covet the Zombie Chick
V. Thou shalt not covet thy neighbor's Sword of Kings
VI. Thou shalt not neglect thine exit mouse
VII. Honor thy Courage
VIII. Thou shalt not fear the Photo Man
IX. Thou shalt not abuse thine Rock Candy
X. Honor thy Father and Mother... especially thy Father.
you aren't with a guy whose eyebrows are connected and who also has a gold tooth.
JOIN USSSSSSSSSssssssssssssssssssssssssssssssssssssssssssssss
Yes you will No you will not Yesno you will wont
ss
Before the soup gets cold, we must care for Mani Mani. Before the knife gets rusty, we must care for Mani Mani.
[s](http://forum.starmen.net/?t=msg&th=22403)
THE SITE COMMANDS THEE
Do not hold reverence for any muffin before blueberry
Do not represent such muffins by anything in the heaven above on the earth below or in the water below the land by any baked goods or piez
Do not bow down to such lords or worship them I am Reid your Czar a Lord who demands exclusive worship
Where My pants are concerned I keep in mind the width of the legs for their comfort to the twentythird and twentyfourth sizes
Do not take the name of reidman your Czar in capital but let the name of Reid be so raised reidemon will not allow the one who takes His name in majuscule to go unpunished
Remember Radio PSI on Friday Saturday and Sunday to keep it rolling You can work during the four weekdays and do all your tasks But the first sixth and seventh days are a tribute to your DJs
Honor your Czar and Mato
NessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNessNess
I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy I feel happy
Wrapped in the mighty arm of Giygas we will enter our eternal bliss. We hope to one day be a part of the darkness and fill it with the red blood of our bodies to enrich his darkness and to feed Sarsie. Then, once Giygas and Sarsie are completely charged by our blood, they then will wipe clean those who do not believe and usher in a new age of paradise!
**ONE OF US ONE OF US**
xxx
Oh i love you
<LooooOOOOOvmr
saturn
licklicklick
killkilllick
noheaven
heaven
no
no only
saturnvalley yes
you say
yes to me notome
boing? boing?
gnobi?
orange kid give me your juice the bus cannot run
give ........................ friends....... you hit bat at me
no at me? kay-oooooola
ZoooooooooOOOOm mm!
EarthBoundisregardedbycriticsasoneofthegreatestRPGsontheSNES,aswellasoneofthebestofthe1990s.The gamehasalsobecomeacultclassic
EarthBoundisgreatestRPGsaswellasoneofthebestofthe1990shasalsobecomeacultclassic
EarthBoundgreatestebesthasbecomecult
EarthBoundbesthascult
EarthBound**cult**
cult
**CULT**
**CULT****CULT**
**CULT****CULT**
sexy tasty
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<HTML>
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<TITLE>
Richard Nakka's Experimental Rocketry Site
</TITLE>
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<FONT color="BROWN"><H2>Richard Nakka's <EM>Experimental Rocketry</EM> Web
Site</H2></FONT>
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<H4>
<font size=+1>Latest update: December 19, 2023</font>
</H4>
</CENTER>
<CENTER><TABLE BORDER=1>
<TR><TD>
<STRONG><CENTER> <font size=+1 color="blue">Now available...2023 Version of Nakka-Rocketry Website <BR>
<STRONG>as a downloadable file <BR> </STRONG>
<A href="cdrom.html">Click here</STRONG></A> for details...<P>
</CENTER><P>
</EM>
</TD></TR>
</TABLE></CENTER>
<CENTER>
<H3>
<FONT color="brown">What is this Web Site all about?</FONT>
</H3>
</CENTER>
<CENTER>
This web site is devoted to the exciting activity of <STRONG>
Amateur Experimental Rocketry !</STRONG>
</CENTER>
<HR width="20%" size="1">
<FONT size="+3">M</FONT><STRONG>y goal in producing this web site is
to share experiences, ideas and technical details of Amateur Experimental Rocketry with
others around the world who have a similar interest. It is also my dream to help inspire a future generation of rocket engineers and scientists who will some day take us to Mars and beyond...</STRONG> <HR width="20%" size="1">
<FONT size="+3">I</FONT> launched my very first
amateur rocket in 1972. Since that time, so very long ago, I've built, tested and flown many rockets,
powered by motors which I've developed. Over the duration of this time, I've kept
detailed notes of all my work, carefully logged all the flights and
other tests, and have taken countless photographs. In this web site, I am
presenting at least a portion of my work. In addition to my own efforts, I am including some
remarkable work done by others in pursuit of this exciting and challenging avocation.
<CENTER>
<H3>
<FONT color="brown"><FONT size="+2">A</FONT>mateur <FONT size=
"+2">E</FONT>xperimental <FONT size="+2">R</FONT>ocketry ?</FONT>
</H3>
</CENTER>
<P>
<FONT size="+3">A</FONT><STRONG>mateur Experimental
Rocketry</STRONG> is, in my humble opinion, one of the most
challenging, exciting and educational hobbies. Unlike Model
Rocketry or High Power Rocketry, experimental rocketry is an
activity whereby rockets are designed and constructed entirely from "scratch".
Most components -- including motor and propellant-- are self-made. The goal of Amateur Experimental
Rocketry (AER), often referred to as <EM>Amateur
Rocketry</EM>, <EM>Experimental Rocketry</EM> or <EM>Research Rocketry</EM>, is to design,
build, test and launch rockets. In this context, <EM>rocket</EM> may refer
to the motor itself, or to a complete vehicle that consists of
motor, fuselage (and stabilizing devices such as fins), nosecone,
and payload. One of the greatest challenges is to develop and build
such a motor, one that is safe to produce and operate, reliable,
and one that provides predictable and consistent performance. A
second big challenge is to develop a recovery system, such as
parachute deployment, that operates with a high degree of
reliability under the demanding conditions of launch followed by
high speed or high altitude flight. Striving to achieve these goals
(and many others) and to overcome the inevitable obstacles, is what
makes this such a challenging (and at times frustrating) and
educational pastime, and one that requires diversified skills
combined with a good dose of ingenuity. The outcome of all this,
more often than not, is that one learns to genuinely comprehend
that which is colloquially known as <EM>Rocket Science</EM>.
<P>
It might be said, then, that Model Rocketry and High Power Rocketry
are best suited to those who wish to <EM>make and fly rockets</EM>,
and Experimental Rocketry is perhaps best suited to those who
rather wish to <STRONG><EM>make rockets fly!</EM></STRONG>
<HR width="25%" size="1">
<EM>Contents of this web site are presented for informational
purposes only</EM>. Author of this web site cannot assume
responsibility for the use readers make of the information presented
herein or the devices resulting therefrom. Amateur Experimental
Rocketry has many inherent hazards that must be fully understood
before one can consider becoming actively involved. Safety must
always be considered as top priority. Anything less is a disservice
to all Amateur Experimental Rocketry enthusiasts. If you do not have first-rate common sense, or if you are
willing to take shortcuts that compromise safety, then AER is not for you.
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L</FONT>atest news</FONT></EM></A>
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<P>
<U><FONT color="brown">October 26, 2023</FONT></U>-- Over the past 5 years I have conducted nearly 100 static test firings in support of developing propellants based on Ammonium or Potassium Perchlorate. An important aspect of this testing is the determination of burn rate parameters, which are key characteristics for designing rocket motors utilizing the (more successful) of these propellants. To aid the process, I came up with a simplified method of calculating the burn rate coefficient (<EM>a</EM>) and pressure exponent (<EM>n</EM>) of any new formulation. This method employs the time-pressure curves of two or more static test results, and provides reasonably accurate results for designing experimental motors. The method is described in my new web page <A href="burnrate-simple.htm"><EM>Simplified Method to Estimate Burn Rate Parameters</EM></A>.<P>Next on my agenda is to work on completing the <A href="RD_index.html">Introduction to Experimental Rocket Design</A> webpages.<P>
<U><FONT color="brown">March 6, 2023</FONT></U>-- I have updated my Theory page on <A href="th_2phf.htm">two-phase flow</A> to be more comprehesive in providing design information for rocket motors with condensed-phase (smoke) in the exhaust. This is especially relevant for sugar propellant motors, of which the exhaust products are nearly 44% condensed-phase.<P>
<U><FONT color="brown">November 14, 2022</FONT></U>-- I've been using graphite as a nozzle material for my ANCP and APCP powered experimental motors. I'd found that graphite erodes when the propellant formulations contain aluminum. This erosion is problematic for a number of reasons. Fortunately, I came up with a method of <EM>toughening</EM> a graphite nozzle such that erosion is essentially eliminated. I have described this method in a document I have uploaded to my site. <BR><A href="articles/toughened_graphite.pdf">Toughening Graphite for Rocket Nozzle Durability</A><P>
<U><FONT color="brown">March 9, 2022</FONT></U>-- I have finally began working on a new series of web pages dealing with the design of experimental (EX) rockets. I had been planning to write these pages for some time now, but could never get beyond the draft stage before being sidetracked with some other rocketry project. A long and bitterly cold winter has limited my "outdoors" rocketry activities and freed up time to put earnest effort into this interesting and hopefully useful set of web pages. I eventually plan to cover all the particularly important aspects of EX rocket design including aerodynamics, stability, recovery systems, reliability and much more. At the moment, only a few of the pages have been uploaded, more pages will be added as time goes on and progress is made.<BR>
<A href="RD_index.html">Introduction to Experimental Rocket Design</A><P>
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<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
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align="bottom"><BR>
<UL>
<LI>
<A href="safety.html">Safety</A> <A href="safetyf.html">Precautions d'usage</A>
<LI>
<A href="gallery1/gallery.html">Photo
Galleries of My Early Rocketry Work, Years 1972-1986</A>
<LI>
<A href="video.html">Rocket
Video Clips</A>
<LI>
<A href="author.html">Who is Richard Nakka?</A>
<LI>
<A href="beginnings.html">How I Got Started in Rocketry</A>    
<A href="articles/Beginnings.pdf"><EM>How I Got Started in Rocketry <FONT SIZE=-1>-- PDF format)</FONT></A></EM> <IMG src=
"pix/acro.gif">
<LI>
<A href="early.html">Early Rocketry Experiments</A> <A href="early-q.html"><FONT SIZE=-2>QUICK LOADING VERSION</FONT></A>
<LI>
<A href="techref.html">Rocketry related Technical
References</A><BR>
<LI> <A href="softw.html">Rocketry
software</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Nov.10/23</FONT>
<LI>
<A href="linx.html">Links to Rocketry Resources</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Dec.19/23</FONT><BR>
<LI>
<A href="preview.html">Sneak Preview</A> <IMG src=
"pix/update1.gif"><FONT size="-2"> Aug.25/22</FONT><BR>
<LI>
<A href="lulea.html">Lecture on Rocketry Presented in Luleå, Sweden</A><BR>
<LI> <A href="articles/AERpresentation-Reykjavik-May2008.pdf">Lecture Notes - Presentation to University of Reykjavik, Iceland, May 2008</A><BR>
<LI><A href="photography.html">The Art and Science of Rocketry Photography</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Dec. 9/22</FONT><BR>
<LI> <A href="rocketeers.html">List of Notable Amateur Rocket Builders</A>
<IMG src=
"pix/new01.gif"><BR>
<LI>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">M</FONT>otors</STRONG></FONT> <IMG src="pix/broline.gif"
align="bottom">
<LI>
<A href="impulser.html">Impulser Rocket Motor ("I"
Class)</A>
<LI>
<A href="A-100M.html">A-100M Rocket Motor ("G"
Class)</A> <A href="a-100mf.html">Moteur de Fusée d'A-100M</A>
<LI>
<A href="engine1.html">B-200 Rocket Motor ("H"
Class)</A>
<LI>
<A href="engine2.html">C-400 Rocket Motor ("I"
Class)</A>
<LI>
<A href="engine3.html">A-100 Rocket Motor ("G"
Class)</A>
<LI>
<A href="kappa.html">Kappa Rocket
Motor ("K" class)</A>
<LI>
<A href="juno_p.html">Juno Rocket
Motor ("J" class) -- Preliminary Design</A>
<LI>
<A href="lambda_p.html">Lambda Rocket
Motor ("L" class) -- Preliminary Design</A>
<LI> <A href="jdx001.html">Juno Rocket
Motor -- Static Test JDX-001 Report</A>
<LI>
<A href="ldx001.html">Lambda Rocket
Motor -- Static Test LDX-001 Report</A>
<LI>
<A href="pvcmot4.html">PVC Rocket
Motors -- Introduction and Performance ("G", "H", & "I" motors)
</A>
<LI>
<A href="pvcmot5.html">PVC Rocket
Motors -- Design
</A>
<LI>
<A href="pvcmot6.html">PVC Rocket
Motors --Tools
</A>
<LI> <A href="pvcmot7.html">PVC Rocket
Motors --Construction
</A>
<LI>
<A href="pvcmot8.html">PVC Rocket
Motors -- Igniters, Mounts & Conclusion
</A>
<LI>
<A href="pvcmot9.html">PVC Rocket
Motors -- Introduction & Performance ("J/K" Class motors)
</A>
<LI>
<A href="pvcmot10.html">PVC Rocket
Motors - Tools,Construction & Conclusion ("J/K" Class motors)
</A>
<LI>
<A href="pvcmot11.html">K1000 PVC Rocket
Motor
</A>
<LI>
<A href="pvcmot12.html">F70 PVC Rocket
Motor
</A>
<LI>
<A href="kappadx.html">Kappa ("K"
class) rocket motor -- preliminary design</A>
<LI>
<A href="kdx001f.html">Kappa-DX rocket
motor -- Static Test KDX-001 Report</A>
<LI>
<A href="kdx002f.html">Kappa-DX rocket
motor -- Static Test KDX-002 Report</A>
<LI>
<A href="ksb001.html">Kappa-SB rocket
motor -- Static Test KSB-001 Report</A>
<LI>
<A href="ksb002.html">Kappa-SB rocket
motor -- Static Test KSB-002 Report</A>
<LI>
<A href="epoch.html">Epoch rocket
motor ("I" Class composite)</A>
<LI>
<A href="paradigm.html">Paradigm rocket
motor ("J" Class composite)</A>
<LI>
<A href="impcalc.html">Calculation of
Total and Specific Impulse from Test Data</A>
<LI>
<A href="igniter.html">Igniter Systems</A>
<LI> <A href="articles/Nitrate_based_igniters.pdf">Nitrate-based igniters for composite propellant</A>
<LI>
<A href="casebond.html">Case-bonding
of a High-Modulus Propellant Grain</A>
<LI>
<A href="therm.html">Thermal
Protection for Rocket Motor Casings</A>
<LI> <A href="design1.html">Rocket Motor
Design Charts -- Chamber Pressure</A> <IMG src=
"pix/update1.gif"><FONT size="-2"> Oct. 19/22</FONT><BR>
<LI>
<A href="ablatex1.html">Thermal
Ablative Experimentation</A>
<LI>
<A href="nozmach.html">Machining of Rocket Nozzles</A>
<LI> <A href="articles/pvc_reinforced.pdf">Reinforcement Method for PVC Motor Casings</A> <IMG src=
"pix/acro.gif"><BR>
<LI> <A href="thermites.html">Thermite Experiments</A><BR>
<LI> <A href="articles/toughened_graphite.pdf">Toughening Graphite for Rocket Nozzle Durability</A> <IMG src=
"pix/acro.gif"> <IMG src=
"pix/new01.gif"><BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">P</FONT>ropellants</STRONG></FONT> <IMG src=
"pix/broline2.gif" align="bottom">
<LI>
<A href="propel.html">Amateur
Experimental Solid Propellants</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Dec.18/23</FONT><BR>
<LI>
<A href="sucrose.html">The Potassium Nitrate/Sucrose Propellant (KNSU)</A>
<LI>
<A href="dex.html">The Potassium Nitrate/Dextrose Propellant (KNDX)</A>
<LI> <A href="sorb.html">The Potassium Nitrate/Sorbitol Propellant (KNSB) </A>
<LI> <A href="knpsb.html">The Potassium Nitrate/Potassium Perchlorate/Sorbitol Propellant (KNPSB) </A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Mar.23/23</FONT>
<LI>
<A href="succhem.html">KNSU Propellant
Chemistry and Performance Characteristics</A>
<LI>
<A href="dexchem.html">KNDX Propellant
Chemistry and Performance Characteristics</A>
<LI>
<A href="sorbchem.html">KNSB Propellant
Chemistry and Performance Characteristics</A>
<LI>
<A href="rnx_int.html">The Potassium Nitrate/Epoxy Composite Propellant (RNX) </A> <IMG src=
"pix/update1.gif"><FONT size="-2"> Oct. 19/22</FONT><BR>
<A href="techsht-knsu.htm">Technical
Notepad -- KNSU Ideal Performance Calculations</A>
<LI>
<A href="techsht-kndx.htm">Technical
Notepad -- KNDX Ideal Performance Calculations</A>
<LI>
<A href="techsht-knsb.htm">Technical
Notepad -- KNSB Ideal Performance Calculations</A>
<LI>
<A href="techsht-kner.htm">Technical
Notepad -- KNER Ideal Performance Calculations</A>
<LI>
<A href="techsht-A24.htm">Technical
Notepad -- A24 Ideal Performance Calculations</A>
<LI>
<A href="techsht-71V.htm">Technical
Notepad -- RNX-71V Ideal Performance Calculations</A>
<LI>
<A href="techsht-57.htm">Technical
Notepad -- RNX-57 Ideal Performance Calculations</A>
<LI>
<A href="techsht-knpsb.htm">Technical
Notepad -- KNPSB Ideal Performance Calculations</A>
<LI>
<A href="techsht-knxy.htm">Technical
Notepad -- KNXY Ideal Performance Calculations</A>
<LI>
<A href="casting1.html">Propellant Casting and Grain Preparation for the A-100M Motor</A>
<LI>
<A href="inert.html"><FONT SIZE=-1>INERT</FONT> Propellant</A>
<LI>
<A href="burnrate.html">Propellant Burn Rate</A>
<LI>
<A href="ptburn.html">Burn Rate Determination from Static Test Pressure Measurement</A> <IMG src=
"pix/update1.gif"><FONT size="-2"> Aug.31/22</FONT>
<LI>
<A href="staburn.html">Strand Burner
for Burn Rate Measurements</A>
<LI>
<A href="burnrate-simple.htm">Simplified Method to Estimate Burn Rate Parameters</A> <IMG src=
"pix/new01.gif">
<LI>
<A href="bntest.html">KN-Dextrose
& KN-Sorbitol Propellants -- Burn Rate
Experimentation</A>
<LI>
<A href="kn-exp.html">Effect of
Potassium Nitrate Grade on Propellant Performance</A>
<LI>
<A href="history.html">The KN-Sucrose Propellant -- A Historical Look
Back</A>
<LI>
<A href="kndxcast.html">Problems
relating to the casting of sleeve-bonded propellant segments<BR>
for the Kappa-DX rocket motor Static Test KDX-001</A>
<LI>
<A href="ignexp.html">Propellant
Igniteability Experiment</A> <BR>
<LI>
<A href="inh-exp.html">Propellant
Inhibitor Experiment</A><BR> <LI>
<A href="knepoxy.html">Experiments with Potassium Nitrate - Epoxy Formulations</A> <BR>
<LI>
<A href="knsbchar.html">Burn Characteristics of Sorbitol Based Propellants</A><BR>
<LI><A href="oxidex.html">Experiments with Oxides and other possible Burn Rate Modifiers</A><BR>
<LI><A href="knsyn2.html">Synthesis of Potassium Nitrate from Other Chemicals</A>
<LI><A href="knpurify.html">Purification of Low-grade Potassium Nitrate</A>
<BR>
<LI><A href="anexp.html">Experiments with Ammonium Nitrate / Aluminum based Propellant Formulations</A> <A href="AN24_traduccio.pdf"><EM>Spanish translation</EM></A>
<BR>
<LI>
<A href="anprop.html">Development of a Metalized Ammonium Nitrate-based Propellant</A> <BR>
<LI>
<A href="alpaint.html">Harvesting Aluminum Powder from Paint</A> <BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">T</FONT>esting</STRONG></FONT> <IMG src="pix/broline.gif"
align="bottom">
<LI>
<A href="static.html">Rocket Motor Static Testing</A> <LI>
<A href="pressure-measurement.html">
Measuring Chamber Pressure and
Determining C-Star and Thrust Coefficient</A>
<LI>
<A href="sts5000f.html">
STS-5000 Static Test Stand</A>
<LI>
<A href="hydlc.html">Hydraulic Load
Cell for Thrust measurement</A>
<LI>
<A href="strainlc.html">Strain Gage
Load Cell for Thrust measurement</A>
<LI> <A href="articles/Gages.PDF">Mounting Strain Gages on a Loadcell</A> <IMG src=
"pix/acro.gif">
<LI> <A href="gages.html">Strain Gages available to purchase </A>
<LI> <A href="articles/pressure-transformer.pdf">Pressure Transformer</A> <IMG src=
"pix/acro.gif">
<BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size= "+2">R</FONT>ockets</STRONG></FONT> <IMG src="pix/broline.gif"
align="bottom">
<LI> <A href="Xi.html"><EM>Xi</EM> Series of Rocket Flights</A> <IMG src=
"pix/update1.gif"><FONT size="-2"> Sep.12/23</FONT><BR>
<LI> <A href="RD_index.html">Introduction to Experimental Rocket Design</A> <IMG src=
"pix/new01.gif"> <IMG src=
"pix/update1.gif"><FONT size="-2"> Jul.21/23</FONT><BR>
<LI> <A href="flight_A-2-2022.html">Launch Report - Flight A-2 (2022)</A><BR>
<LI> <A href="zeta.html"><EM>Zeta</EM> Series of Rocket Flights</A><BR>
<LI> <A href="DS.html"><EM>DS</EM> Series of Rocket Flights</A><BR>
<LI> <A href="ff3.html">Launch Report -<EM>Frostfire 3</EM> Rocket</EM></A>
<LI>
<A href="skydart1.html">Launch Report -<EM>SkyDart</EM> Rocket, Flight SD-1</A>
<LI>
<A href="skydart2.html">Launch Report -<EM>SkyDart</EM> Rocket, Flight SD-2</A>
<LI>
<A href="skydart3.html">Launch Report -<EM>SkyDart</EM> Rocket, Flight SD-3</A>
<LI>
<A href="ff-2.html">Launch Report -<EM>Frostfire Two </EM>Rocket</EM></A>
<LI>
<A href="ze-1.html">Launch Report -<EM>Zephyr </EM>Rocket, Flight <EM>Ze-1</EM></A><LI>
<A href="ze-2.html">Launch Report -<EM>Zephyr </EM>Rocket, Flight <EM>Ze-2</EM></A>
<LI>
<A href="ze-3.html">Launch Report -<EM>Zephyr </EM>Rocket, Flight <EM>Ze-3</EM></A>
<LI>
<A href="ep_rock1.html"><EM>Boreas 1</EM> Rocket</A>
<LI>
<A href="ep_lr1.html">Launch Report -- <EM>Epoch </EM>Rocket Motor (unofficial) Inaugural Flight</A>
<LI>
<A href="ep_lr2.html">Launch Report - <EM>Boreas 1</EM> Inaugural Flight</A>
<LI>
<A href="ep_lr3.html">Launch Report - <EM>Boreas 1</EM>, Flight #2</A>
<LI>
<A href="ep_lr4.html">Launch Report - <EM>Boreas 1</EM>, Flight #3</A>
<LI>
<A href="ep_lr5.html">Launch Report -<EM> Boreas 1</EM>, Flight #4</A>
<LI>
<A href="ep_lr6.html">Launch Report - <EM>Boreas 1</EM>, Flight #5</A>
<LI>
<A href="ep_lr7.html">Launch Report -<EM> Frostfire One</EM></A>
<LI>
<A href="cirrus.html">Cirrus
Project</A>
<LI>
<A href="cirr1_lr.html"><EM>Cirrus One</EM>
Launch Report</A>
<LI> <A href="ctv1.html"><EM>Cirrus TV-1</EM>
Launch Report</A>
<LI>
<A href="ckpho1.html">Launch Report - Chuck Knight's <EM>Photo1</EM> Rocket</A>
<LI>
<A href="rocket.html">Rocket Construction</A>
<LI>
<A href="fins.html">Fins for Rocket Stability</A>
<LI>
<A href="fusecon.html">Construction of a Rocket Body using sheet
aluminum</A> <LI>
<A href="fusestru.html">Rocket Body Structural Strength</A>
<LI>
<A href="launch.html">Launch Support System</A>
<LI> <A href="articles/Launch_Controller_circuit_rev_May_2017.pdf">Launch Controller Circuit</A> <IMG src=
"pix/acro.gif">
<LI> <A href="articles/emt_rocket_launcher.pdf">EMT Tripod Rocket Launcher</A> <IMG src=
"pix/acro.gif">
<LI> <A href="articles/altcalc.pdf">Simplified Method for Estimating the Flight Performance of a Rocket</A> <IMG src=
"pix/acro.gif">
<LI>
<A href="smoke.html">Smoke Tracking</A><BR> <IMG src=
"pix/update1.gif"><FONT size="-2"> Aug.2/23</FONT>
<LI>
<A href="apogee.html">Altimeter Correction to Account for Launch Site Temperature</A> <IMG src="pix/new01.gif"> <IMG src="pix/update1.gif"><FONT size=
"-2"> Dec. 9/22</FONT><BR>
<LI> <A href="articles/launchwagon.pdf">Launch Wagon Description</A> <IMG src=
"pix/acro.gif">
<BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">R</FONT>ecovery system</STRONG></FONT> <IMG src=
"pix/broline3.gif" align="bottom">
<LI>
<A href="articles/DS_recovery-system.pdf">DS Rocket Recovery System Description</A>
<LI>
<A href="pix/parachutesystem.gif">Rocket Parachute Ejection System -- <EM>Zephyr</EM>, <EM>Boreas </EM>and <EM>Frostfire </EM>series (schematic)</A>
<LI>
<A href="rtimer.html">Rocket Recovery System Timer</A>
<LI><A href="as-sys.html">Air-Speed Triggering System for Parachute Deployment</A>
<LI>
<A href="paracon.html">Parachute Design and
Construction</A><BR>
<LI>
<A href="paralst.html">Parts List (parachute construction)</A>
<LI>
<A href="paratest.html">
Parachute Structural and Drag Testing</A>
<LI>
<A href="xchute1.html">
Cross Parachute Construction</A>
<LI>
<A href="articles/1mxchute.pdf">
Construction of a <EM> 1 metre</EM> Cross Parachute</A> <IMG src=
"pix/acro.gif">
<LI>
<A href="articles/Crimson_powder_rev.1.5.pdf">
Crimson Powder for Parachute Ejection Charge (V1.5)</A> <IMG src=
"pix/acro.gif"><BR>
<LI>
<A href="articles/DED.pdf">Pyrogen - Delay Ejection Device (Pyro-DED)</A> <IMG src=
"pix/acro.gif">
<BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">T</FONT>heory</STRONG></FONT>
<IMG
src="pix/broline.gif" align="bottom">
<LI>
<A href="rtheory.html"><EM>Solid Rocket Motor</EM> Theory Index Page</A>
<LI>
<A href="th_intro.html">Introduction to <EM>Solid Rocket Motor</EM> Theory</A>
<LI>
<A href="th_ass.html">Basic Assumptions</A>
<LI>
<A href="th_grain.html">Propellant Grain</A>
<LI>
<A href="th_comb.html">Propellant Combustion</A>
<LI>
<A href="th_nozz.html">Nozzle Theory</A>
<LI>
<A href="th_thrst.html">Motor Thrust</A>
<LI> <A href="th_imp.html">Motor Impulse</A>
<LI> <A href="th_pres.html">Chamber Pressure</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Jun.13/23</FONT>
<LI>
<A href="th_2phf.htm">Two-Phase Flow</A> <IMG src="pix/update1.gif"><FONT size=
"-2"> Mar.23/23</FONT>
<LI>
<A href="th_corr.html">Corrections for Actual Rocket Motors</A>
<LI>
<A href="th_prope.html">GUIPEP Propellant Performance Software</A>
<LI>
<A href="th_appx.html">Theory Appendices</A>
<LI>
<A href="articles/nakka_theory_pages.pdf">Solid Rocket Motor Theory webpages in PDF format</A> <IMG src= "pix/acro.gif">
<LI>
<A href="articles/teoria_de_los_motores_cohete.pdf">Teoría Sobre Motores Cohete De propelente Sólido</A> (Spanish Translation) <IMG src=
"pix/acro.gif">
<LI>
<A href="articles/Solid_Rocket_Motor_Theory_PT-BR.pdf">Teoria de motor-foguete sólido</A> (Portugese Translation)
<LI>
<A href="articles/theorie.pdf">Théorie des moteurs de fusée à propulseur solide</A> (French Translation) <IMG src=
"pix/acro.gif">
<LI>
<A href="articles/RocketElementsHandout.pdf">Fundamentos de propulsão sólida de foguetes</A> (Portugese) <IMG src=
"pix/acro.gif"><FONT size=
"-2">10 Mbyte</FONT>
<LI>
<A href="eqns.html">Derivation of Selected Rocket Equations</A><BR>
<BR>
<FONT size="+1"><IMG src="pix/broline1.gif"><STRONG><FONT size=
"+2">M</FONT>iscellaneous</STRONG></FONT> <IMG src=
"pix/broline2.gif" align="bottom">
<LI>
<A href="techs3.html">Technical
Notepad - Convective Heat Transfer Coefficient Calculation</A>
<LI>
<A href="articles/3867-Article_Text-30752-1-10-20210104.pdf">Numerical Simulation of the
Under-expanded Flow in the
Experimental Conical Nozzle Helios-X</A>
<LI>
<A href="articles/3867-Texto_del_artículo-30201-2-10-20201211.pdf">Simulación Numérica del Flujo
Sub-expandido en la Tobera Cónica
Experimental Helios-X</A> <IMG src= "pix/acro.gif">
<LI>
<A href="scale.html">Construction of a Balance Scale for precision
weighing</A>
<LI>
<A href="reports.html">
Experimental Reports</A>
<LI><A name="TECHS">
<A href="download.html">Downloads</A>
<LI>
<A href="http://www.escull.net/spanishdocs/">Spanish translation of several articles featured on my website</A>
<LI>
<A href="http://www.nakka-rocketry.net/rn_thesis_arabic.pdf">Arabic translation of <EM>Solid Propellant Rocket Motor Design and Testing</EM> </A>by R.Nakka (translation by Mohamed Elaouni)<FONT SIZE=-1>(PDF format)</FONT> <IMG src=
"pix/acro.gif">
</A>
<LI>
<A href="sp8000.html">Links to over 100 NASA Space Vehicle Design (SP8000) Reports</A>
<LI>
<A href="stinet.html">Links to Selected STINET Reports</A>
<LI>
<A href="rocket-soul.html">Does a rocket have a soul...?</A>
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Richard Nakka's Experimental Rocketry Site
## Richard Nakka's *Experimental Rocketry* Web
Site
---
 
   
---
[](#whatsnew)[](#Quick)
[](#email)[](#search)
| | |
| --- | --- |
|
Latest update: December 19, 2023
| |
| --- |
| **Now available...2023 Version of Nakka-Rocketry Website
**as a downloadable file**
[Click here](cdrom.html)** for details...
|
|
###
What is this Web Site all about?
This web site is devoted to the exciting activity of **Amateur Experimental Rocketry !**
---
M**y goal in producing this web site is
to share experiences, ideas and technical details of Amateur Experimental Rocketry with
others around the world who have a similar interest. It is also my dream to help inspire a future generation of rocket engineers and scientists who will some day take us to Mars and beyond...**
---
I launched my very first
amateur rocket in 1972. Since that time, so very long ago, I've built, tested and flown many rockets,
powered by motors which I've developed. Over the duration of this time, I've kept
detailed notes of all my work, carefully logged all the flights and
other tests, and have taken countless photographs. In this web site, I am
presenting at least a portion of my work. In addition to my own efforts, I am including some
remarkable work done by others in pursuit of this exciting and challenging avocation.
###
Amateur Experimental Rocketry ?
A**mateur Experimental
Rocketry** is, in my humble opinion, one of the most
challenging, exciting and educational hobbies. Unlike Model
Rocketry or High Power Rocketry, experimental rocketry is an
activity whereby rockets are designed and constructed entirely from "scratch".
Most components -- including motor and propellant-- are self-made. The goal of Amateur Experimental
Rocketry (AER), often referred to as *Amateur
Rocketry*, *Experimental Rocketry* or *Research Rocketry*, is to design,
build, test and launch rockets. In this context, *rocket* may refer
to the motor itself, or to a complete vehicle that consists of
motor, fuselage (and stabilizing devices such as fins), nosecone,
and payload. One of the greatest challenges is to develop and build
such a motor, one that is safe to produce and operate, reliable,
and one that provides predictable and consistent performance. A
second big challenge is to develop a recovery system, such as
parachute deployment, that operates with a high degree of
reliability under the demanding conditions of launch followed by
high speed or high altitude flight. Striving to achieve these goals
(and many others) and to overcome the inevitable obstacles, is what
makes this such a challenging (and at times frustrating) and
educational pastime, and one that requires diversified skills
combined with a good dose of ingenuity. The outcome of all this,
more often than not, is that one learns to genuinely comprehend
that which is colloquially known as *Rocket Science*.
It might be said, then, that Model Rocketry and High Power Rocketry
are best suited to those who wish to *make and fly rockets*,
and Experimental Rocketry is perhaps best suited to those who
rather wish to ***make rockets fly!***
---
*Contents of this web site are presented for informational
purposes only*. Author of this web site cannot assume
responsibility for the use readers make of the information presented
herein or the devices resulting therefrom. Amateur Experimental
Rocketry has many inherent hazards that must be fully understood
before one can consider becoming actively involved. Safety must
always be considered as top priority. Anything less is a disservice
to all Amateur Experimental Rocketry enthusiasts. If you do not have first-rate common sense, or if you are
willing to take shortcuts that compromise safety, then AER is not for you.
---
###
*Latest news*
---
October 26, 2023-- Over the past 5 years I have conducted nearly 100 static test firings in support of developing propellants based on Ammonium or Potassium Perchlorate. An important aspect of this testing is the determination of burn rate parameters, which are key characteristics for designing rocket motors utilizing the (more successful) of these propellants. To aid the process, I came up with a simplified method of calculating the burn rate coefficient (*a*) and pressure exponent (*n*) of any new formulation. This method employs the time-pressure curves of two or more static test results, and provides reasonably accurate results for designing experimental motors. The method is described in my new web page [*Simplified Method to Estimate Burn Rate Parameters*](burnrate-simple.htm).Next on my agenda is to work on completing the [Introduction to Experimental Rocket Design](RD_index.html) webpages.
March 6, 2023-- I have updated my Theory page on [two-phase flow](th_2phf.htm) to be more comprehesive in providing design information for rocket motors with condensed-phase (smoke) in the exhaust. This is especially relevant for sugar propellant motors, of which the exhaust products are nearly 44% condensed-phase.
November 14, 2022-- I've been using graphite as a nozzle material for my ANCP and APCP powered experimental motors. I'd found that graphite erodes when the propellant formulations contain aluminum. This erosion is problematic for a number of reasons. Fortunately, I came up with a method of *toughening* a graphite nozzle such that erosion is essentially eliminated. I have described this method in a document I have uploaded to my site.
[Toughening Graphite for Rocket Nozzle Durability](articles/toughened_graphite.pdf)
March 9, 2022-- I have finally began working on a new series of web pages dealing with the design of experimental (EX) rockets. I had been planning to write these pages for some time now, but could never get beyond the draft stage before being sidetracked with some other rocketry project. A long and bitterly cold winter has limited my "outdoors" rocketry activities and freed up time to put earnest effort into this interesting and hopefully useful set of web pages. I eventually plan to cover all the particularly important aspects of EX rocket design including aerodynamics, stability, recovery systems, reliability and much more. At the moment, only a few of the pages have been uploaded, more pages will be added as time goes on and progress is made.
[Introduction to Experimental Rocket Design](RD_index.html)
---
###
*Quick Access to Web Pages on this
Site*
>
>
>
>
> **General** 
>
> * [Safety](safety.html) [Precautions d'usage](safetyf.html)* [Photo
> Galleries of My Early Rocketry Work, Years 1972-1986](gallery1/gallery.html)* [Rocket
> Video Clips](video.html)* [Who is Richard Nakka?](author.html)* [How I Got Started in Rocketry](beginnings.html)
>
> [*How I Got Started in Rocketry -- PDF format)*](articles/Beginnings.pdf) * [Early Rocketry Experiments](early.html) [QUICK LOADING VERSION](early-q.html)* [Rocketry related Technical
> References](techref.html)
> * [Rocketry
> software](softw.html)  Nov.10/23* [Links to Rocketry Resources](linx.html)  Dec.19/23
> * [Sneak Preview](preview.html)  Aug.25/22
> * [Lecture on Rocketry Presented in Luleå, Sweden](lulea.html)
> * [Lecture Notes - Presentation to University of Reykjavik, Iceland, May 2008](articles/AERpresentation-Reykjavik-May2008.pdf)
> * [The Art and Science of Rocketry Photography](photography.html)  Dec. 9/22
> * [List of Notable Amateur Rocket Builders](rocketeers.html)
> 
> * **Motors** * [Impulser Rocket Motor ("I"
> Class)](impulser.html)* [A-100M Rocket Motor ("G"
> Class)](A-100M.html) [Moteur de Fusée d'A-100M](a-100mf.html)* [B-200 Rocket Motor ("H"
> Class)](engine1.html)* [C-400 Rocket Motor ("I"
> Class)](engine2.html)* [A-100 Rocket Motor ("G"
> Class)](engine3.html)* [Kappa Rocket
> Motor ("K" class)](kappa.html)* [Juno Rocket
> Motor ("J" class) -- Preliminary Design](juno_p.html)* [Lambda Rocket
> Motor ("L" class) -- Preliminary Design](lambda_p.html)* [Juno Rocket
> Motor -- Static Test JDX-001 Report](jdx001.html)* [Lambda Rocket
> Motor -- Static Test LDX-001 Report](ldx001.html)* [PVC Rocket
> Motors -- Introduction and Performance ("G", "H", & "I" motors)](pvcmot4.html) * [PVC Rocket
> Motors -- Design](pvcmot5.html) * [PVC Rocket
> Motors --Tools](pvcmot6.html) * [PVC Rocket
> Motors --Construction](pvcmot7.html) * [PVC Rocket
> Motors -- Igniters, Mounts & Conclusion](pvcmot8.html) * [PVC Rocket
> Motors -- Introduction & Performance ("J/K" Class motors)](pvcmot9.html) * [PVC Rocket
> Motors - Tools,Construction & Conclusion ("J/K" Class motors)](pvcmot10.html) * [K1000 PVC Rocket
> Motor](pvcmot11.html) * [F70 PVC Rocket
> Motor](pvcmot12.html) * [Kappa ("K"
> class) rocket motor -- preliminary design](kappadx.html)* [Kappa-DX rocket
> motor -- Static Test KDX-001 Report](kdx001f.html)* [Kappa-DX rocket
> motor -- Static Test KDX-002 Report](kdx002f.html)* [Kappa-SB rocket
> motor -- Static Test KSB-001 Report](ksb001.html)* [Kappa-SB rocket
> motor -- Static Test KSB-002 Report](ksb002.html)* [Epoch rocket
> motor ("I" Class composite)](epoch.html)* [Paradigm rocket
> motor ("J" Class composite)](paradigm.html)* [Calculation of
> Total and Specific Impulse from Test Data](impcalc.html)* [Igniter Systems](igniter.html)* [Nitrate-based igniters for composite propellant](articles/Nitrate_based_igniters.pdf)* [Case-bonding
> of a High-Modulus Propellant Grain](casebond.html)* [Thermal
> Protection for Rocket Motor Casings](therm.html)* [Rocket Motor
> Design Charts -- Chamber Pressure](design1.html)  Oct. 19/22
> * [Thermal
> Ablative Experimentation](ablatex1.html)* [Machining of Rocket Nozzles](nozmach.html)* [Reinforcement Method for PVC Motor Casings](articles/pvc_reinforced.pdf) 
> * [Thermite Experiments](thermites.html)
> * [Toughening Graphite for Rocket Nozzle Durability](articles/toughened_graphite.pdf)  
>
> **Propellants** * [Amateur
> Experimental Solid Propellants](propel.html)  Dec.18/23
> * [The Potassium Nitrate/Sucrose Propellant (KNSU)](sucrose.html)* [The Potassium Nitrate/Dextrose Propellant (KNDX)](dex.html)* [The Potassium Nitrate/Sorbitol Propellant (KNSB)](sorb.html) * [The Potassium Nitrate/Potassium Perchlorate/Sorbitol Propellant (KNPSB)](knpsb.html)  Mar.23/23* [KNSU Propellant
> Chemistry and Performance Characteristics](succhem.html)* [KNDX Propellant
> Chemistry and Performance Characteristics](dexchem.html)* [KNSB Propellant
> Chemistry and Performance Characteristics](sorbchem.html)* [The Potassium Nitrate/Epoxy Composite Propellant (RNX)](rnx_int.html)  Oct. 19/22
>
> [Technical
> Notepad -- KNSU Ideal Performance Calculations](techsht-knsu.htm)* [Technical
> Notepad -- KNDX Ideal Performance Calculations](techsht-kndx.htm)* [Technical
> Notepad -- KNSB Ideal Performance Calculations](techsht-knsb.htm)* [Technical
> Notepad -- KNER Ideal Performance Calculations](techsht-kner.htm)* [Technical
> Notepad -- A24 Ideal Performance Calculations](techsht-A24.htm)* [Technical
> Notepad -- RNX-71V Ideal Performance Calculations](techsht-71V.htm)* [Technical
> Notepad -- RNX-57 Ideal Performance Calculations](techsht-57.htm)* [Technical
> Notepad -- KNPSB Ideal Performance Calculations](techsht-knpsb.htm)* [Technical
> Notepad -- KNXY Ideal Performance Calculations](techsht-knxy.htm)* [Propellant Casting and Grain Preparation for the A-100M Motor](casting1.html)* [INERT Propellant](inert.html)* [Propellant Burn Rate](burnrate.html)* [Burn Rate Determination from Static Test Pressure Measurement](ptburn.html)  Aug.31/22* [Strand Burner
> for Burn Rate Measurements](staburn.html)* [Simplified Method to Estimate Burn Rate Parameters](burnrate-simple.htm) * [KN-Dextrose
> & KN-Sorbitol Propellants -- Burn Rate
> Experimentation](bntest.html)* [Effect of
> Potassium Nitrate Grade on Propellant Performance](kn-exp.html)* [The KN-Sucrose Propellant -- A Historical Look
> Back](history.html)* [Problems
> relating to the casting of sleeve-bonded propellant segments
>
> for the Kappa-DX rocket motor Static Test KDX-001](kndxcast.html)* [Propellant
> Igniteability Experiment](ignexp.html)
> * [Propellant
> Inhibitor Experiment](inh-exp.html)
> * [Experiments with Potassium Nitrate - Epoxy Formulations](knepoxy.html)
> * [Burn Characteristics of Sorbitol Based Propellants](knsbchar.html)
> * [Experiments with Oxides and other possible Burn Rate Modifiers](oxidex.html)
> * [Synthesis of Potassium Nitrate from Other Chemicals](knsyn2.html)* [Purification of Low-grade Potassium Nitrate](knpurify.html)
>
> * [Experiments with Ammonium Nitrate / Aluminum based Propellant Formulations](anexp.html) [*Spanish translation*](AN24_traduccio.pdf)
>
> * [Development of a Metalized Ammonium Nitrate-based Propellant](anprop.html)
> * [Harvesting Aluminum Powder from Paint](alpaint.html)
>
> **Testing** * [Rocket Motor Static Testing](static.html)* [Measuring Chamber Pressure and
> Determining C-Star and Thrust Coefficient](pressure-measurement.html)* [STS-5000 Static Test Stand](sts5000f.html)* [Hydraulic Load
> Cell for Thrust measurement](hydlc.html)* [Strain Gage
> Load Cell for Thrust measurement](strainlc.html)* [Mounting Strain Gages on a Loadcell](articles/Gages.PDF) * [Strain Gages available to purchase](gages.html) * [Pressure Transformer](articles/pressure-transformer.pdf) 
>
>
> **Rockets** * [*Xi* Series of Rocket Flights](Xi.html)  Sep.12/23
> * [Introduction to Experimental Rocket Design](RD_index.html)   Jul.21/23
> * [Launch Report - Flight A-2 (2022)](flight_A-2-2022.html)
> * [*Zeta* Series of Rocket Flights](zeta.html)
> * [*DS* Series of Rocket Flights](DS.html)
> * [Launch Report -*Frostfire 3* Rocket](ff3.html)* [Launch Report -*SkyDart* Rocket, Flight SD-1](skydart1.html)* [Launch Report -*SkyDart* Rocket, Flight SD-2](skydart2.html)* [Launch Report -*SkyDart* Rocket, Flight SD-3](skydart3.html)* [Launch Report -*Frostfire Two* Rocket](ff-2.html)* [Launch Report -*Zephyr* Rocket, Flight *Ze-1*](ze-1.html)* [Launch Report -*Zephyr* Rocket, Flight *Ze-2*](ze-2.html)* [Launch Report -*Zephyr* Rocket, Flight *Ze-3*](ze-3.html)* [*Boreas 1* Rocket](ep_rock1.html)* [Launch Report -- *Epoch* Rocket Motor (unofficial) Inaugural Flight](ep_lr1.html)* [Launch Report - *Boreas 1* Inaugural Flight](ep_lr2.html)* [Launch Report - *Boreas 1*, Flight #2](ep_lr3.html)* [Launch Report - *Boreas 1*, Flight #3](ep_lr4.html)* [Launch Report - *Boreas 1*, Flight #4](ep_lr5.html)* [Launch Report - *Boreas 1*, Flight #5](ep_lr6.html)* [Launch Report - *Frostfire One*](ep_lr7.html)* [Cirrus
> Project](cirrus.html)* [*Cirrus One*
> Launch Report](cirr1_lr.html)* [*Cirrus TV-1*
> Launch Report](ctv1.html)* [Launch Report - Chuck Knight's *Photo1* Rocket](ckpho1.html)* [Rocket Construction](rocket.html)* [Fins for Rocket Stability](fins.html)* [Construction of a Rocket Body using sheet
> aluminum](fusecon.html)* [Rocket Body Structural Strength](fusestru.html)* [Launch Support System](launch.html)* [Launch Controller Circuit](articles/Launch_Controller_circuit_rev_May_2017.pdf) * [EMT Tripod Rocket Launcher](articles/emt_rocket_launcher.pdf) * [Simplified Method for Estimating the Flight Performance of a Rocket](articles/altcalc.pdf) * [Smoke Tracking](smoke.html)
>  Aug.2/23* [Altimeter Correction to Account for Launch Site Temperature](apogee.html)   Dec. 9/22
> * [Launch Wagon Description](articles/launchwagon.pdf) 
>
>
> **Recovery system** * [DS Rocket Recovery System Description](articles/DS_recovery-system.pdf)* [Rocket Parachute Ejection System -- *Zephyr*, *Boreas* and *Frostfire* series (schematic)](pix/parachutesystem.gif)* [Rocket Recovery System Timer](rtimer.html)* [Air-Speed Triggering System for Parachute Deployment](as-sys.html)* [Parachute Design and
> Construction](paracon.html)
> * [Parts List (parachute construction)](paralst.html)* [Parachute Structural and Drag Testing](paratest.html)* [Cross Parachute Construction](xchute1.html)* [Construction of a *1 metre* Cross Parachute](articles/1mxchute.pdf) * [Crimson Powder for Parachute Ejection Charge (V1.5)](articles/Crimson_powder_rev.1.5.pdf) 
> * [Pyrogen - Delay Ejection Device (Pyro-DED)](articles/DED.pdf) 
>
>
> **Theory**
> * [*Solid Rocket Motor* Theory Index Page](rtheory.html)* [Introduction to *Solid Rocket Motor* Theory](th_intro.html)* [Basic Assumptions](th_ass.html)* [Propellant Grain](th_grain.html)* [Propellant Combustion](th_comb.html)* [Nozzle Theory](th_nozz.html)* [Motor Thrust](th_thrst.html)* [Motor Impulse](th_imp.html)* [Chamber Pressure](th_pres.html)  Jun.13/23* [Two-Phase Flow](th_2phf.htm)  Mar.23/23* [Corrections for Actual Rocket Motors](th_corr.html)* [GUIPEP Propellant Performance Software](th_prope.html)* [Theory Appendices](th_appx.html)* [Solid Rocket Motor Theory webpages in PDF format](articles/nakka_theory_pages.pdf) * [Teoría Sobre Motores Cohete De propelente Sólido](articles/teoria_de_los_motores_cohete.pdf) (Spanish Translation) * [Teoria de motor-foguete sólido](articles/Solid_Rocket_Motor_Theory_PT-BR.pdf) (Portugese Translation)
>
> * [Théorie des moteurs de fusée à propulseur solide](articles/theorie.pdf) (French Translation) * [Fundamentos de propulsão sólida de foguetes](articles/RocketElementsHandout.pdf) (Portugese) 10 Mbyte* [Derivation of Selected Rocket Equations](eqns.html)
>
>
>
> **Miscellaneous** * [Technical
> Notepad - Convective Heat Transfer Coefficient Calculation](techs3.html)* [Numerical Simulation of the
> Under-expanded Flow in the
> Experimental Conical Nozzle Helios-X](articles/3867-Article_Text-30752-1-10-20210104.pdf)* [Simulación Numérica del Flujo
> Sub-expandido en la Tobera Cónica
> Experimental Helios-X](articles/3867-Texto_del_artículo-30201-2-10-20201211.pdf) * [Construction of a Balance Scale for precision
> weighing](scale.html)* [Experimental Reports](reports.html)* [Downloads](download.html)
> * [Spanish translation of several articles featured on my website](http://www.escull.net/spanishdocs/)* [Arabic translation of *Solid Propellant Rocket Motor Design and Testing*](http://www.nakka-rocketry.net/rn_thesis_arabic.pdf) by R.Nakka (translation by Mohamed Elaouni)(PDF format) * [Links to over 100 NASA Space Vehicle Design (SP8000) Reports](sp8000.html)* [Links to Selected STINET Reports](stinet.html)* [Does a rocket have a soul...?](rocket-soul.html)
>
>
>
>
>
> ---
>
>
>
>
>
> | |
> | --- |
> | If you have any questions or comments **feel free to send me e-mail
> Include the word "rocketry" in the subject line to ensure your e-mail gets past my spam filter** |
>
>
>
>
> ---
>
>
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> viewing, graphics, & downloading problems are much appreciated
> !
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> Web |
> nakka-rocketry.net |
>
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>
>
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>
> |
>
> ### This site originally posted July 1997
>
>
>
>
>
>
>
> ---
>
>
>
> *"A man's reach should exceed his grasp...else,
> what's the heavens for?"*
>
>
>
> [](dedicate.html)
>
>
>
>
>
> ---
>
>
>
>
>
>
>
>
>
| http://www.nakka-rocketry.net/ |
<HTML>
<HEAD>
<TITLE>Håkan's ABYSS page: Behind The Scenes</TITLE>
</HEAD>
<BODY alink="#ff0000" bgcolor="#000000" link="#ffffff" text="#ffffff" vlink="#ffffff">
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<BR></TD>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=40%>
<IMG SRC="abpics/abscene.gif">
<BR>
These photos were taken by <b>Mike Prendergast</b> in 1994,<BR>
any questions can be mailed to him at <A HREF="mailto:nemo64@ix.netcom.com">nemo64@ix.netcom.com</A>
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<img src="abpics/set1.jpg">
<BR></TD>
<TD ALIGN=LEFT WIDTH=40%>
<BR>
<b><i>Picture 1</i></b><BR>
Left view of the entire full size Deepcore exterior in a tank. Although you can't see it on the scan, written across the top bar facing you it says "TM & (C) TWENTIETH CENTURY FOX FILM CORP." Just in case you were going to forget who paid for it.<BR>
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<BR>
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<BR>
<b><i>Picture 2</i></b><BR>
Right view of Deepcore.
<BR></TD>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set2.jpg">
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=RIGHT VALIGN=TOP WIDTH=50%>
<img src="abpics/set3.jpg">
</TD>
<TD ALIGN=LETF WIDTH=40%>
<b><i>Picture 3</i></b><BR>
The decompression chamber.
<br>
</TD>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 4</i></b><BR>
Central control area, where Deepcore is
piloted from. The missing area on the far right of the picture
is where the front window and controls were removed for the
special effects post-processing shots.
<br>
</TD>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<BR>
<img src="abpics/set4.jpg">
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set5.jpg">
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 5</i></b><BR>
Kitchen.
<br>
</TD>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 6</i></b><BR>
Maintenance Room B. The white table is where the
warhead was kept.
<br>
</TD>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set6.jpg">
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set7.jpg">
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 7</i></b><BR>
Maintenance room B. Low Angle.
<br>
</TD>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 8</i></b><BR>
Machinery room, looking towards the
battery room.
<br>
</TD>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set8.jpg">
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<TABLE ALIGN=CENTER CELLPADDING=1 WIDTH=100%>
<TR>
<TD ALIGN=CENTER VALIGN=TOP WIDTH=50%>
<img src="abpics/set9.jpg" align=left>
</TD>
<TD ALIGN=LEFT WIDTH=40%>
<b><i>Picture 9</i></b><BR>
Bud's room.<br>
</TD>
<TD ALIGN=CENTER WIDTH=10%>
<BR>
</TD>
</TR>
</TABLE>
<BR>
<IMG SRC="pics/line.gif" WIDTH=90% ALIGN="CENTER">
<BR>
<BR>
[<A onMouseOver="window.status='Back to main Abyss page'; return true" HREF="Abyss.html">Back to main Abyss page</A>] or
<BR>
[<A onMouseOver="window.status='The actors from The Abyss'; return true" HREF="ab-actors.html">Actors</A>]
[<A onMouseOver="window.status='Audios from The Abyss'; return true" HREF="ab-audio.html">Audios</A>]
[<A onMouseOver="window.status='Behind the making of The Abyss'; return true" HREF="ab-behind.html">Behind</A>]
[<A onMouseOver="window.status='Images from The Abyss'; return true" HREF="ab-images.html">Images</A>]
[<A onMouseOver="window.status='Links to other sites'; return true" HREF="ab-links.html">Links</A>]
[<A onMouseOver="window.status='Quotes from The Abyss'; return true" HREF="ab-quotes.html">Quotes</A>]
<BR>
<IMG ALT="Ups!" SRC="./cgi/tracker.cgi">
</center>
</body>
</html>
|
Håkan's ABYSS page: Behind The Scenes
| | | |
| --- | --- | --- |
|
|
These photos were taken by **Mike Prendergast** in 1994,
any questions can be mailed to him at [nemo64@ix.netcom.com](mailto:nemo64@ix.netcom.com) | |
| | | |
| --- | --- | --- |
|
|
***Picture 1***
Left view of the entire full size Deepcore exterior in a tank. Although you can't see it on the scan, written across the top bar facing you it says "TM & (C) TWENTIETH CENTURY FOX FILM CORP." Just in case you were going to forget who paid for it. | |
| | | |
| --- | --- | --- |
| |
***Picture 2***
Right view of Deepcore.
| |
| | | |
| --- | --- | --- |
| | ***Picture 3***
The decompression chamber.
| |
| | | |
| --- | --- | --- |
| | ***Picture 4***
Central control area, where Deepcore is
piloted from. The missing area on the far right of the picture
is where the front window and controls were removed for the
special effects post-processing shots.
|
|
| | | |
| --- | --- | --- |
| | ***Picture 5***
Kitchen.
| |
| | | |
| --- | --- | --- |
| | ***Picture 6***
Maintenance Room B. The white table is where the
warhead was kept.
| |
| | | |
| --- | --- | --- |
| | ***Picture 7***
Maintenance room B. Low Angle.
| |
| | | |
| --- | --- | --- |
| | ***Picture 8***
Machinery room, looking towards the
battery room.
| |
| | | |
| --- | --- | --- |
| | ***Picture 9***
Bud's room. | |
[[Back to main Abyss page](Abyss.html)] or
[[Actors](ab-actors.html)]
[[Audios](ab-audio.html)]
[[Behind](ab-behind.html)]
[[Images](ab-images.html)]
[[Links](ab-links.html)]
[[Quotes](ab-quotes.html)]
| http://www.lysator.liu.se/~hakgu/ab-behind2.html |
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Juggling Information Service
#
[Juggling Information Service](Icon/jis.map)
Welcome to the World Wide Web's **Juggling Information Service**,
serving the Internet juggling community by connecting all of the
juggling related resources that we can find. If you're a juggler, or
want to learn to juggle, or just want some information on juggling,
this is the place to be.
Send comments, material to add, and suggestions for improving this service
to [**jis@juggling.org**](mailto:jis@juggling.org).
---
[What's New](jis/whatsnew.html)
Here's a log of what has changed since the initial announcement of
this service. Check it out to see what is new since your last visit.
[Juggling Help](help/)
Files with helpful suggestions from fellow jugglers.
Topics include 4 balls, 5 balls, warming up, numbers, Mill's mess,
site-swaps, and much more.
[Jugglers' Home Pages](home/)
Here are links to all of the home pages of jugglers that we know of.
Create your own and get added to the list.
You can even create your own home page at the JIS. Help grow the web!
[News and Old News](news/)
Here you will find a wealth of information via the USENET newsgroup
rec.juggling, including access to the complete archive of the newsgroup
and the old listserver that preceded it.
[Picture Gallery](pics/)
A collection of juggling photographs, drawings, artwork, logos, and clip art.
[Movie Theater](animations/)
Juggling videos and animations for UNIX machines, PC's, and Macs.
[Juggler's Mall](mall/)
Yes, you can now order juggling props through the Internet.
What vendors sell props? Come shop at the mall.
[Festivals](festivals/)
Any festivals coming up?
[Club Meetings](meetings/)
Is there a juggling group that meets nearby?
[Magazine Rack](publications/)
Bits and pieces of various juggling publications, including
Juggler's World, Kaskade, Two-Ply Press, and others.
[Juggler's World Archive](jw/)
An archive of complete issues of *Juggler's World* magazine,
the quarterly publication of the International Juggler's Association.
[Juggling in the Media](media/)
This section covers juggling books, videos, and articles,
as well as juggling scenes in movies and on TV.
[Juggling Software](programs/)
Programs that are used to simulate juggling and view site swaps,
plus any other juggling related software.
[Juggling Organizations](orgs/)
Information about the various organizations of jugglers,
how to contact them, and what services they provide.
[Search for Any Words or Phrases](search/)
Search for desired words or phrases within the text of all
files in the JIS. If it's here, now you can find it.
[About the Juggling Information Service](jis/)
If you're interested in this service, want to help, or have other
questions about the service itself, here's where to look.
---
Juggling Information Service /
[Barry Bakalor](http://www.hijinks.com/~barry/) /
[jis@juggling.org](mailto:jis@juggling.org)
© 1997 Juggling Information Service. All Rights Reserved.
| http://www.juggling.org/ |
<!DOCTYPE html PUBLIC "-//w3c//dtd html 4.0 transitional//en">
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1">
<meta name="Author" content="Dan Johnson">
<meta name="GENERATOR" content="Mozilla/4.79 [en] (Win98; U) [Netscape]">
<meta name="Description" content="WWII German Luftwaffe experimental aircraft projects">
<meta name="KeyWords" content="luftwaffe, WWII, aviation, jets, German, experimental, projects, aircraft projects, rocket, secret, weapons, aircraft, airplanes, model">
<title>Luft '46 - WWII German aircraft projects</title>
</head>
<body text="#000000" bgcolor="#f2f0f0" link="#3333ff" vlink="#993366" alink="#00cc00" background="back2.gif">
<center><img src="logo-1a.gif" height="85" width="750">
<br>
<b><font face="Arial,Helvetica"><font size="-1">During WWII, German aircraft
designers put forth many aircraft project ideas, which ranged from the</font></font></b><br>
<b><font face="Arial,Helvetica"><font size="-1">practical to the bizarre.
Some of these ideas were ahead of their time and reached a more advanced</font></font></b><br>
<b><font face="Arial,Helvetica"><font size="-1">design stage, and even affect
aircraft today. Within the pages of Luft '46 you will find descriptions of</font></font></b><br>
<b><font face="Arial,Helvetica"><font size="-1">these aircraft projects,
illustrated with three-view drawings, model photos and custom color artwork....</font></font></b>
<hr width="100%"></center>
<center>
<table width="100%">
<tbody>
<tr align="Center" valign="Top">
<td valign="Top"><b>Last update:</b> July 9<br>
<a href="http://www.luft46.com/horten/hox.html">Updated Horten Ho X</a>
<br>
<p><b>New art:</b> March 29<br>
Richard Lewis Mendes <br>
Martin Letts<br>
(see <a href="http://www.luft46.com/luftart.html">Luft Art</a>
page)</p>
</td>
<td bgcolor="#ffffff"><a href="http://aerocinema.com/index.php"><img src="aerocin.gif" alt="" width="474" height="103" border="1">
</a>
<br>
<b>I would like to invite all Luft '46 viewers and aviation history
enthusiasts<br>
to visit AeroCinema, an online documentary channel showing feature-length
films<br>
and short stories that provide a detailed look at the most exciting aircraft
of years-gone-by!</b><br>
<br>
<small>There are several Luft '46 themed selections that were originally
planned for an international</small><small> documentary series.<br>
Titles such as <i>Emergency Fighter</i> and <i>Schnellbomber</i> feature
amazing new</small><small> animations blended with<br>
live action and archival footage. Simply click on the image above </small><small>
to check out the trailers or sign up<br>
for a subscription for unlimited access to hours</small><small> of
documentaries, interviews and shorts.</small><br>
</td>
<td><b>Recent entries:</b><br>
<a href="http://www.luft46.com/henschel/hsp75.html">Updated Henschel
Hs P.75</a>
<br>
<a href="http://www.luft46.com/misc/hu136.html">Hütter 136 Stubo
1 & 2</a>
<br>
<a href="http://www.luft46.com/lippisch/lip09-1.html">Lippisch Li P.09</a>
<br>
<a href="http://www.luft46.com/arado/artew15.html">Arado Ar TEW 16/43-15</a>
<br>
<a href="http://www.luft46.com/prototyp/he176.html">Heinkel He 176
(Prototypes)</a>
<br>
<a href="http://www.luft46.com/heinkel/hep1078c.html">Heinkel He P.1078C</a>
<br>
<a href="http://www.luft46.com/arado/are381.html">Arado Ar E.381</a>
<br>
</td>
</tr>
<tr align="Center">
<td> </td>
<td><b><a href="http://groups.yahoo.com/group/Luft46/">Luft '46 Email
Updates</a>
</b> <b><a href="http://www.luft46.com/survey.html">
Luft '46 Website Survey</a>
</b></td>
<td> </td>
</tr>
<tr align="Center" valign="Top">
<td width="25%" bgcolor="#c5c4c1"><b><font size="-1">Check out the
additional</font></b><br>
<b><font size="-1">Luft '46 information below</font></b>
<hr size="1" width="100%">
<center>
<table border="0">
<tbody>
<tr align="Center">
<td align="Center" valign="Top"><b><font face="Tahoma"><a href="http://www.luft46.com/luftart.html">
Luft Art</a>
</font></b></td>
</tr>
<tr align="Center">
<td align="Center" valign="Top"><b><font face="Tahoma"><a href="http://www.luft46.com/profiles/profiles.html">
Aircraft Profiles</a>
</font></b></td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="http://www.luft46.com/credits.html">
Announcements</a>
</font></b><br>
<b><font face="Tahoma"><a href="http://www.luft46.com/credits.html">
& Updates List</a>
</font></b></td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="http://www.luft46.com/referenc.html">
References</a>
</font></b></td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="http://www.luft46.com"> Model
Photos</a>
</font></b></td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="http://www.luft46.com/modelist.html">
Model List</a>
</font></b></td>
</tr>
<tr align="Center">
<td><br>
</td>
</tr>
<tr>
<td> <b><a href="http://www.luft46.com/newprods.html">New
Products Page</a>
</b></td>
</tr>
<tr>
<td valign="Top"><br>
</td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="cards1.html">Luft '46</a>
</font></b><br>
<b><font face="Tahoma"><a href="cards1.html">Collector Cards</a>
</font></b></td>
</tr>
<tr>
<td> </td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="pjtlstar.html">WWII German</a>
</font></b><br>
<b><font face="Tahoma"><a href="pjtlstar.html"> Aircraft Projects</a>
</font></b><br>
<b><font face="Tahoma"><a href="pjtlstar.html"> List</a>
</font></b></td>
</tr>
<tr>
<td> </td>
</tr>
<tr align="Center">
<td><b><font face="Tahoma"><a href="http://www.luft46.com/lpa.html">
Luftwaffe Project</a>
</font></b><br>
<b><font face="Tahoma"><a href="http://www.luft46.com/lpa.html">
Aircraft Booklet</a>
</font></b><br>
<b><font face="Tahoma"><a href="http://www.luft46.com/lpa.html">
Series</a>
</font></b></td>
</tr>
<tr>
<td valign="Top"><br>
</td>
</tr>
<tr>
<td valign="Top" align="Center"><b><font face="Tahoma"><a href="mailto:djohnson138@cox.net">
Email Me</a>
</font></b><br>
</td>
</tr>
</tbody>
</table>
</center>
</td>
<td width="50%">
<hr width="100%"><font size="+1"><a href="http://www.luft46.com/l46scope.html">
Luft '46 Scope & Purpose</a>
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<center><b><font size="-1">Please click on the links below</font></b></center>
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<td align="Center" valign="Top"><b><font face="Tahoma"><a href="http://www.luft46.com/arado/arado.html">
Arado</a>
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(17)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/bv/bv.html">
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Daimler Benz</a>
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(6)</font></font></td>
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Dornier</a>
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(5)</font></font></td>
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Focke-Wulf</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(29)</font></font></td>
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Gotha</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(4)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/heinkel/heinkel.html">
Heinkel</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(17)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/henschel/henschel.html">
Henschel</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(5)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/horten/horten.html">
Horten</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(4)</font></font></td>
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Junkers</a>
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(14)</font></font></td>
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Lippisch</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(19)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/mess/mess.html">
Messerschmitt</a>
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(40)</font></font></td>
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<tr>
<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/misc/misc.html">
Various</a>
</font><font face="Arial,Helvetica"><font size="-2"> (11)</font></font></b></td>
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<hr width="100%"><b><font face="Tahoma"><a href="http://www.luft46.com/armament/armament.html">
Armament</a>
</font><font face="Arial,Helvetica"><font size="-2"> (4)</font></font></b></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/missile/missile.html">
Missiles</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(4)</font></font></td>
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<td><b><font face="Tahoma"><a href="http://www.luft46.com/oddities/oddities.html">
Oddities</a>
</font></b><font face="Arial,Helvetica"><font size="-2"> (3)</font></font></td>
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<td align="Center"><b><font face="Tahoma"><a href="http://www.luft46.com/prototyp/prototyp.html">
Prototypes</a>
</font></b><font face="Arial,Helvetica"><font size="-2">
(6)</font></font></td>
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AeroCinema</a>
</font></font></b></td>
<td><b><font face="Tahoma"><font size="-1"><a href="http://www.luft46.com/Myhra/dmyhra.html">
David Myhra's</a>
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Books</a>
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<td><b><font face="Tahoma"><font size="-1"><a href="http://www.luft46.com/hpmpub/hpmpub.html">
HPM</a>
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Publications</a>
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John Baxter's</a>
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Books</a>
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Marsh Models</font></font></b></a>
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Anigrand Models</a>
</font></font></b></td>
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Aeroplane Books</a>
</font></font></b></td>
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Antares Models</a>
</font></font></b></td>
<td valign="Top" align="Center"><b><font face="Tahoma"><font size="-1"><a href="http://www.capehobby.com" target="_new">
Cape Hobby & Gift</a>
</font></font></b></td>
<td valign="Top" align="Center"><b><font face="Tahoma"><font size="-1"><a href="http://www.fliegerhorst.com" target="_new">
Fliegerhorst Models</a>
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<center><b><font face="Arial,Helvetica"><font size="+1">©</font> <font size="-1">
Copyright 1997- 2021 by Dan Johnson</font></font></b><br>
<b><font face="Arial,Helvetica"><font size="-1">Please <a href="mailto:djohnson138@cox.net">
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|
Luft '46 - WWII German aircraft projects
**During WWII, German aircraft
designers put forth many aircraft project ideas, which ranged from the**
**practical to the bizarre.
Some of these ideas were ahead of their time and reached a more advanced**
**design stage, and even affect
aircraft today. Within the pages of Luft '46 you will find descriptions of**
**these aircraft projects,
illustrated with three-view drawings, model photos and custom color artwork....**
---
| | | |
| --- | --- | --- |
| **Last update:** July 9
[Updated Horten Ho X](http://www.luft46.com/horten/hox.html)
**New art:** March 29
Richard Lewis Mendes
Martin Letts
(see [Luft Art](http://www.luft46.com/luftart.html)
page) |
**I would like to invite all Luft '46 viewers and aviation history
enthusiasts
to visit AeroCinema, an online documentary channel showing feature-length
films
and short stories that provide a detailed look at the most exciting aircraft
of years-gone-by!**
There are several Luft '46 themed selections that were originally
planned for an international documentary series.
Titles such as *Emergency Fighter* and *Schnellbomber* feature
amazing new animations blended with
live action and archival footage. Simply click on the image above
to check out the trailers or sign up
for a subscription for unlimited access to hours of
documentaries, interviews and shorts. | **Recent entries:**
[Updated Henschel
Hs P.75](http://www.luft46.com/henschel/hsp75.html)
[Hütter 136 Stubo
1 & 2](http://www.luft46.com/misc/hu136.html)
[Lippisch Li P.09](http://www.luft46.com/lippisch/lip09-1.html)
[Arado Ar TEW 16/43-15](http://www.luft46.com/arado/artew15.html)
[Heinkel He 176
(Prototypes)](http://www.luft46.com/prototyp/he176.html)
[Heinkel He P.1078C](http://www.luft46.com/heinkel/hep1078c.html)
[Arado Ar E.381](http://www.luft46.com/arado/are381.html)
|
| | **[Luft '46 Email
Updates](http://groups.yahoo.com/group/Luft46/)** **[Luft '46 Website Survey](http://www.luft46.com/survey.html)** | |
| **Check out the
additional**
**Luft '46 information below**
---
| |
| --- |
| **[Luft Art](http://www.luft46.com/luftart.html)** |
| **[Aircraft Profiles](http://www.luft46.com/profiles/profiles.html)** |
| **[Announcements](http://www.luft46.com/credits.html)**
**[& Updates List](http://www.luft46.com/credits.html)** |
| **[References](http://www.luft46.com/referenc.html)** |
| **[Model
Photos](http://www.luft46.com)** |
| **[Model List](http://www.luft46.com/modelist.html)** |
| |
| **[New
Products Page](http://www.luft46.com/newprods.html)** |
| |
| **[Luft '46](cards1.html)**
**[Collector Cards](cards1.html)** |
| |
| **[WWII German](pjtlstar.html)**
**[Aircraft Projects](pjtlstar.html)**
**[List](pjtlstar.html)** |
| |
| **[Luftwaffe Project](http://www.luft46.com/lpa.html)**
**[Aircraft Booklet](http://www.luft46.com/lpa.html)**
**[Series](http://www.luft46.com/lpa.html)** |
| |
| **[Email Me](mailto:djohnson138@cox.net)** |
|
---
[Luft '46 Scope & Purpose](http://www.luft46.com/l46scope.html)
**Please sign my Guest Book before**
**leaving, I value your comments...**
[Guestbook by Lpage](http://www.Lpage.com/)
[Sign My
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[View My
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[Free Counters](http://easyhitcounters.com/)
*since 1/15/97*
Search through Luft '46 below
| | | | |
| --- | --- | --- | --- |
|
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| --- | --- | --- |
| [PicoSearch](http://www.picosearch.com) | | |
|
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| --- | --- | --- | --- |
|
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|
|
|
|
[AVIATION TOP 100 - www.avitop.com](http://www.avitop.com/aviation/default.asp?UserId=181)
Avitop.com
|
| **Please click on the links below**
**for aircraft project listings**
| |
| --- |
| **[Arado](http://www.luft46.com/arado/arado.html)**
(17) |
| **[Blohm & Voss](http://www.luft46.com/bv/bv.html)
(32)** |
| **[BMW](http://www.luft46.com/bmw/bmw.html)**
(8) |
| **[Daimler Benz](http://www.luft46.com/db/db.html)**
(6) |
| **[Dornier](http://www.luft46.com/dornier/dornier.html)**
(5) |
| **[Focke-Wulf](http://www.luft46.com/fw/fw.html)**
(29) |
| **[Gotha](http://www.luft46.com/gotha/gotha.html)**
(4) |
| **[Heinkel](http://www.luft46.com/heinkel/heinkel.html)**
(17) |
| **[Henschel](http://www.luft46.com/henschel/henschel.html)**
(5) |
| **[Horten](http://www.luft46.com/horten/horten.html)**
(4) |
| **[Junkers](http://www.luft46.com/junkers/junkers.html)**
(14) |
| **[Lippisch](http://www.luft46.com/lippisch/lippisch.html)**
(19) |
| **[Messerschmitt](http://www.luft46.com/mess/mess.html)**
(40) |
| **[Various](http://www.luft46.com/misc/misc.html)
(11)** |
|
---
**[Armament](http://www.luft46.com/armament/armament.html)
(4)** |
| **[Missiles](http://www.luft46.com/missile/missile.html)**
(4) |
| **[Oddities](http://www.luft46.com/oddities/oddities.html)** (3) |
| **[Prototypes](http://www.luft46.com/prototyp/prototyp.html)**
(6) |
|
---
| | | | | | |
| --- | --- | --- | --- | --- | --- |
| **[AeroCinema](http://aerocinema.com/index.php)** | **[David Myhra's](http://www.luft46.com/Myhra/dmyhra.html)**
**[Books](http://www.luft46.com/Myhra/dmyhra.html)** | **[HPM](http://www.luft46.com/hpmpub/hpmpub.html)**
**[Publications](http://www.luft46.com/hpmpub/hpmpub.html)** | **[Reichdreams](http://www.luft46.com/rd/rdreams.html)**
**[Research Services](http://www.luft46.com/rd/rdreams.html)** | **[John Baxter's](http://www.luft46.com/jbbooks.html)**
**[Books](http://www.luft46.com/jbbooks.html)** | **[Sharkit](http://www.sharkit.com/)** |
| **[HBM](http://www.luft46.com/hbm/hbm.html)**
**[Models](http://www.luft46.com/hbm/hbm.html)** | **[Modeler's Paradise](http://www.modelers-paradise.com/)** | **[Unicraft Models](http://www.unicraft.biz/)** | **[48 Special Models](http://www.48specialmodels.com)** | **[Airmodel Products](http://www.airmodel.de/)** | [**Marsh Models**](http://www.marshmodels.com) |
| | **[Anigrand Models](http://www.anigrand.com)** | **[Aeroplane Books](http://www.aeroplanebooks.com)** | **[Antares Models](http://www.antaresmodels.com)** | **[Cape Hobby & Gift](http://www.capehobby.com)** | **[Fliegerhorst Models](http://www.fliegerhorst.com)** |
**©
Copyright 1997- 2021 by Dan Johnson**
**Please [email](mailto:djohnson138@cox.net)
for permission to reproduce any part of this website**
---
**NOW AVAILABLE!**
[**Luft '46 Collector Cards**](cards1.html)
[](cards1.html)
[](http://t.extreme-dm.com/?login=luft46)
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<h1>Cornelia-style archive maker</h1>
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This page works the same way that the <a href="http://userscripts.org/scripts/show/141749">userscript</a> does, except that here all file types (including images) are converted, and you can't post anything.
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</form>
<script src="cornarx.js"></script>
<div style="text-align:right;position:fixed;bottom:3px;right:3px;width:100%;z-index:999999;cursor:pointer;line-height:0;display:block;"><a target="_blank" href="https://www.freewebhostingarea.com" title="Free Web Hosting with PHP5 or PHP7"><img alt="Free Web Hosting" src="https://www.freewebhostingarea.com/images/poweredby.png" style="border-width: 0px;width: 180px; height: 45px; float: right;"></a></div>
</body></html>
|
Cornelia-style archive maker
# Cornelia-style archive maker
Choose a file to embed below.
This page works the same way that the [userscript](http://userscripts.org/scripts/show/141749) does, except that here all file types (including images) are converted, and you can't post anything.
But you can save the results and post them yourself.
[](https://www.freewebhostingarea.com "Free Web Hosting with PHP5 or PHP7")
| http://cornarx.6te.net/ |
<html>
<head>
<meta http-equiv="content-type" content="text/html; charset=windows-1252">
<meta http-equiv="imagetoolbar" content="false">
<meta name="description" content="An international catalogue of superheroes">
<meta name="keywords" content="british, robot archie, steel claw, zenith, steel commando, amazing three, spider, kelly's eye, billy whiz, tri-man, streamline, cat girl, adam eterno, fishboy, king cobra, tanya, blue wizard, oakman, southern squadron, northguard, superhero, japan, leopard from lime street, billy the cat, marvelman, japanese, chinese, dredd, lion, valiant, hotspur, alan moore, anime, manga, comics, sandman, gaiman">
<title>International Superheroes</title>
</head>
<body oncontextmenu="return false" ondragstart="return false" onselectstart="return false"
oncontext="return false" style="background-image: url("parchmnt.gif");"
vlink="#ff0000">
<p align="Center"> <img src="banner1.jpg" align="Middle" height="260" width="750"><a
href="g/glossary.htm"></a> </p>
<p align="Center"> <a href="g/glossary.htm">Browse the site alphabetically</a>
<big>*</big> <a href="#Browse">Browse the site by country</a> <big>*</big>
<a href="u/update.htm">Recent Updates</a><big> *</big> <a href="f/faq.htm">F.A.Q.</a>
<big>*</big> <a href="l/links.htm">Links</a> <big>*</big> <a href="b/buy.htm">Where
can I buy...?</a> <big>*</big> <a href="#Nation">Some Notes on
Defining Nationality</a> <big>*</big> <a href="s/scorecards.htm">Scorecards</a>
<big>*</big> <a href="o/omniverse.htm">Omniverse</a> </p>
<p align="Center"> </p>
<hr>
<p align="Center"><a href="r/reviews.htm">News, Reviews, Previews &
Recommendations</a><br>
Comic-related Kickstarters, current British comics, collected editions of
British comic strips, and anything else I think is worth recommending.<a href="r/reviews.htm"></a></p>
<center> </center>
<p align="Justify"> </p>
<hr>
<p align="Justify"> Welcome to the International Catalogue of Superheroes.
The purpose of this site is to build up a database of information about
various superhero characters from around the world. For decades American
comics, and especially those from two prolific publishing houses, have
dominated if not the market, then certainly the public's perception of it.
There are few people in the world who would not recognise Superman,
Batman, Spider-Man or the X-Men, and there are hundreds of websites
devoted to those characters. That is not the focus of this site. One day,
perhaps, I will start to index those famous characters, but that day, if
it comes about, is some way off. </p>
<p align="Justify"> Instead this site is intended to cover less well known,
but no less worthy, creations. In particular it aims to showcase some of
the international diversity that exists in the superhero world. There are
large sections devoted to heroes from Britain, France, Canada, Australia,
Japan and many other countries, which continue to expand as I learn more
about the heroes of each of those countries. From the U.S.A. I've tried to
give coverage to characters who appeared in many Independent comics (e.g.
non-Marvel or D.C.), as well as film and television. </p>
<p align="Justify"> It's an ongoing process and will never be finished, as
there will always be new characters being created, old ones being
unearthed, and further information on existing ones coming to light. The
first thing I always do with any encyclopedia or "Handbook" is look for
certain favourite, but obscure, characters, to see what has been missed
out. If you do the same, and find that I am missing someone you think
needs including, or have erroneous information (bear in mind that a lot of
times, especially with older characters, I am going on second hand
information) then please <a href="f/faq.htm#Email">e-mail</a> me.
Contributions are always welcome. </p>
<p align="Justify"> While I've tried to go to the original source material
as much as possible, nonetheless some of my information has, by necessity,
been taken from on-line. Where this is the case I try to contact whatever
site I've cribbed from for permission, and to give credit to the original
source - if you see something here that you think has come from your site,
and I haven't contacted or credited you or you wish me to remove it,
please <a href="f/faq.htm#Email">e-mail</a> me so I can fix whatever I've
done wrong. I'll state it below in a proper disclaimer, but for the
record I intend this to be a work of reference so any copyrighted images
I'm using are for those purposes only; copyright still belongs to the
original holder; and if that copyright owner or their representatives want
me to take something off the site I will do so upon request. </p>
<p align="Justify"> I'd also like to take this opportunity to thank the many
contributors who have helped by sending in pictures or information; many
of the national pages in particular would be much less developed without
their assistance. When the site was younger and smaller, I tried to list
them here, but that has long since become impossible, so now the
individual thanks tends to be on specific pages; that does not make me any
less grateful for the help provided. </p>
<p align="Justify"> </p>
<hr>
<p align="Center"> <a name="Browse"><big>Browse the site by country</big></a>
</p>
<center>
<table align="Center" cellpadding="2">
<tbody>
<tr>
<td colspan="4">
<p align="Center"> <b>Asia</b></p>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td colspan="6">
<p align="Center"> <b>Europe</b></p>
</td>
</tr>
<tr>
<td>
<p align="Center"> <a href="c/china.htm">China/Zhongguo</a></p>
</td>
<td>
<p align="Center"> <a href="i/india.htm">India/Bharat</a></p>
</td>
<td>
<p align="Center"> <a href="i/israel.htm">Israel</a></p>
</td>
<td>
<p align="Center"> <a href="j/japan.htm">Japan/Nippon</a></p>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> <a href="b/belgium.htm">België/Belgique</a></p>
</td>
<td>
<p align="Center"> <a href="g/germany.htm">Deutschland</a></p>
</td>
<td>
<p align="Center"> <a href="s/spain.htm">España</a></p>
</td>
<td>
<p align="Center"> <a href="f/finland.htm">Finland/Suomi</a></p>
</td>
<td>
<p align="Center"> <a href="f/french.htm">France</a></p>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
</tr>
<tr>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> <a href="i/italy.htm">Italia</a></p>
</td>
<td>
<p align="Center"> <a href="n/nederland.htm">Nederland</a></p>
</td>
<td>
<p align="Center"> <a href="s/sweden.htm">Sverige</a></p>
</td>
<td>
<p align="Center"> <a href="u/uk.htm">U.K.</a></p>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
<td>
<p align="Center"> </p>
<br>
</td>
</tr>
</tbody>
</table>
</center>
<p align="Center"> </p>
<center>
<table align="Center" cellpadding="2">
<tbody>
<tr>
<td colspan="3">
<p align="Center"> <b>North & Central America</b></p>
</td>
<td><br>
</td>
<td><br>
</td>
<td colspan="3">
<p align="Center"> <b>Pacific</b></p>
</td>
<td><br>
</td>
<td><br>
</td>
<td colspan="3">
<p align="Center"> <b>South America</b></p>
</td>
</tr>
<tr>
<td><a href="c/canada.htm">Canada</a></td>
<td><a href="m/mexico.htm">México</a></td>
<td><a href="u/usindep.htm">U.S.A.</a></td>
<td><br>
</td>
<td><br>
</td>
<td><a href="o/ozzie.htm">Australia</a></td>
<td><a href="n/newzealand.htm">New Zealand/Aotearoa</a></td>
<td><a href="p/phillipi.htm">Pilipinas</a></td>
<td><br>
</td>
<td><br>
</td>
<td><a href="a/argentina.htm">Argentina</a></td>
<td><a href="b/brasil.htm">Brasil</a></td>
<td><a href="c/chile.htm">Chile</a></td>
</tr>
<tr>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td>
<p align="Center"> <a href="i/indonesia.htm">Indonesia</a></p>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
<td><br>
</td>
</tr>
</tbody>
</table>
</center>
<p align="Center"> <a href="r/restwrld.htm">Other countries</a> </p>
<p align="Center"> </p>
<hr>
<p align="Center"> <big><big><u><a name="Nation">So, what country does this
character belong to anyway?</a></u></big></big> </p>
<p align="Justify"> I started doing this site because of an American comic
fan's comment on a message board that foreign superheroes (at least those
done by Marvel and DC, the "Big Two") tend to be either rip-offs of
American characters or horrendous stereotypes. When you consider
characters like DC's Beefeater, Tasmanian Devil, etc, or Marvel's <a href="c/capbrit.htm">Captain
Britain</a> (in the days when Larry Lieber was writing him), then you
can see he has a point. But I felt that this was an unfair slur - Britain
certainly has a long history of home grown heroes that don't fall into
either of these traps, and I knew from collecting titles like <a href="n/nrthgrd.htm">Northguard</a>
and <a href="s/southsqd.htm">Southern Squadron</a> that the same was true
for Canada and Australia. So I started putting together this site. </p>
<p align="Justify"> It's been an illuminating experience so far - I've
discovered some of the diversity of the French superhero scene, learned
more about some Japanese characters I previously only had a passing
acquaintance with, found out about some of the history and the current
state of the Antipodean comics industry, and so on. But a problem has
become clear as I've been putting things together. </p>
<p align="Justify"> Nationality isn't so easy to define. </p>
<p align="Justify"> Some cases are very clear - Northguard and <a href="c/canuck.htm">Captain
Canuck</a> are both Canadian characters created by Canadian writers and
first published by Canadian companies in Canada. That's easy to handle. </p>
<p align="Justify"> But what about <a href="a/alpha.htm">Johnny Alpha</a>,
the Strontium Dog? British writer, British character, British publisher,
but the main defining artist who handled him is Spanish. Given a writer
vs. artist nationality decision, I'm inclined to decide in favour of the
writer, who puts the dialogue in the character's mouth. I can include him
in the British section. </p>
<p align="Justify"> Fine - how about <a href="d/dredd.htm">Judge Dredd</a>?
British writers (mostly - one of his co-creators, Alan Grant, was born in
the USA but moved to Scotland when he was 12), British publisher...
American character. But I don't think anyone can argue that there is
something indefinably British about him (albeit he is a skewed look at how
Brits sometimes see Americans and especially their attitudes towards the
rest of the world). But if I'm going to allow a Brit's version of an
American character, then why is that more valid and less a stereotype than
an American's version of a British character? Perhaps because of our
exposure to a lot more of American popular culture we can create American
characters that are less (unintentionally) laughable caricatures? Maybe.
Or maybe it's just that we should recognise that a <b>good</b> writer can
write a good character regardless of either one's nationality. Chris
Claremont (American) has written good, non-cringeworthy characters from
all over the globe; so has Alan Moore (British), Grant Morrison (British,
but also Scottish), John Byrne (Canadian), etc. A good writer moves beyond
the land they come from to be a true everyman (or woman). </p>
<p align="Justify"> What I'm trying to say is that in some respects the
entries I've included in each section can sometimes seem somewhat
arbitrary. Going strictly by my mandate I should either drop characters
like Dredd, or I should include every character ever written by a British
or French or Canadian or ... writer. What it comes down to in the end is
that I've included who I feel should be included, and left the others out.
If you feel I've missed someone important, please let me know. </p>
<p align="Justify"> And speaking as a Scot living in England, I'm not even
going to start on whether Scottish characters created by English writers
are valid. Lastly, if I've included someone in the UK section and the
writer is actually from the Republic of Ireland, sorry - please
correct me. </p>
<p align="Justify"> </p>
<hr>
<p align="Justify"> All images and characters depicted on this site are
copyright their respective holders, and are used for informational
purposes only. No infringement is intended and copyrights remain at
source. </p>
<p align="Justify"> Site started: January 29th 2002 </p>
</body>
</html>
|
International Superheroes
[Browse the site alphabetically](g/glossary.htm)
\* [Browse the site by country](#Browse) \*
[Recent Updates](u/update.htm) \* [F.A.Q.](f/faq.htm)
\* [Links](l/links.htm) \* [Where
can I buy...?](b/buy.htm) \* [Some Notes on
Defining Nationality](#Nation) \* [Scorecards](s/scorecards.htm)
\* [Omniverse](o/omniverse.htm)
---
[News, Reviews, Previews &
Recommendations](r/reviews.htm)
Comic-related Kickstarters, current British comics, collected editions of
British comic strips, and anything else I think is worth recommending.
---
Welcome to the International Catalogue of Superheroes.
The purpose of this site is to build up a database of information about
various superhero characters from around the world. For decades American
comics, and especially those from two prolific publishing houses, have
dominated if not the market, then certainly the public's perception of it.
There are few people in the world who would not recognise Superman,
Batman, Spider-Man or the X-Men, and there are hundreds of websites
devoted to those characters. That is not the focus of this site. One day,
perhaps, I will start to index those famous characters, but that day, if
it comes about, is some way off.
Instead this site is intended to cover less well known,
but no less worthy, creations. In particular it aims to showcase some of
the international diversity that exists in the superhero world. There are
large sections devoted to heroes from Britain, France, Canada, Australia,
Japan and many other countries, which continue to expand as I learn more
about the heroes of each of those countries. From the U.S.A. I've tried to
give coverage to characters who appeared in many Independent comics (e.g.
non-Marvel or D.C.), as well as film and television.
It's an ongoing process and will never be finished, as
there will always be new characters being created, old ones being
unearthed, and further information on existing ones coming to light. The
first thing I always do with any encyclopedia or "Handbook" is look for
certain favourite, but obscure, characters, to see what has been missed
out. If you do the same, and find that I am missing someone you think
needs including, or have erroneous information (bear in mind that a lot of
times, especially with older characters, I am going on second hand
information) then please [e-mail](f/faq.htm#Email) me.
Contributions are always welcome.
While I've tried to go to the original source material
as much as possible, nonetheless some of my information has, by necessity,
been taken from on-line. Where this is the case I try to contact whatever
site I've cribbed from for permission, and to give credit to the original
source - if you see something here that you think has come from your site,
and I haven't contacted or credited you or you wish me to remove it,
please [e-mail](f/faq.htm#Email) me so I can fix whatever I've
done wrong. I'll state it below in a proper disclaimer, but for the
record I intend this to be a work of reference so any copyrighted images
I'm using are for those purposes only; copyright still belongs to the
original holder; and if that copyright owner or their representatives want
me to take something off the site I will do so upon request.
I'd also like to take this opportunity to thank the many
contributors who have helped by sending in pictures or information; many
of the national pages in particular would be much less developed without
their assistance. When the site was younger and smaller, I tried to list
them here, but that has long since become impossible, so now the
individual thanks tends to be on specific pages; that does not make me any
less grateful for the help provided.
---
Browse the site by country
| | | | |
| --- | --- | --- | --- |
| **Asia** |
|
| **Europe** |
| [China/Zhongguo](c/china.htm) | [India/Bharat](i/india.htm) | [Israel](i/israel.htm) | [Japan/Nippon](j/japan.htm) |
|
| [België/Belgique](b/belgium.htm) | [Deutschland](g/germany.htm) | [España](s/spain.htm) | [Finland/Suomi](f/finland.htm) | [France](f/french.htm) |
|
|
|
|
|
|
|
| [Italia](i/italy.htm) | [Nederland](n/nederland.htm) | [Sverige](s/sweden.htm) | [U.K.](u/uk.htm) |
|
|
| | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| **North & Central America** | | | **Pacific** | | | **South America** |
| [Canada](c/canada.htm) | [México](m/mexico.htm) | [U.S.A.](u/usindep.htm) | | | [Australia](o/ozzie.htm) | [New Zealand/Aotearoa](n/newzealand.htm) | [Pilipinas](p/phillipi.htm) | | | [Argentina](a/argentina.htm) | [Brasil](b/brasil.htm) | [Chile](c/chile.htm) |
| | | | | | | [Indonesia](i/indonesia.htm) | | | | | | |
[Other countries](r/restwrld.htm)
---
So, what country does this
character belong to anyway?
I started doing this site because of an American comic
fan's comment on a message board that foreign superheroes (at least those
done by Marvel and DC, the "Big Two") tend to be either rip-offs of
American characters or horrendous stereotypes. When you consider
characters like DC's Beefeater, Tasmanian Devil, etc, or Marvel's [Captain
Britain](c/capbrit.htm) (in the days when Larry Lieber was writing him), then you
can see he has a point. But I felt that this was an unfair slur - Britain
certainly has a long history of home grown heroes that don't fall into
either of these traps, and I knew from collecting titles like [Northguard](n/nrthgrd.htm)
and [Southern Squadron](s/southsqd.htm) that the same was true
for Canada and Australia. So I started putting together this site.
It's been an illuminating experience so far - I've
discovered some of the diversity of the French superhero scene, learned
more about some Japanese characters I previously only had a passing
acquaintance with, found out about some of the history and the current
state of the Antipodean comics industry, and so on. But a problem has
become clear as I've been putting things together.
Nationality isn't so easy to define.
Some cases are very clear - Northguard and [Captain
Canuck](c/canuck.htm) are both Canadian characters created by Canadian writers and
first published by Canadian companies in Canada. That's easy to handle.
But what about [Johnny Alpha](a/alpha.htm),
the Strontium Dog? British writer, British character, British publisher,
but the main defining artist who handled him is Spanish. Given a writer
vs. artist nationality decision, I'm inclined to decide in favour of the
writer, who puts the dialogue in the character's mouth. I can include him
in the British section.
Fine - how about [Judge Dredd](d/dredd.htm)?
British writers (mostly - one of his co-creators, Alan Grant, was born in
the USA but moved to Scotland when he was 12), British publisher...
American character. But I don't think anyone can argue that there is
something indefinably British about him (albeit he is a skewed look at how
Brits sometimes see Americans and especially their attitudes towards the
rest of the world). But if I'm going to allow a Brit's version of an
American character, then why is that more valid and less a stereotype than
an American's version of a British character? Perhaps because of our
exposure to a lot more of American popular culture we can create American
characters that are less (unintentionally) laughable caricatures? Maybe.
Or maybe it's just that we should recognise that a **good** writer can
write a good character regardless of either one's nationality. Chris
Claremont (American) has written good, non-cringeworthy characters from
all over the globe; so has Alan Moore (British), Grant Morrison (British,
but also Scottish), John Byrne (Canadian), etc. A good writer moves beyond
the land they come from to be a true everyman (or woman).
What I'm trying to say is that in some respects the
entries I've included in each section can sometimes seem somewhat
arbitrary. Going strictly by my mandate I should either drop characters
like Dredd, or I should include every character ever written by a British
or French or Canadian or ... writer. What it comes down to in the end is
that I've included who I feel should be included, and left the others out.
If you feel I've missed someone important, please let me know.
And speaking as a Scot living in England, I'm not even
going to start on whether Scottish characters created by English writers
are valid. Lastly, if I've included someone in the UK section and the
writer is actually from the Republic of Ireland, sorry - please
correct me.
---
All images and characters depicted on this site are
copyright their respective holders, and are used for informational
purposes only. No infringement is intended and copyrights remain at
source.
Site started: January 29th 2002
| http://internationalhero.co.uk/ |
<html>
<head>
<title>The Official Ninja Webpage: REAL Ultimate Power!!!!</title>
<meta name="GENERATOR" content="Microsoft FrontPage 5.0">
<meta name="ProgId" content="FrontPage.Editor.Document">
</head>
<frameset framespacing="0" border="0" rows="125,*" frameborder="0">
<frame name="header" scrolling="no" target="main" src="http://www.realultimatepower.net/ninja/realheader.htm" marginwidth="12" marginheight="12">
<frame name="main" src="http://www.realultimatepower.net/ninja/ninja2.htm" target="_self" scrolling="auto">
<noframes>
<body topmargin="0">
<p>This page uses frames, but your browser doesn't support them. Served.</p>
</body>
</noframes>
</frameset>
</html> |
The Official Ninja Webpage: REAL Ultimate Power!!!!
This page uses frames, but your browser doesn't support them. Served.
| http://www.realultimatepower.net/index4.htm |
<html>
<head>
<meta http-equiv="Content-Language" content="en-us">
<meta http-equiv="Content-Type" content="text/html; charset=windows-1252">
<meta name="GENERATOR" content="Microsoft FrontPage 6.0">
<meta name="ProgId" content="FrontPage.Editor.Document">
<meta NAME="description" CONTENT="Factual articles about Viking Age history, culture, society, language,
and literature.">
<title>Hurstwic: Viking History Table of Contents</title>
<style>
<!--
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p { color: #000000; font-family: "Arial", "Helvetica", "sans serif" }
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</head>
<body bgcolor="#FFFFFF" text="#000000" link="#0000FF" vlink="#880088" alink="#FF0000">
<div align="center">
<center>
<table border="0" cellpadding="2" cellspacing="0" width="100%" bgcolor="#000000" height="155">
<tr>
<td valign="center" align="center">
<img src="../../logos/hlogo_neg.gif" alt="logo" width="264" height="132">
</td>
</tr>
</table>
</center>
</div>
<p align="center"><font size="5"><b>Viking-Age History: Table of Contents</b></font></p>
<table cellpadding="3" cellspacing="0" width="100%">
<tr>
<td><p align="left">At Hurstwic, we are eager to share what we have learned about the
Viking age, and unlike Mímir and Óðin, we dont ask that you give up an eye
to drink from our well of knowledge. We are pleased to include here links to factual
articles about the Viking age that we have written. The articles are updated regularly,
and we plan to add more articles on a
regular basis.
<p align="left">A list of some of the <a href="../articles/text/References.htm">
references</a> used to create these articles is
<a href="../articles/text/References.htm">here</a>.
</td>
<td>
<img border="0" src="../pix/odin_drinks_at_mimirs_well.jpg" width="258" height="300" alt="Odin drinks at Mimir's well"></td>
</tr>
</table>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Daily_Living">Daily Living</a> in the Viking Age</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<ul>
<li><a href="../articles/daily_living/text/Villages.htm">Farms and Villages</a></li>
<li><a href="../articles/daily_living/text/longhouse.htm">Longhouses</a>
<ul>
<li><font size="2"><a href="../articles/daily_living/text/Turf_Houses.htm" target="_blank">Turf
Longhouses in Iceland and Vínland</a></font></li>
</ul>
</li>
<li><a href="../articles/daily_living/text/clothing.htm">Clothing</a></li>
<ul>
<li><font size="2">
<a href="../articles/daily_living/text/clothing.htm#men">Men's Clothing</a></font></li>
<li><font size="2">
<a href="../articles/daily_living/text/clothing.htm#women">Women's Clothing</a></font></li>
<li><font size="2">
<a href="../articles/daily_living/text/clothing.htm#children">Children's Clothing</a></font></li>
<li><font size="2">
<a href="../articles/daily_living/text/clothing.htm#making">Cloth Making</a></font></li>
</ul>
<li><a href="../articles/daily_living/text/food_and_diet.htm">Food and Diet</a></li>
<ul>
<li><font size="2">
<a target="_blank" href="../articles/daily_living/text/nutrition_details.htm">Nutritional Analysis of a Viking-age Diet</a></font></li>
</ul>
<li><a href="../articles/daily_living/text/games_and_sports.htm">Games and Sports</a><ul>
<li><font size="2">
<a target="_blank" href="../articles/daily_living/text/knattleikr.htm">
Knattleikr, the Viking ball game</a></font></li>
<li><font size="2">
<a target="_blank" href="../articles/daily_living/text/ice_skates.htm">
Ice skating</a></font></li>
</ul>
</li>
<li><a href="../articles/daily_living/text/health_and_medicine.htm">Health,
Grooming, and Medicine</a></li>
<li><a href="../articles/daily_living/text/Demographics.htm">Families and Demographics</a></li>
<ul>
<li><font size="2">
<a target="_blank" href="../articles/daily_living/text/Demographics.htm#video">A video presentation of a lecture on
life after death the Viking
age</a></font></li>
</ul>
<li><a href="../articles/daily_living/text/Towns.htm">Towns and Traders</a></li>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p>
<a name="Society">Society</a> in the Viking Age</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<ul>
<li><a href="../articles/society/text/social_classes.htm">The Structure of Viking Society</a></li>
<li><a href="../articles/society/text/women.htm">Women in Norse Society</a></li>
<li><a href="../articles/society/text/laws.htm">Laws and Legal
Procedures</a></li>
<li><a href="../articles/society/text/drengur.htm">Honor, Dueling, and
Drengskapr</a></li>
<li><a href="../articles/society/text/raids.htm">Viking Raids</a></li>
<li><a href="../articles/society/text/norse_lands.htm">Norse Lands
in the Viking Age</a></li>
<li><a href="../articles/society/text/settlement_of_iceland.htm">The
Settlement of Iceland in the Viking Age</a></li>
<li><a href="../articles/society/text/North_American_exploration.htm">L'Anse aux Meadows</a>:
North American Exploration
</li>
<li><a href="../articles/society/text/other_artifacts.htm">Speculation
and Wishful Thinking</a>: other Norse artifacts in North America
</li>
<li><a href="../articles/society/text/what_happened.htm">What
Happened to the Vikings?</a></li>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Manufacturing">Combat</a>, Weapons, Shipbuilding, and other Manufacturing in the Viking Age</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<ul>
<li><a href="../articles/manufacturing/text/arms.htm">Viking Age Arms and Armor</a>
<ul>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_weapons_overview.htm">
overview</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_arms_intro.htm">
introduction and sources</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/the_shape_of_viking_combat.htm">
the shape of Viking combat</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_shields.htm">shield</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_helmets.htm">helmet</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_mail.htm">mail</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_misc_defenses.htm">
other defenses</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_sword.htm">sword</a></font></li>
<ul><li><font size="2">
<a target="_blank" href="../articles/manufacturing/text/viking_sword_hilt_inlay.htm">sword hilt inlays</a></font></li></ul>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_sax.htm">sax</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_spear.htm">spear</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_axe.htm">axe</a></font></li>
<ul><li><font size="2">
<a target="_blank" href="../articles/manufacturing/text/viking_woodworking_riving.htm">riving an axe haft</a></font></li></ul>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_bow.htm">bow and arrow</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/viking_misc_weapons.htm">other
weapons</a></font></li>
<li><font size="2">
<a href="../../library/arms_in_sagas/weapon_use_summary.htm">a
statistical summary of the use of weapons in the <i>Sagas of
Icelanders</i></a></font></li>
</ul>
<li><a href="../articles/manufacturing/text/norse_ships.htm">Viking Ships and Shipbuilding</a></li>
<ul>
<li><font size="2">
<a href="../articles/manufacturing/text/norse_ships.htm#ship_types">war ships</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/norse_ships.htm#knorr">cargo ships</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/norse_ships.htm#construction">ship construction</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/norse_ships.htm#sails">sails and rigging</a></font></li>
<li><font size="2">
<a href="../articles/manufacturing/text/norse_ships.htm#navigation">navigation</a></font></li>
</ul>
<li><a href="../articles/manufacturing/text/land_travel.htm">
Overland Travel</a></li>
<li><a href="../articles/manufacturing/text/bog_iron.htm">Iron Production
in the Viking age</a></li>
<ul>
<li><font size="2">
<a target="_blank" href="https://www.hurstwic.com/research/iron/index.html">
Hurstwic's final report on our research and experiments on Viking-age iron smelting in Iceland</a></font></li>
<li><font size="2">
<a target="_blank" href="../articles/manufacturing/text/iron_bloom_compare.htm">
a comparison of the composition of a modern iron bloom to
that of a Viking-age iron bloom</a></font></li>
</ul>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Literature">
Language, Literature</a>, and the Arts in the Viking Age</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<ul>
<li><a href="../articles/literature/text/literature.htm">Viking Language, Runes, and Poetry</a>: <font size="2">expressing thoughts in the Viking age</font>
<ul>
<li><font size="2"><a href="../articles/literature/text/literature.htm#Language">Language</a></font></li>
<li><font size="2"><a href="../articles/literature/text/literature.htm#Writing">Runes</a></font></li>
<li><font size="2"><a href="../articles/literature/text/literature.htm#Poetry">Poetry</a></font>
</li>
<ul><li><font size="2">
<a target="_blank" href="../articles/literature/text/Skaldic_Poetry.htm">Skaldic Verse</a></font></li></ul>
<li><font size="2"><a href="../articles/literature/text/literature.htm#Literature">Manuscripts</a></font>
</li>
<ul><li><font size="2">
<a target="_blank" href="../articles/literature/text/Manuscripts.htm">Making Medieval Icelandic Manuscripts</a></font></li></ul>
</ul>
</li>
<li><a href="../articles/literature/text/music.htm">Norse Music</a>
</li>
<li><a href="../articles/manufacturing/text/norse_art.htm">Norse Styles of Art</a>
</li>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Myths">Myths and Religion</a> in the Viking Age</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left"><p>Myths and Religion in Norse Lands</p>
<ul>
<li><a href="../articles/mythology/myths/text/myths.htm"> Norse mythology</a>
</li>
<li><a href="../articles/mythology/text/Norse_Cosmography.htm">
Norse cosmology</a>
</li>
<li><a href="../articles/mythology/text/Supernatural_Beings.htm">
Supernatural beings</a>
</li>
<ul>
<li><font size="2">
<a target="_blank" href="../articles/mythology/text/Supernatural_Beings.htm#video">
A video presentation of a lecture on the walking dead of the Viking
age</a></font></li>
</ul>
<li><a href="../articles/mythology/religion/text/practices.htm">
Religious practices of the Norsemen</a>
</li>
<ul>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#temple">Temples and Sacred Sites</a></font></li>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#idols">
Idols</a></font></li>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#foil">
Land Spirits</a></font></li>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#seer">
Prophets and Seers</a></font></li>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#feast">
Feasts and Sacrifices</a></font></li>
<li><font size="2">
<a href="../articles/mythology/religion/text/practices.htm#christians">
Christianity in Pagan Iceland</a></font></li>
<li><font size="2">
<a target="_blank" href="../articles/mythology/religion/text/conversion_in_iceland.htm">
The Conversion to Christianity in Iceland</a></font></li>
<li><font size="2">
<a target="_blank" href="../articles/mythology/religion/text/practices.htm#video">
A video presentation of a lecture on Viking Religion</a></font></li>
</ul>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Library">The</a> Hurstwic Library</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<p align="left"><a href="http://hurstwic.com/training/saga/index.htm">The Saga of Hurstwic</a>: how Hurstwic came to be</p>
<p align="left"><a href="https://www.hurstwic.com/research/text/traps_and_pitfalls.htm" target="_blank">Traps and Pitfalls in the field of Viking research</a> - an article illustrated with examples of traps Hurstwic has fallen into</p>
<p align="left">Our <a href="https://www.hurstwic.com/text/more_about_us.pdf">calling card</a>: who we are and what we've done recently</p>
<p align="left"><a href="https://www.hurstwic.com/publicity/text/media_appearances.html">Recent media appearances</a>: links to some of our recent interviews, lectures, and presentations</p>
<p align="left">Hurstwic and <a href="https://glima.is/" target="_blank">Glímusamband Íslands</a> (Glíma Association of Iceland) published <a href="https://www.hurstwic.com/library/glima/index.htm" target="_blank">this article about Glíma</a> for UNESCO to secure Glíma's place in world history.</p>
<p align="left">On-line how-to articles for re-enactors</p>
<ul>
<li>
<a target="_blank" href="https://www.hurstwic.com/library/how_to/viking_tent.pdf">An Oseberg Tent
Reproduction</a></li>
<li>
<a target="_blank" href="https://www.hurstwic.com/library/how_to/thorsbjerg_trousers.pdf">Thorsbjerg
Trouser Reproduction</a></li>
<li>
<a target="_blank" href="https://www.hurstwic.com/library/how_to/viking_bread_recipe.pdf">Viking-era
bread recipe</a></li>
<li>
<a target="_blank" href="http://www.youtube.com/watch?v=juIw20z5p0c&hd=1">
Viking Weapon Test Cuts</a>: a video showing the effects of Viking
weapons on flesh and bone</li>
</ul>
<p>On-line tools for students and scholars</p>
<ul>
<li>
<a href="../../library/heroes/index.htm">Viking-age Heroes from the
<i>Sagas of Icelanders</i></a></li>
<li>
<a target="_blank" href="https://www.hurstwic.com/library/arms_in_sagas/index.htm">Arms and Combat
in the <i>Sagas of Icelanders</i></a></li>
<li>
<a target="_blank" href="../../library/arms_in_sagas/sagas_as_historical_source.pdf">
The <i>Sagas of Icelanders</i> as a Historical Source</a></li>
</ul>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Books">Books</a>, Films,
and Videos by Hurstwic authors</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<table border="0" cellpadding="3" cellspacing="0" width="100%">
<tr>
<td>
<ul>
<li><i>
<a target="_blank" href="http://www.williamrshort.com/vik_wpn/index.html">
Viking Weapons and Combat Techniques</a></i> (2009)</li>
<li><i>
<a target="_blank" href="http://www.williamrshort.com/icelanders/index.html">
Icelanders in the Viking Age: The People of the Sagas</a></i>
(2010)</li>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/viking_battles/gisli/index.htm">
<i>The Final Battle of Gísli Súrsson</i></a> (film and book 2015)</li>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/viking_battles/grettir/index.htm">
<i>The Final Battle of Grettir the Strong</i></a> (film and book 2017)</li>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/books/men_of_terror/index.htm">
<i>Men of Terror: A Comprehensive Analysis of Viking Combat</i></a> (2021)</li>
</ul>
</td>
<td>
<a target="_blank" href="http://www.williamrshort.com/vik_wpn/index.html">
<img border="3" src="../pix/viking_weapons_cover.jpg" width="111" height="150" alt="Viking Weapons and Combat Techniques"></a></td>
<td>
<a target="_blank" href="http://www.williamrshort.com/icelanders/index.html">
<img border="3" src="../pix/icelanders_cover.jpg" width="100" height="150" alt="Icelanders in the Viking Age"></a></td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/viking_battles/gisli/index.htm">
<img border="3" src="../pix/dvd4_gisli_cover.jpg" width="106" height="150" alt="The Final Battle of Gisli Sursson"></a></td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/viking_battles/grettir/index.htm">
<img border="3" src="../pix/dvd5_grettir_cover.jpg" width="106" height="150" alt="The Final Battle of Grettir the Strong"></a></td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/books/men_of_terror/index.htm">
<img border="3" src="../pix/men_of_terror_cover.jpg" width="105" height="150" alt="Men of Terror"></a></td>
</tr>
</table>
<table border="0" cellpadding="3" cellspacing="0" width="100%">
<tr>
<td>
<ul>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/vol1/index.htm">
<i>Hurstwic® Viking Combat Training</i> Volume 1: <i>
Fundamentals of Viking Training</i></a> (DVD 2012)</li>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/vol2/index.htm">
<i>Hurstwic® Viking Combat Training</i> Volume 2: <i>
Advanced Viking Training</i></a> (DVD 2013)</li>
<li>
<a target="_blank" href="https://www.hurstwic.com/shop/vol3/index.htm">
<i>Hurstwic® Viking Combat Training: </i>Viking Fighting Moves from the Sagas</a> (DVD 2013)</li>
</ul>
</td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/vol1/index.htm">
<img border="3" src="../pix/training_dvd1_cover.jpg" width="102" height="150" alt="Hurstwic Viking combat training DVD volume 1"></a></td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/vol2/index.htm">
<img border="3" src="../pix/training_dvd2_cover.jpg" width="104" height="150" alt="Hurstwic Viking combat training DVD volume 2"></a></td>
<td>
<a target="_blank" href="https://www.hurstwic.com/shop/vol3/index.htm">
<img border="3" src="../pix/training_dvd3_cover.jpg" width="106" height="150" alt="Hurstwic Viking combat training DVD volume 3"></a></td>
</tr>
</table>
</td>
</tr>
</table>
</center>
</div>
<br>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="100%" bgcolor="#CCCCCC"><p><a name="Notes">Notes</a> For You, the reader of the Hurstwic pages</p></td>
</tr>
</table>
</center>
</div>
<div align="center">
<center>
<table border="0" cellpadding="10" cellspacing="0" width="100%">
<tr>
<td width="50" bgcolor="#CCCCCC"> </td>
<td width="100%" valign="top" align="left">
<ul>
<li><a href="../articles/text/References.htm">References</a> for
further study</li>
<li><a href="../articles/text/sources.htm">Primary Sources</a> used
by scholars to increase our knowledge of the Viking Age</li>
<li><a href="../articles/text/Browser_Beware.htm">Cautions and
Warnings</a></li>
<li><a href="../articles/text/word_viking.htm">What Does The Word <i>Viking</i> Mean?</a></li>
</ul>
</td>
</tr>
</table>
</center>
</div>
<hr>
<div>
<table border="0" cellpadding="2" cellspacing="0" width="100%" bgcolor="#000000">
<tr>
<td align="center" valign="middle" width="36"><a href="https://www.hurstwic.com/">
<img border="0" src="../../logos/logo_mini.gif" width="32" height="32"></a></td>
<td align="left" valign="middle"><p><font style="font-family: Arial" color="#FFFF00" size="1">
<a style="color: rgb(255,255,0)" href="https://www.hurstwic.com/">Hurstwic<br>Home</a></font></p></td>
<td align="center" valign="middle" width="36"><a href="https://www.hurstwic.com/training/index.htm">
<img border="0" src="../../logos/logo_mini.gif" width="32" height="32"></a></td>
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<a style="color: rgb(255,255,0)" href="https://www.hurstwic.com/training/index.htm">Hurstwic® Viking<br>Combat Training</a></font></p></td>
<td align="center" valign="middle" width="36"><a href="https://www.hurstwic.com/history/text/history.htm">
<img border="0" src="../../logos/logo_mini.gif" width="32" height="32"></a></td>
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<a style="color: rgb(255,255,0)" href="https://www.hurstwic.com/history/text/history.htm">Hurstwic<br>Viking-age History</a></font></p></td>
<td align="center" valign="middle" width="36"><a href="https://www.hurstwic.com/shop/index.htm">
<img border="0" src="../../logos/logo_mini.gif" width="32" height="32"></a></td>
<td align="left" valign="middle"><p><font style="font-family: Arial" color="#FFFF00" size="1">
<a style="color: rgb(255,255,0)" href="https://www.hurstwic.com/shop/index.htm">Hurstwic<br>Training Shop</a></font></p></td>
<td align="center" valign="middle" width="36"><a href="https://www.hurstwic.com/training/saga/index.htm">
<img border="0" src="../../logos/logo_mini.gif" width="32" height="32"></a></td>
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<a style="color: rgb(255,255,0)" href="https://www.hurstwic.com/training/saga/index.htm">About<br>Hurstwic</a></font></p></td>
<td><p align="right"><font style="font-family: Arial" color="#FFFF00" size="1">
©1999-2023 William R. Short<br>
<a style="color: rgb(255,255,0)" target="_blank" href="https://www.hurstwic.com/text/contact_us.htm">Contact us at Hurstwic, LLC</a></font></p></td>
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<p><font size="2">In creating these pages, we've strived to use materials that
we have either created ourselves, that we believe fall in the category of
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any copyright holders who feel their intellectual property is being used
improperly to <a target="_blank" href="https://www.hurstwic.com/text/contact_us.htm">contact us</a>
so that we can either make proper arrangements to use the material, or so that
we can remove the material in question. For information about using
<a target="_blank" href="../../photo/index.html">Hurstwic photos</a> in your
projects, please <a target="_blank" href="https://www.hurstwic.com/text/contact_us.htm">contact us</a>.</font></p>
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Hurstwic: Viking History Table of Contents
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| |
| --- |
| logo |
**Viking-Age History: Table of Contents**
| | |
| --- | --- |
| At Hurstwic, we are eager to share what we have learned about the
Viking age, and unlike Mímir and Óðin, we dont ask that you give up an eye
to drink from our well of knowledge. We are pleased to include here links to factual
articles about the Viking age that we have written. The articles are updated regularly,
and we plan to add more articles on a
regular basis.
A list of some of the [references](../articles/text/References.htm) used to create these articles is
[here](../articles/text/References.htm).
| Odin drinks at Mimir's well |
| |
| --- |
| Daily Living in the Viking Age |
| | |
| --- | --- |
| | * [Farms and Villages](../articles/daily_living/text/Villages.htm)
* [Longhouses](../articles/daily_living/text/longhouse.htm)
+ [Turf
Longhouses in Iceland and Vínland](../articles/daily_living/text/Turf_Houses.htm)
* [Clothing](../articles/daily_living/text/clothing.htm)
+ [Men's Clothing](../articles/daily_living/text/clothing.htm#men)
+ [Women's Clothing](../articles/daily_living/text/clothing.htm#women)
+ [Children's Clothing](../articles/daily_living/text/clothing.htm#children)
+ [Cloth Making](../articles/daily_living/text/clothing.htm#making)
* [Food and Diet](../articles/daily_living/text/food_and_diet.htm)
+ [Nutritional Analysis of a Viking-age Diet](../articles/daily_living/text/nutrition_details.htm)
* [Games and Sports](../articles/daily_living/text/games_and_sports.htm)
+ [Knattleikr, the Viking ball game](../articles/daily_living/text/knattleikr.htm)
+ [Ice skating](../articles/daily_living/text/ice_skates.htm)
* [Health,
Grooming, and Medicine](../articles/daily_living/text/health_and_medicine.htm)
* [Families and Demographics](../articles/daily_living/text/Demographics.htm)
+ [A video presentation of a lecture on
life after death the Viking
age](../articles/daily_living/text/Demographics.htm#video)
* [Towns and Traders](../articles/daily_living/text/Towns.htm)
|
| |
| --- |
|
Society in the Viking Age |
| | |
| --- | --- |
| | * [The Structure of Viking Society](../articles/society/text/social_classes.htm)
* [Women in Norse Society](../articles/society/text/women.htm)
* [Laws and Legal
Procedures](../articles/society/text/laws.htm)
* [Honor, Dueling, and
Drengskapr](../articles/society/text/drengur.htm)
* [Viking Raids](../articles/society/text/raids.htm)
* [Norse Lands
in the Viking Age](../articles/society/text/norse_lands.htm)
* [The
Settlement of Iceland in the Viking Age](../articles/society/text/settlement_of_iceland.htm)
* [L'Anse aux Meadows](../articles/society/text/North_American_exploration.htm):
North American Exploration
* [Speculation
and Wishful Thinking](../articles/society/text/other_artifacts.htm): other Norse artifacts in North America
* [What
Happened to the Vikings?](../articles/society/text/what_happened.htm)
|
| |
| --- |
| Combat, Weapons, Shipbuilding, and other Manufacturing in the Viking Age |
| | |
| --- | --- |
| | * [Viking Age Arms and Armor](../articles/manufacturing/text/arms.htm)
+ [overview](../articles/manufacturing/text/viking_weapons_overview.htm)
+ [introduction and sources](../articles/manufacturing/text/viking_arms_intro.htm)
+ [the shape of Viking combat](../articles/manufacturing/text/the_shape_of_viking_combat.htm)
+ [shield](../articles/manufacturing/text/viking_shields.htm)
+ [helmet](../articles/manufacturing/text/viking_helmets.htm)
+ [mail](../articles/manufacturing/text/viking_mail.htm)
+ [other defenses](../articles/manufacturing/text/viking_misc_defenses.htm)
+ [sword](../articles/manufacturing/text/viking_sword.htm)
- [sword hilt inlays](../articles/manufacturing/text/viking_sword_hilt_inlay.htm)+ [sax](../articles/manufacturing/text/viking_sax.htm)
+ [spear](../articles/manufacturing/text/viking_spear.htm)
+ [axe](../articles/manufacturing/text/viking_axe.htm)
- [riving an axe haft](../articles/manufacturing/text/viking_woodworking_riving.htm)+ [bow and arrow](../articles/manufacturing/text/viking_bow.htm)
+ [other
weapons](../articles/manufacturing/text/viking_misc_weapons.htm)
+ [a
statistical summary of the use of weapons in the *Sagas of
Icelanders*](../../library/arms_in_sagas/weapon_use_summary.htm)* [Viking Ships and Shipbuilding](../articles/manufacturing/text/norse_ships.htm)
+ [war ships](../articles/manufacturing/text/norse_ships.htm#ship_types)
+ [cargo ships](../articles/manufacturing/text/norse_ships.htm#knorr)
+ [ship construction](../articles/manufacturing/text/norse_ships.htm#construction)
+ [sails and rigging](../articles/manufacturing/text/norse_ships.htm#sails)
+ [navigation](../articles/manufacturing/text/norse_ships.htm#navigation)* [Overland Travel](../articles/manufacturing/text/land_travel.htm)
* [Iron Production
in the Viking age](../articles/manufacturing/text/bog_iron.htm)
+ [Hurstwic's final report on our research and experiments on Viking-age iron smelting in Iceland](https://www.hurstwic.com/research/iron/index.html)
+ [a comparison of the composition of a modern iron bloom to
that of a Viking-age iron bloom](../articles/manufacturing/text/iron_bloom_compare.htm)
|
| |
| --- |
| Language, Literature, and the Arts in the Viking Age |
| | |
| --- | --- |
| | * [Viking Language, Runes, and Poetry](../articles/literature/text/literature.htm): expressing thoughts in the Viking age
+ [Language](../articles/literature/text/literature.htm#Language)
+ [Runes](../articles/literature/text/literature.htm#Writing)
+ [Poetry](../articles/literature/text/literature.htm#Poetry)
- [Skaldic Verse](../articles/literature/text/Skaldic_Poetry.htm)+ [Manuscripts](../articles/literature/text/literature.htm#Literature)
- [Making Medieval Icelandic Manuscripts](../articles/literature/text/Manuscripts.htm)
* [Norse Music](../articles/literature/text/music.htm)
* [Norse Styles of Art](../articles/manufacturing/text/norse_art.htm)
|
| |
| --- |
| Myths and Religion in the Viking Age |
| | |
| --- | --- |
| | Myths and Religion in Norse Lands* [Norse mythology](../articles/mythology/myths/text/myths.htm)
* [Norse cosmology](../articles/mythology/text/Norse_Cosmography.htm)
* [Supernatural beings](../articles/mythology/text/Supernatural_Beings.htm)
+ [A video presentation of a lecture on the walking dead of the Viking
age](../articles/mythology/text/Supernatural_Beings.htm#video)
* [Religious practices of the Norsemen](../articles/mythology/religion/text/practices.htm)
+ [Temples and Sacred Sites](../articles/mythology/religion/text/practices.htm#temple)
+ [Idols](../articles/mythology/religion/text/practices.htm#idols)
+ [Land Spirits](../articles/mythology/religion/text/practices.htm#foil)
+ [Prophets and Seers](../articles/mythology/religion/text/practices.htm#seer)
+ [Feasts and Sacrifices](../articles/mythology/religion/text/practices.htm#feast)
+ [Christianity in Pagan Iceland](../articles/mythology/religion/text/practices.htm#christians)
+ [The Conversion to Christianity in Iceland](../articles/mythology/religion/text/conversion_in_iceland.htm)
+ [A video presentation of a lecture on Viking Religion](../articles/mythology/religion/text/practices.htm#video)
|
| |
| --- |
| The Hurstwic Library |
| | |
| --- | --- |
| | [The Saga of Hurstwic](http://hurstwic.com/training/saga/index.htm): how Hurstwic came to be
[Traps and Pitfalls in the field of Viking research](https://www.hurstwic.com/research/text/traps_and_pitfalls.htm) - an article illustrated with examples of traps Hurstwic has fallen into
Our [calling card](https://www.hurstwic.com/text/more_about_us.pdf): who we are and what we've done recently
[Recent media appearances](https://www.hurstwic.com/publicity/text/media_appearances.html): links to some of our recent interviews, lectures, and presentations
Hurstwic and [Glímusamband Íslands](https://glima.is/) (Glíma Association of Iceland) published [this article about Glíma](https://www.hurstwic.com/library/glima/index.htm) for UNESCO to secure Glíma's place in world history.
On-line how-to articles for re-enactors* [An Oseberg Tent
Reproduction](https://www.hurstwic.com/library/how_to/viking_tent.pdf)
* [Thorsbjerg
Trouser Reproduction](https://www.hurstwic.com/library/how_to/thorsbjerg_trousers.pdf)
* [Viking-era
bread recipe](https://www.hurstwic.com/library/how_to/viking_bread_recipe.pdf)
* [Viking Weapon Test Cuts](http://www.youtube.com/watch?v=juIw20z5p0c&hd=1): a video showing the effects of Viking
weapons on flesh and bone
On-line tools for students and scholars* [Viking-age Heroes from the
*Sagas of Icelanders*](../../library/heroes/index.htm)
* [Arms and Combat
in the *Sagas of Icelanders*](https://www.hurstwic.com/library/arms_in_sagas/index.htm)
* [The *Sagas of Icelanders* as a Historical Source](../../library/arms_in_sagas/sagas_as_historical_source.pdf)
|
| |
| --- |
| Books, Films,
and Videos by Hurstwic authors |
| | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| |
| | | | | | |
| --- | --- | --- | --- | --- | --- |
| * *[Viking Weapons and Combat Techniques](http://www.williamrshort.com/vik_wpn/index.html)* (2009)
* *[Icelanders in the Viking Age: The People of the Sagas](http://www.williamrshort.com/icelanders/index.html)*
(2010)
* [*The Final Battle of Gísli Súrsson*](https://www.hurstwic.com/shop/viking_battles/gisli/index.htm) (film and book 2015)
* [*The Final Battle of Grettir the Strong*](https://www.hurstwic.com/shop/viking_battles/grettir/index.htm) (film and book 2017)
* [*Men of Terror: A Comprehensive Analysis of Viking Combat*](https://www.hurstwic.com/shop/books/men_of_terror/index.htm) (2021)
| [Viking Weapons and Combat Techniques](http://www.williamrshort.com/vik_wpn/index.html) | [Icelanders in the Viking Age](http://www.williamrshort.com/icelanders/index.html) | [The Final Battle of Gisli Sursson](https://www.hurstwic.com/shop/viking_battles/gisli/index.htm) | [The Final Battle of Grettir the Strong](https://www.hurstwic.com/shop/viking_battles/grettir/index.htm) | [Men of Terror](https://www.hurstwic.com/shop/books/men_of_terror/index.htm) |
| | | | |
| --- | --- | --- | --- |
| * [*Hurstwic® Viking Combat Training* Volume 1: *Fundamentals of Viking Training*](https://www.hurstwic.com/shop/vol1/index.htm) (DVD 2012)
* [*Hurstwic® Viking Combat Training* Volume 2: *Advanced Viking Training*](https://www.hurstwic.com/shop/vol2/index.htm) (DVD 2013)
* [*Hurstwic® Viking Combat Training:* Viking Fighting Moves from the Sagas](https://www.hurstwic.com/shop/vol3/index.htm) (DVD 2013)
| [Hurstwic Viking combat training DVD volume 1](https://www.hurstwic.com/shop/vol1/index.htm) | [Hurstwic Viking combat training DVD volume 2](https://www.hurstwic.com/shop/vol2/index.htm) | [Hurstwic Viking combat training DVD volume 3](https://www.hurstwic.com/shop/vol3/index.htm) |
|
| |
| --- |
| Notes For You, the reader of the Hurstwic pages |
| | |
| --- | --- |
| | * [References](../articles/text/References.htm) for
further study
* [Primary Sources](../articles/text/sources.htm) used
by scholars to increase our knowledge of the Viking Age
* [Cautions and
Warnings](../articles/text/Browser_Beware.htm)
* [What Does The Word *Viking* Mean?](../articles/text/word_viking.htm)
|
---
| | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| |
[HurstwicHome](https://www.hurstwic.com/) | |
[Hurstwic® VikingCombat Training](https://www.hurstwic.com/training/index.htm) | |
[HurstwicViking-age History](https://www.hurstwic.com/history/text/history.htm) | |
[HurstwicTraining Shop](https://www.hurstwic.com/shop/index.htm) | |
[AboutHurstwic](https://www.hurstwic.com/training/saga/index.htm) |
©1999-2023 William R. Short
[Contact us at Hurstwic, LLC](https://www.hurstwic.com/text/contact_us.htm) |
In creating these pages, we've strived to use materials that
we have either created ourselves, that we believe fall in the category of
"fair use", or that we believe to be in the public domain. We ask that
any copyright holders who feel their intellectual property is being used
improperly to [contact us](https://www.hurstwic.com/text/contact_us.htm)
so that we can either make proper arrangements to use the material, or so that
we can remove the material in question. For information about using
[Hurstwic photos](../../photo/index.html) in your
projects, please [contact us](https://www.hurstwic.com/text/contact_us.htm).
| http://www.hurstwic.org/history/text/history.htm#Daily_Living |
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<h4>Hi, my name is Jonathan Mitchell.</h4>
I am now the author of the self-published novel "The Mu Rhythm Bluff" <a href= http://www.amazon.com/The-Mu-Rhythm-Bluff-ebook/dp/B00BQN84GM/ref=sr_1_1?ie=UTF8&qid=1363816117&sr=8-1&keywords=the+mu+rhythm+bluff">Help me out and buy a copy on amazon</a>
It is a novel about an autistic poker player, unlucky at both cards and love and his changing fortunes in those two directions. Hello there, welcome to my page. My name is Jonathan Mitchell I am a writer who suffers from a mild autism spectrum disorder. <p>
I write both fiction and nonfiction and I have some of my writings on this page. I have written a novel and a short non-fiction book, albeit nonpublished. I am currently working on a second novel I have also written some nonfiction related to autism. I also have a blog called autism's gadfly where I mostly take to task the neurodiversity movement. Hopefully on my tombstone they will write 'we don't need no stinkin' neurodiversity
<p>Email me at <a href=mailto:Jmitch955@AOL.COM style=font-weight:normal>Jmitch955@AOL.COM</a>.
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Jonathan Mitchell's Story Page
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|
Hi, my name is Jonathan Mitchell.
I am now the author of the self-published novel "The Mu Rhythm Bluff" [Help me out and buy a copy on amazon](http://www.amazon.com/The-Mu-Rhythm-Bluff-ebook/dp/B00BQN84GM/ref=sr_1_1?ie=UTF8&qid=1363816117&sr=8-1&keywords=the+mu+rhythm+bluff")
It is a novel about an autistic poker player, unlucky at both cards and love and his changing fortunes in those two directions. Hello there, welcome to my page. My name is Jonathan Mitchell I am a writer who suffers from a mild autism spectrum disorder.
I write both fiction and nonfiction and I have some of my writings on this page. I have written a novel and a short non-fiction book, albeit nonpublished. I am currently working on a second novel I have also written some nonfiction related to autism. I also have a blog called autism's gadfly where I mostly take to task the neurodiversity movement. Hopefully on my tombstone they will write 'we don't need no stinkin' neurodiversity
Email me at [Jmitch955@AOL.COM](mailto:Jmitch955@AOL.COM).
* [News About Me](news.html)
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* [Read My Journal](journal/index.html)
* [Links](links.html)
* [Info About Me](info.html)
* [Sign My Guestbook!](guestbook.html)
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<title>Mimir - Icelandic Grammar Notebook</title>
</head>
<body>
<hr>
<img alt="[Icelandic Flag]" align="middle" src="IcelandFlag.gif"><img
alt="[Logo]" align="middle" src="meemir.gif"><!-- <H1><EM>Mímir</EM></H1> -->
<h1>Icelandic Grammar Notebook</h1>
<hr>
Mímir is a Hypertext-based tool which allows the user quickly
to search through and to reference the grammar of the Icelandic
language.
<p>All the major parts of speech are described, with examples, and are
readily
accessible through Hypertext links between the various sections.</p>
<p>Click here for a fuller <a href="mimintro.htm"> Introduction to
Mímir</a>.</p>
<p>Or click on one of the links below to go directly to your topic of
interest.
</p>
<hr>
<p>
<center>
<h3>[
<a href="mimadj.htm"> Adjectives</a> |
<a href="mimadv.htm"> Adverbs</a> |
<a href="mimart.htm"> The Definite Article</a> |
<a href="mimconj.htm"> Conjunctions</a> ]
</h3>
</center>
<center>
<h3>[
<a href="mimnoun.htm"> Nouns</a> |
<a href="mimnos.htm"> Numbers</a> |
<a href="mimprep.htm"> Prepositions</a> |
<a href="mimpron.htm"> Pronouns</a> |
<a href="mimverb.htm"> Verbs</a> ]</h3>
</center>
<hr>
<div style="text-align: center;"><em> Copyright (C) John Tebbutt</em>
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<license rdf:resource="http://creativecommons.org/licenses/by-nc-sa/1.0/" />
</Work>
<License rdf:about="http://creativecommons.org/licenses/by-nc-sa/1.0/">
<permits rdf:resource="http://web.resource.org/cc/Reproduction" />
<permits rdf:resource="http://web.resource.org/cc/Distribution" />
<requires rdf:resource="http://web.resource.org/cc/Notice" />
<requires rdf:resource="http://web.resource.org/cc/Attribution" />
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<permits rdf:resource="http://web.resource.org/cc/DerivativeWorks" />
<requires rdf:resource="http://web.resource.org/cc/ShareAlike" />
</License>
</rdf:RDF>
--></p>
</body>
</html>
|
Mimir - Icelandic Grammar Notebook
---
![[Icelandic Flag]](IcelandFlag.gif)![[Logo]](meemir.gif)
# Icelandic Grammar Notebook
---
Mímir is a Hypertext-based tool which allows the user quickly
to search through and to reference the grammar of the Icelandic
language.
All the major parts of speech are described, with examples, and are
readily
accessible through Hypertext links between the various sections.
Click here for a fuller [Introduction to
Mímir](mimintro.htm).
Or click on one of the links below to go directly to your topic of
interest.
---
### [
[Adjectives](mimadj.htm) |
[Adverbs](mimadv.htm) |
[The Definite Article](mimart.htm) |
[Conjunctions](mimconj.htm) ]
### [
[Nouns](mimnoun.htm) |
[Numbers](mimnos.htm) |
[Prepositions](mimprep.htm) |
[Pronouns](mimpron.htm) |
[Verbs](mimverb.htm) ]
---
*Copyright (C) John Tebbutt*
[](http://creativecommons.org/licenses/by-nc-sa/1.0/)
All pages comprising Mimir are licensed under a [Creative
Commons License](http://creativecommons.org/licenses/by-nc-sa/1.0/).
| http://dettifoss.org/ |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://www.briansdriveintheater.com/ |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html><head>
<meta name="keywords" content="racing, Monza, Zandvoort, ETC, European, Touring, Car, N�rburgring, Spa, Francorchamps, Silverstone, Brno, Br�nn, Budapest, racing, BMW, Ford, Escort, Zakspeed, Trivellato, Fiat, Abarth, Alfa Romeo, Autodelta, Jarama, Salzburgring, Capri, RS 2600, 3.0 CSL, 2002, Schnitzer, Alpina, GS, Broadspeed">
<meta name="Description" content="World Wide Touring Car Racing Results 1952-1993">
<meta http-equiv="Content-Type" content="text/html;charset=ISO-8859-1"><title>History of World Wide Touring Car Racing - Championships, Cars and Results</title></head><body style="background-color: rgb(255, 222, 173);">
<div align="center"><big><big><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="5"><big><big><b>History
of Touring Car Racing 1952-1993</b></big></big></font></big></big>
<p><a href="http://www.automobilsport-magazin.de/en/"><img style="border: 0px solid ; width: 732px; height: 92px;" alt="" src="Media/automobilsport.jpg"></a></p>
</div>
<center>
<table border="1">
<tbody>
<tr height="35">
<td height="35" valign="middle" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/ETCC.html">European Touring Car Championship<br>
<font size="-1">including 1987 WTCC and 1993 FIA cup</font><br>
</a></b></font></div>
</td>
<td rowspan="3" height="113" valign="middle" width="258">
<div align="center"> <a href="Pages/pictures.html"><img style="border: 0px solid ; width: 258px; height: 113px;" alt="" src="Media/General/pictures.jpg"></a></div>
</td>
<td colspan="2" rowspan="1">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/champions.html">The Champions</a></b></font></div>
</td>
</tr>
<tr height="35">
<td height="35" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/GT.html">European GT Championship</a></b></font></div>
</td>
<td colspan="2" rowspan="1">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/p%20drivers.html">Drivers Parade</a></b></font></div>
</td>
</tr>
<tr height="35">
<td height="35" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/WMC.html">World Makes Championship</a></b></font><br>
<font size="1"><br>
</font><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b><a href="Pages/Sports%20Car%20Races.html">Touring cars in
Sportscar Races </a></b></font></div>
</td>
<td colspan="2" rowspan="1">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/cars.html">The Cars</a></b></font></div>
</td>
</tr>
<tr height="25">
<td rowspan="2" height="54" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/TTE.html">Trophee de l'Avenir / TTE</a></b></font></div>
</td>
<td rowspan="3" height="129" width="258">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="4"><b><a href="Pages/contribute.html">Want to contribute?<br>
</a></b></font><a href="Pages/contribute.html"><br>
</a><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/contribute.html">Photos, results, <br>
</a></b></font>
<div style="text-align: center;"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/contribute.html"> reports, programs...</a></b></font></div>
</div>
</td>
<td colspan="2" rowspan="1">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/classic%20cars.html">Ten classic cars</a></b></font></div>
</td>
</tr>
<tr height="25">
<td colspan="2" rowspan="1">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/background.html">Background stories</a></b></font></div>
</td>
</tr>
<tr height="71">
<td height="71" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/Other-Europe.html">Other Touring Car Races and
Championships (Europe)<br>
</a></b></font><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="1"><b><a href="Pages/Other-Europe.html"><br>
</a></b></font><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b>like <a href="Pages/BSCC.html">BTCC</a>, <a href="Pages/DRM.html">DRM</a>, <a href="Pages/NTK.html">Dutch TC</a> etc...</b></font></div>
</td>
<td colspan="1" rowspan="2" style="vertical-align: top; width: 165px; text-align: center;"> <a href="Pages/shop.html"><img src="Media/General/tw-em.jpg" alt="" style="border: 0px solid ; width: 110px; height: 128px;"></a><b><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><a href="Pages/shop.html"><b>Tourenwagen Europa-</b></a></font></b><a href="Pages/shop.html"><br>
</a><b><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><a href="Pages/shop.html"><b>
meisterschaft<br>
1970-1975</b></a><br>
</font></b></td>
<td style="width: 165px; text-align: center;" rowspan="3">
<a href="Pages/shop.html"><img style="border: 0px solid ; width: 110px; height: 92px;" alt="" src="Media/General/128p.jpg"></a><a href="Pages/shop.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><br>
</font></a><br>
<font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><a href="Pages/shop.html"><b>Fiat 128<font size="-2"> </font></b></a><br>
<a href="Pages/shop.html"><b><font size="-2">innovativa su
strada - vincente nelle corse<br>
<br>
</font></b></a></font></td>
</tr>
<tr height="25">
<td rowspan="1" width="335">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><b><a href="Pages/Other-not%20Europe.html">Other Touring Car Races and
Championships (Outside Europe)</a></b></font></div>
</td>
<td rowspan="1" width="258">
<table cool="cool" gridx="16" gridy="16" showgridx="showgridx" showgridy="showgridy" usegridx="usegridx" usegridy="usegridy" border="0" cellpadding="0" cellspacing="0" height="65" width="258">
<tbody>
<tr height="16">
<td rowspan="2" height="64" width="16"><br>
</td>
<td rowspan="2" xpos="16" align="left" height="64" valign="top" width="80"><a href="Pages/mystery.html"><img src="Media/General/puzzle.jpg" alt="" border="0" height="62" width="79"></a></td>
<td style="text-align: center;" colspan="2" height="16" width="161"><br>
</td>
<td height="16" width="1"><spacer type="block" height="16" width="1"></td>
</tr>
<tr height="48">
<td content="content" csheight="37" xpos="96" height="48" valign="top" width="160">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="3"><a href="Pages/mystery.html"><b>Mysteries: Help me to solve some!</b></a></font></div>
</td>
<td height="48" width="1"><br>
</td>
<td height="48" width="1"><spacer type="block" height="48" width="1"></td>
</tr>
<tr cntrlrow="cntrlrow" height="1">
<td height="1" width="16"><spacer type="block" height="1" width="16"></td>
<td height="1" width="80"><spacer type="block" height="1" width="80"></td>
<td height="1" width="160"><spacer type="block" height="1" width="160"></td>
<td height="1" width="1"><spacer type="block" height="1" width="1"></td>
<td height="1" width="1"><br>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
</tr>
</tbody>
</table>
<hr align="center">
<table style="width: 973px; height: 78px;" border="1" cellpadding="0" cellspacing="2">
<tbody>
<tr bgcolor="#ffdead" height="35">
<td height="35" width="168">
<div align="center"> <a href="Pages/about.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>About this site</b></font></a></div>
</td>
<td height="35" width="168">
<div align="center"> <a href="Pages/intro.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Introduction</b></font></a></div>
</td>
<td height="35" width="130">
<div align="center"> <a href="Pages/history.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Site History</b></font></a></div>
</td>
<td height="35" width="130">
<div align="center"> </div>
<div style="text-align: center;"><font><b><a href="Pages/search.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Search</b></font></a></b></font></div>
</td>
</tr>
<tr bgcolor="#ffdead" height="35">
<td height="35" width="168">
<div align="center"> <a href="Pages/acknowledgements.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Acknowledgements</b></font></a></div>
</td>
<td height="35" width="168">
<div align="center"> <a href="Pages/sources.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Sources</b></font></a></div>
</td>
<td height="35" width="130">
<div align="center"> <a href="Pages/links.html"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b>Links</b></font></a></div>
</td>
<td height="35" width="130">
<div align="center"> <font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular"><b><a href="Pages/pictures.html">Picture Archive</a></b></font></div>
</td>
</tr>
</tbody>
</table>
<map name="New">
</map>
<font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b><br>
</b></font><a href="http://www.automobilsport-magazin.de/en/"></a><a href="http://www.automobilsport-magazin.de/de/"><img style="border: 0px solid ; width: 732px; height: 92px;" alt="" src="Media/AMS_webbanner732x92_RZ_07-01-18_DE.JPG"></a><br>
<br>
<font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b>Copyright
© 2001-2018 by Frank de Jong, Amsterdam, the
Netherlands. No material may be used without permission.</b></font><br>
<font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b>
<br>
</b></font>
<table style="text-align: left; width: 936px;" border="1" cellpadding="0" cellspacing="2">
<tbody>
<tr>
<td style="vertical-align: top; text-align: center;"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b><br>
Contact? <a href="mailto:gpfohr@xs4all.nl">gpfohr@xs4all.nl</a></b></font></font><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><b><br>
Feel free to mail in English, Dutch or German</b></font></font></td>
<td style="vertical-align: top; text-align: center;"><a href="mailto:frank_de_jong@mac.com"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><img style="border: 0px solid ; width: 80px; height: 50px;" src="Media/General/Flags/GB.jpg" alt=""></font></a></td>
<td style="vertical-align: top; text-align: center;"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><img style="border: 0px solid ; width: 80px; height: 50px;" src="Media/General/Flags/NL.jpg" alt=""></font></td>
<td style="vertical-align: top; text-align: center;"><font face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"><img style="border: 0px solid ; width: 80px; height: 50px;" src="Media/General/Flags/D.jpg" alt=""></font></td>
</tr>
</tbody>
</table>
<br>
<table style="text-align: left; width: 936px; margin-left: 0px; margin-right: 0px;" border="0" cellpadding="0" cellspacing="0">
<tbody>
<tr>
<td style="vertical-align: middle; text-align: center;">
<table style="width: 920px; height: 75px; text-align: left; margin-left: auto; margin-right: auto;" gridy="16" gridx="16" showgridy="" showgridx="" usegridy="" usegridx="" cool="" background="Media/General/bw.jpg" border="0" cellpadding="0" cellspacing="0">
<tbody><tr cntrlrow="" height="1"><td style="width: 170px; height: 1px;"><spacer type="block" height="1" width="170"><img src="Media/General/banner.jpg" align="middle" border="0" height="75"></td></tr></tbody>
</table>
</td>
</tr>
</tbody>
</table>
<br>
</center>
</body></html> |
History of World Wide Touring Car Racing - Championships, Cars and Results
**History
of Touring Car Racing 1952-1993**
[](http://www.automobilsport-magazin.de/en/)
| | | |
| --- | --- | --- |
| **[European Touring Car Championship
including 1987 WTCC and 1993 FIA cup](Pages/ETCC.html)** | | **[The Champions](Pages/champions.html)** |
| **[European GT Championship](Pages/GT.html)** | **[Drivers Parade](Pages/p%20drivers.html)** |
| **[World Makes Championship](Pages/WMC.html)**
**[Touring cars in
Sportscar Races](Pages/Sports%20Car%20Races.html)** | **[The Cars](Pages/cars.html)** |
| **[Trophee de l'Avenir / TTE](Pages/TTE.html)** | **[Want to contribute?](Pages/contribute.html)****[Photos, results,](Pages/contribute.html)**
**[reports, programs...](Pages/contribute.html)**
| **[Ten classic cars](Pages/classic%20cars.html)** |
| **[Background stories](Pages/background.html)** |
| **[Other Touring Car Races and
Championships (Europe)](Pages/Other-Europe.html)****like [BTCC](Pages/BSCC.html), [DRM](Pages/DRM.html), [Dutch TC](Pages/NTK.html) etc...** | **[**Tourenwagen Europa-**](Pages/shop.html)****[**meisterschaft
1970-1975**](Pages/shop.html)** |
[**Fiat 128**](Pages/shop.html)
[**innovativa su
strada - vincente nelle corse**](Pages/shop.html) |
| **[Other Touring Car Races and
Championships (Outside Europe)](Pages/Other-not%20Europe.html)** |
| | | | |
| --- | --- | --- | --- |
| | | | |
| [**Mysteries: Help me to solve some!**](Pages/mystery.html) | | |
| | | | | |
|
|
---
| | | | |
| --- | --- | --- | --- |
| [**About this site**](Pages/about.html) | [**Introduction**](Pages/intro.html) | [**Site History**](Pages/history.html) |
**[**Search**](Pages/search.html)** |
| [**Acknowledgements**](Pages/acknowledgements.html) | [**Sources**](Pages/sources.html) | [**Links**](Pages/links.html) | **[Picture Archive](Pages/pictures.html)** |
[](http://www.automobilsport-magazin.de/de/)
**Copyright
© 2001-2018 by Frank de Jong, Amsterdam, the
Netherlands. No material may be used without permission.**
| | | | |
| --- | --- | --- | --- |
| **Contact? [gpfohr@xs4all.nl](mailto:gpfohr@xs4all.nl)****Feel free to mail in English, Dutch or German** | | | |
| | |
| --- | --- |
|
| |
| --- |
| |
|
| http://touringcarracing.net/index_normal.html |
<?xml version="1.0" encoding="utf-8"?>
<!DOCTYPE html PUBLIC "-//havSoft//DTD XHTML 1.0 Transitional with havindex Extension//EN" "https://www.hav.com/hav-xhtml1-transitional.dtd">
<html xmlns="https://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<title>Horace 'Kicker' Vallas - FINALLY Retired LOL</title>
<link rel="shortcut icon" href="./favicon.ico"/>
<link rel="stylesheet" type="text/css" href="./min.css"/>
<link rel="canonical" href="https://www.hav.com"/>
<meta name="viewport" content="width=device-width, initial-scale=1"/>
<meta name="description" content="Just a splash page to let folks know that I've retired and that hav.Software is, effectively, closed for business - however, past clients and customers are welcome to contact me. If you're interested in buying either the hav.com or pgp.org domain names, please submit an offer in writing."/>
<meta name="keywords" content="hav.Software, Horace 'Kicker' Vallas , Neural Networks, havChat, havFMnet, havBPnet,havFMnetJ, havBPnetJ, havIndex, classical guitar"/>
<script language="JavaScript" type="text/javascript" src="https://www.hav.com/basicscripts.js"></script>
<script language="Javascript">
function newImagePopupWithBlur1 (thepic, thewidth, theheight, caption) {
var picwin = window.open("","apic","width=" + thewidth + ",height=" + theheight + ",leftmargin=0,topmargin=0,toolbar=no,location=no,directories=no,status=no,menubar=no,scrollbars=no,resizable=yes,left=20,top=20");
var html = '<html><head><title>' + caption + '</title><meta name="MSSmartTagsPreventParsing" content="true"/></head><body marginheight="0" marginwidth="0" topmargin="0" leftmargin="0" bottommargin="0" rightmargin="0" bgcolor="#000000" onLoad="focus();" onBlur="close();"><img src="' + thepic + '" width="' + "auto" + '" height="' + theheight + '" alt="fun pic" border="0" padding="0" hspace="0" vspace="0"></body></html>'
picwin.document.open();
picwin.document.write(html);
picwin.document.close();
}
</script>
</head>
<body><div id="pageContainer" class="pageRelDiv">
<div id="pageContent" class="pageContentDiv">
<span class="font0914">
<!--<img src="./kicker-prof1.jpg" style="float:right;width: 30%;height: auto;margin: 10px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" clear="right" alt="Horace 'Kicker' Vallas" />-->
<img src="./kicker-prof1.jpg" style="float:right;width: 30%;height: auto;margin: 10px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" alt="Horace 'Kicker' Vallas" onClick="newImagePopupWithBlur1('./cover.jpg', '600px', '611px', 'Ok - Caught Me LOL');" onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<h1>Kicker's Retired :-)</h1>
Hi - thanks for dropping by ... and yup, I've retired.
<br/><br/>
For friends, I'm still <a href="https://www.facebook.com/kicker">Faced</a> and <a href="https://www.youtube.com/user/havcg1">Tubed</a> and, of course, <a href="mailto:hav@hav.com">email</a> still works <strong>;-)</strong>
<br/><br/>
<!--I mean, the last <nws>html "[expr [clock format [clock seconds] -format {%Y}] - 1984]"</nws> years of Internet related stuff have been interesting - and, I guess, a sort of fun way to close a <nws>html "[expr [clock format [clock seconds] -format {%Y}] - 1977]"</nws> year software career HA HA! <br/><br/>-->
I mean, the last 28 years of Internet related stuff have been interesting - and a sort of fun way to close a 45+ year software career HA HA!
<br/><br/>
Oh heck, it's all been fun ... wellll - mostly fun heh heh ... I think the MOST fun I had online over the years was the <strong><i>TennisPensacola site</i></strong> ... a LOT of fun .. sadly, I took it down when I shut down my server - so here's a <a href="https://web.archive.org/web/20171011012850/https://www.tennispensacola.com/" target="_blank">Wayback</a>.. It was a fun 10 years or so ... <strong><i>But HEY!</i></strong> ... the second most fun site I've done is still up and going strong: <a href="https://www.backbenimble.com/" target="_blank">BackBeNimble</a> ... HA HA! Took it over @ '95 or '96 in it's first (or maybe second) incarnation - then rebuilt it - and rebuilt it again ... now on its 3rd or maybe 4th incarnation and STILL going strong HA!
<br/><br/>
AAAaanyway, except for occasional tweaks or various odds and ends on BBN, I'm done! But HEY! If you're fighting any sort of bodily discomfort, be sure to take a look at <a href="https://www.backbenimble.com/" target="_blank" >BackBeNimble</a> - the personal <a href="https://www.backbenimble.com/medical-tens-unit.htm" target="_blank">Dual Channel TENS unit</a> helped get me through several nasty bouts of sciatica <i>heh heh</i> - and BTW, touch base with Brad over at BBN if you have any questions - he can be terrifically helpful.
<br/><br/>
<img src="./kicker-prof.jpg" style="float:left;width: 30%;height: auto;margin: 20px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" vspace="40" alt="Horace 'Kicker' Vallas" />
<br/>
<blockquote>
<h1>Offers for the hav.com name</h1>
<br/>
<strong></strong> <i>I get a <strong>LOT</strong> of offers to buy the hav.com name - most, apparently, from name brokers or site developers - and most around the $30K range.
<img src="./AA82nd-125x160.jpg" style="float:right;width: 30%;height: auto;margin: 10px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" vspae="20" alt="82nd Airborne Div." />
<br/><br/>
So, if you're looking to buy the hav.com name, just know that <strong>hav.com</strong> has been my online persona for the last 26 <!--<nws>html "[expr [clock format [clock seconds] -format {%Y}] - 1996]"</nws>--> years or so - well, since @ 1996 anyway - and, while I'd be willing to sell, it <strong>will</strong> take a rather astronomical offer to convince me to do so ... just sayin' ...
</i></blockquote>
<a href="./KickerContact.vcf"><img src="./kickers-vcard.png" style="float: right;margin: 5px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" height="150" width="150" border"0" hspace="0" vspace="0" alt="Kicker's VCard QR code" /></a>
<!--<a href="./KickerContact.vcf"><img src="./kickers-vcard.png" style="float: right;margin: 5px;padding: 0px;border: #003366 medium solid;-moz-border-radius: 15px 15px 15px 15px;-webkit-border-radius: 15px 15px 15px 15px;-khtml-border-radius: 15px 15px 15px 15px;border-radius: 15px 15px 15px 15px;" height="150" width="150" border"0" hspace="5" vspace="1" alt="Kicker's VCard QR code" /></a><br/><br/>-->
<br/>
<blockquote>
<strong><i>Anyway - Thanks - it's been fun! ... I hope this side of the bridge will be as well ...<br/>... I'm thinkin' it will be HA!</i></strong>
</blockquote>
<br clear="right"/>
<img src="./t1.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick="newImagePopupWithBlur1('./ft1.jpg', '800px', '672px',
'FL Sectional Championships 2013');" onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./t2.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./ft2.jpg", "800px", "600px", "2013 FL State Champions");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./t3.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./ft3.jpg", "800px", "587px",
"2013 Pensacola Pink Ribbon - Ready To Engage");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<br clear="left"/>
<img src="./b4.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./fb4.jpg", "590px", "800px",
"First 300 With New Track Paradox");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./b5.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./fb5.jpg", "800px", "615px",
"My Best Scratch Series");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./b2.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./fb2.jpg", "549px", "800px",
"Team PAP - K, Trav, John, Sam");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<br clear="left"/>
<img src="./b3a.jpg" class="picDiv" alt="Horace 'Kicker' Vallas" onClick='newImagePopupWithBlur1("./fb3a.jpg", "661px", "631px",
"Denabear and K Reviewing The Music");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./db1.jpg" class="picDiv" alt="Horace and Denabear Oct 6, 1984" onClick='newImagePopupWithBlur1("./db1.jpg", "662px", "582px", "Oct 6, 1984 - The BEST Day Of My Life!!");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./db2.jpg" class="picDiv" alt="Horace and Denabear"
onClick='newImagePopupWithBlur1("./fdb2.jpg", "548px", "800px", "Even Up A Tree, Denabear Could See Deep Into My Soul");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<br clear="left"/>
<img src="./k1.jpg" class="picDiv" alt="Shalako's Sidekick for Kicker - aka Kick-kick" onClick='newImagePopupWithBlur1("./fk1.jpg", "400px", "328px", "Young Kick-kick");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./k1a.jpg" class="picDiv" alt="Shalako's Sidekick for Kicker - aka Kick-kick" onClick='newImagePopupWithBlur1("./fk1a.jpg", "800px", "600px", "Even BIG Dogs Need A Nap Now And Then");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./k2.jpg" class="picDiv" alt="Shalako's Sidekick for Kicker - aka Kick-kick" onClick='newImagePopupWithBlur1("./fk2.jpg", "800px", "691px", "Kick-kick, My Best Bud!");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<br clear="left"/><br/>
<center>HA HA! Found a Wayback of <a href="https://web.archive.org/web/20141023085719/http://www.hav.com/kick-kick.htm" target="_blank">Kick-kick's old page</a>!!</center>
<br/><br/>
<img src="./b13.jpg" class="picDiv" alt="Bear dudley Vallas" onClick='newImagePopupWithBlur1("./fb13.jpg", "275px", "282px", "Bear Dudley Vallas");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./b14.jpg" class="picDiv" alt="Bear dudley Vallas" onClick='newImagePopupWithBlur1("./fb14.jpg", "275px", "223px", "Bear Dudley Vallas");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<img src="./b9.jpg" class="picDiv" alt="Bear Dudley Vallas - He guards the sleep of his pauper master as if he were a prince." onClick='newImagePopupWithBlur1("./fb9.jpg", "400px", "296px", "Bear Dudley Vallas");' onmouseover="this.style.cursor='pointer'" onmouseout="this.style.cursor='default'"/>
<br clear="left"/><br/>
<center>HA! ALSO found a Wayback of <a href="https://web.archive.org/web/20141022055522/http://www.hav.com/bear/" target="_blank">Bear's old page</a></center>
<br/><br/>
</span>
</div></div></body></html>
| xml version="1.0" encoding="utf-8"?
Horace 'Kicker' Vallas - FINALLY Retired LOL
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# Kicker's Retired :-)
Hi - thanks for dropping by ... and yup, I've retired.
For friends, I'm still [Faced](https://www.facebook.com/kicker) and [Tubed](https://www.youtube.com/user/havcg1) and, of course, [email](mailto:hav@hav.com) still works **;-)**
I mean, the last 28 years of Internet related stuff have been interesting - and a sort of fun way to close a 45+ year software career HA HA!
Oh heck, it's all been fun ... wellll - mostly fun heh heh ... I think the MOST fun I had online over the years was the ***TennisPensacola site*** ... a LOT of fun .. sadly, I took it down when I shut down my server - so here's a [Wayback](https://web.archive.org/web/20171011012850/https://www.tennispensacola.com/).. It was a fun 10 years or so ... ***But HEY!*** ... the second most fun site I've done is still up and going strong: [BackBeNimble](https://www.backbenimble.com/) ... HA HA! Took it over @ '95 or '96 in it's first (or maybe second) incarnation - then rebuilt it - and rebuilt it again ... now on its 3rd or maybe 4th incarnation and STILL going strong HA!
AAAaanyway, except for occasional tweaks or various odds and ends on BBN, I'm done! But HEY! If you're fighting any sort of bodily discomfort, be sure to take a look at [BackBeNimble](https://www.backbenimble.com/) - the personal [Dual Channel TENS unit](https://www.backbenimble.com/medical-tens-unit.htm) helped get me through several nasty bouts of sciatica *heh heh* - and BTW, touch base with Brad over at BBN if you have any questions - he can be terrifically helpful.
>
> # Offers for the hav.com name
>
>
>
>
> *I get a **LOT** of offers to buy the hav.com name - most, apparently, from name brokers or site developers - and most around the $30K range.
>
> 
>
>
>
>
> So, if you're looking to buy the hav.com name, just know that **hav.com** has been my online persona for the last 26 years or so - well, since @ 1996 anyway - and, while I'd be willing to sell, it **will** take a rather astronomical offer to convince me to do so ... just sayin' ...*
[](./KickerContact.vcf)
>
> ***Anyway - Thanks - it's been fun! ... I hope this side of the bridge will be as well ...
> ... I'm thinkin' it will be HA!***
>
HA HA! Found a Wayback of [Kick-kick's old page](https://web.archive.org/web/20141023085719/http://www.hav.com/kick-kick.htm)!!
HA! ALSO found a Wayback of [Bear's old page](https://web.archive.org/web/20141022055522/http://www.hav.com/bear/)
| http://www.hav.com/ |
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<td align="center"><font face="Bradley Hand ITC" color="#FFFFFF">October
3rd 2014</font></td>
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<p align="center">
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<td width="680" height="148" align="center"><font face="Times New Roman" color="#000080"><a href="http://www.niagarafrontier.com" style="text-decoration: none">
<font color="#FFFF00" style="font-size: 45pt">www.niagarafrontier.com</font></a></font><font size="6" face="Times New Roman" color="#FFFF00"> </font>
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<br>
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PICTURES & SLIDESHOWS<br>
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<p align="center"><font size="2">Date last updated:
<!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%B %d, %Y" startspan -->January 9, 2023<!--webbot bot="Timestamp" i-checksum="31077" endspan --></font></p>
<p align="center">
</p>
<table width="700" border="4" bordercolor="blue" align="center" cellpadding="30">
<tr>
<td><p align="center"><font size="2"><b><em>IN MEMORY Of PETER GORDON</em><b/></p>
<p>Peter Gordon passed away on Sunday January 8th 2023 in Niagara Falls. He was 91 years of age and had been one of the light-masters for the Niagara Falls International Illumination Board. He worked at the illumination building overlooking the <b>Falls of Niagara</b> for over 50 years before his retirement in 2015.
<p><em>Peter was one of the two artists who painted the largest and most famous canvass in the world with the colours of the rainbow - Niagara Falls on a nightly basis</em></p>
<p>Rest in Peace my Friend</p>
</p></td>
</tr>
</table>
<p align="center">
</p>
<p align="center">
</p>
<p align="center"><a href="images/PARK/NFPRR3.jpg" target="_blank">
<img border="0" src="images/PARK/NFPRR3_400.gif" alt="Niagara Falls Park & River Railway"></a><a href="images/PARK/NFPRR1.jpg" target="_parent"><img border="0" src="images/PARK/NFPRR1_400.gif" alt="Niagara Falls Park & River Railway"></a></p>
<p align="center">
<font face="Times New Roman">
<b><i>Mass Transit - early 1900's<br>
Niagara Falls Park & River Railway<br>
</i></b> </font><i><font face="Times New Roman" size="1">Courtesy of Deborah
Milan Brudvig</font></i></p>
<p align="center"> </p>
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<a href="images/SEPT/QVP052.jpg" target="_blank">
<img border="0" src="images/SEPT/QVP052.gif" alt="Queen Victoria Place Restaurant"></a><br>
<b><i><font face="Times New Roman" size="2"><br>
Queen Victoria Restaurant<br>
Niagara Parks</font></i></b></p>
<p align="center">
</p>
<p align="center">
<b><i><font face="Times New Roman" size="2">
<br>
<a href="images/SEPT/QVP083.jpg" target="_blank">
<img border="0" src="images/SEPT/QVP083.gif" alt="Terrapin Point - Niagara Falls State Park"></a></font></i></b><br>
<b><i><font face="Times New Roman" size="2">Terrapin Point<br>
Horseshoe Falls<br>
</font></i></b></p>
</td>
<td width="7" height="339" align="center"></td>
<td valign="top" rowspan="10" width="370" height="38" align="center">
<p align="left"><font size="2" face="Arial" color="#000000"><big><big>W</big></big>elcome to
<strong>Thunder Alley</strong>, a comprehensive web site about Niagara Falls.</font></p>
<p align="left"><font size="2" face="Arial" color="#000000"><strong><em>dedicated to education,
history & tourism</em></strong></font></p>
<p align="left"><i><font face="Arial" size="2"><b>The Niagara Frontier has
a remarkably rich heritage of International and natural history that has
forever shaped our lives and future in peace and harmony. </b><br>
</font></i></p>
<p align="left"><font size="2" face="Arial" color="#000000">
Experience and learn about the best of the sights, sounds and attractions that Niagara Falls has to offer. </font></p>
<p align="left"><font size="2" face="Arial" color="#000000">Did you ever wonder how old is Niagara
Falls? How big is Niagara Falls? or how tall is Niagara Falls? </font></p>
<p align="left"><font size="2" face="Arial" color="#000000">View the beautiful sights of nature's own
masterpiece carved into the landscape by wind, ice and water over 12,000 years
along the
7 miles (11 kilometers) of the Niagara River Gorge.</font></p>
<p align="left"><font face="Arial" size="2">H</font><font size="2" face="Arial" color="#000000">ear
the incessant roaring <b>Thunder of Niagara</b> and experience the
awesome sights and feelings as 100,000 cubic feet of water per second
rush over the edge of the Falls as waters from the Upper Great Lakes
Basin empties over the 170 foot high precipice.</font></p>
<p align="left"><font size="2" face="Arial" color="#000000">Visit
Ontario's Niagara Parks and New York State's Reservation Park at Niagara
Falls. See the Horseshoe Falls , the American Falls and the Bridal Veil
Falls. Walk amongst one of the finest and oldest
parks in the world. Enjoy the balance of nature which has been preserved, protected and
maintained by Canadians and Americans peacefully sharing the beauty and grandeur of the
Falls of Niagara with International flavour. It is truly one of the most beautiful
parklands in North America. </font>
<font size="2"><p align="left"></font><font size="2" face="Arial" color="#000000">Niagara Falls is a
treasure of natural and man made jewels that must be seen. Visit the many exciting and
daring sites and attractions which highlight & compliment the very best Niagara Falls
has to offer.</font><span style="font-family: Arial"><font size="2">
These amazing sights and sounds can only be fully appreciated in person.</font></span></p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left">
<span style="FONT-FAMILY: Arial"><font size="2">Aside from the natural
wonder of the Falls themselves - the twin Cities of Niagara Falls boasts
a large array of attractions for all ages. Visitors can enjoy the many
museums, amusement parks, gardens and parklands. As well as learn about
the various daredevils that have braved the challenge. Or, for those
that feel lucky - Niagara Falls is home to three casinos.</font></span></p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left">
<font size="2"> </font></p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left">
<span style="FONT-FAMILY: Arial"><font size="2">Thunder Alley provides
up-to-date information on
directions, parking, attractions, bridges and hydroelectric power.</font></span></p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left"> </p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left"><font size="2" face="Arial" color="#000000">For International visitors, learn about the
Customs Regulations that visitors should know about entering or exiting
the Canadian/USA border.</font></p>
<p align="left"><font size="2" face="Arial" color="#000000">Whether planning
a vacation,
a honeymoon, or interested in learning about the history & facts of the Falls of
Niagara, find all this information here at your finger tips.</font></p>
<p class="MsoNormal" style="MARGIN: 0in 0in 0pt" align="left">
<span style="FONT-FAMILY: Arial"><font size="2">All this and much more
is just a click away.</font></span></p>
<p align="left"><strong><font face="Arial" color="#000000">Begin your journey now by clicking
on any of the subjects listed in the navigator above and/or the
attractions highlighted below.</font></strong></p>
<p align="left"><strong><font face="Arial" size="2">If you can not find the information you are seeking
or require additional information, Email inquiries are encouraged. <em>(see below)</em></font></strong><dl>
<div align="left">
<dt><font color="#804040"><em><small><font size="3">The contents of this site, including all photographs,
images and text are for personal, educational or public/government non-commercial purposes only.</font><b>
<br><br>Please
refer to the
<a href="http://www.niagarafrontier.com/copyright.html">copyright</a>
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<u><small>
<font face="Times New Roman"><small><font size="2"><em><b><br>
Niagara Falls Web Cams</b></em></font></small></font></small></u><p align="center">
<i><font face="Times New Roman" size="2">
<a style="text-decoration: none" target="_blank" rel="nofollow" href="http://www.earthcam.com/canada/niagarafalls/?cam=niagarafalls_str">
Niagara Falls Earth Cam</a></font></i></p>
<p align="center">
<i><font face="Times New Roman" size="2">
<a style="text-decoration: none" target="_blank" href="http://www.sheratonniagarafalls.com/webcam-fallscam" rel="nofollow"> </a><a style="text-decoration: none" target="_blank" href="https://iceboom.nypa.gov/">Lake Erie Ice Boom</a></font></i><small><font face="Times New Roman"><small><font size="2"><em><b><br>
</b></em></font></small></font></small><br>
</p>
<p align="center">
<b><i><font size="1"><br>
</font></i></b></p>
<p align="center">
<br>
</p>
<p align="center">
<a href="images/illumination/March7th2019022Illumination.jpg" target="_blank">
<img border="0" src="images/illumination/March7th2019022Illumination.gif" alt="Partially Frozen Bridal veil Falls"></a></p>
<p align="center">
<b><i><font face="Times New Roman" size="2">Night Illumination of
American Falls</font></i></b></p>
<p align="center">
<a href="images/illumination/March7th2019042Illumination.jpg" target="_blank">
<img border="0" src="images/illumination/March7th2019042Illumination.gif" alt="Illumination of American Falls"></a></p>
<p align="center">
</p>
<p align="center">
</p>
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<i><font size="2"><br>
</font></i></p>
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<i><font size="2">
<br>
</font></i></p>
<p class="MsoNormal" style="line-height: normal; text-autospace: none; margin-bottom: .0001pt"> </p>
<p align="center">
<br>
<small><font face="Times New Roman"><small><font size="2"><em><b><br>
</b></em></font></small></font></small><p align="center">
<small><font face="Times New Roman"><small><font size="2"><em><b>
<br><br> </b></em></font></small></font></small><blockquote>
<p align="center"><small><font face="Times New Roman"><small>
<font size="2"><em><b><br> </b></em></font></small></font></small></blockquote>
</tr>
</table>
<div align="center">
<p align="center"> </p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center">
<a href="images/1918BowmansGully.jpg" target="_blank">
<img border="0" src="images/1918BowmansGully.gif" alt="1918 Bowmans Ravine Depth Measurements "></a><br>
<br>
<b><i><font face="Times New Roman" size="2">1918 Bowman's Ravine Topographic Chart<br>
(before the hydro canal project)
<br>
Courtesy of Scott Ensminger and Ontario Power Generation</font></i></b></p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center">
<a href="images/1913riverdepthsb_L.jpg" target="_blank">
<img border="0" src="images/1913riverdepthsb_400L.gif" alt="1913 Upper Niagara River Depth Measurements "></a><br>
<br>
<b><i><font face="Times New Roman" size="2">1913 Upper Niagara
River Depth Chart<br>
US Army Corps of Engineers</font></i></b></p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"><br>
</p>
<table border="2" width="70%" bordercolorlight="#0000FF" cellspacing="3" cellpadding="2" bordercolordark="#000000">
<tr>
<td colspan="4" bgcolor="#C0C0C0" align="center">
<p align="center"><font size="5" face="Times New Roman">
ACTUAL RATES OF EROSION</font></td>
</tr>
</font>
<tr>
<td height="39" bgcolor="#000080" align="center">
<p align="center">
<font size="5" face="Times New Roman" color="#FFFFFF">
HORSESHOE FALLS</font></td>
<td align="center" colspan="3" height="39" bgcolor="#000080"> </td>
</tr>
<tr>
<td align="center" bgcolor="#000080" rowspan="8"> </td>
<td align="center" colspan="3"> </td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" style="font-size: 16pt">
DURATION</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" style="font-size: 16pt">
RECESSION RATE</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" style="font-size: 16pt">
SOURCE</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">1842-1875</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">1.2-1.3 metres per
year<br>
3.9-4.2 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Gilbert, 1907<br>
International Joint Commission, 1953</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">1875-1905</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">1.3-2.0 metres per
year<br>
4.2-6.5 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Gilbert, 1907<br>
International Joint Commission, 1953</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">1905-1927</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.98 metres per
year<br>
3.2 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">International
Joint Commission, 1953</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">1927-1950</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.67 metres per
year<br>
2.19 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">International
Joint Commission, 1953</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">1950-2000</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.1 metres per
year<br>
0.32 feet per year </font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Tinkler, 1993,1994</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">Modern Era</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.1 metres per
year<br>
0.32 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Tinkler, 1993,1994</font></td>
</tr>
<tr>
<td align="center" bgcolor="#008000">
<font face="Times New Roman" size="5" color="#FFFFFF">
AMERICAN FALLS</font></td>
<td align="center" colspan="3" bgcolor="#008000"> </td>
</tr>
<tr>
<td align="center" bgcolor="#008000" rowspan="3"> </td>
<td align="center" colspan="3"> </td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">500 y-1905</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.098 metres per
year<br>
0.32 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Gilbert, 1907</font></td>
</tr>
<tr>
<td align="center" bgcolor="#00FFFF">
<font face="Times New Roman" size="4">Modern Era</font></td>
<td align="center" bgcolor="#99FF66">
<font face="Times New Roman" size="4">0.01 metres per
year<br>
0.032 feet per year</font></td>
<td align="center" bgcolor="#FFFF80">
<font face="Times New Roman" size="4">Tinkler, 1993,1994</font></td>
</tr>
<tr>
<td align="center" colspan="4"> <p>
<span style="line-height: 107%; font-family: Times New Roman">
<font size="4">The decrease in the recession rate of the
Horseshoe Falls is related to the reduction of the river
discharge over the Falls because of water diversion
upriver for hydro generation and the increase in the
waterfall lip length, whereas that of the American Falls
is solely due to the reduction in water flow volume.<br>
</font></span></td>
</tr>
</table>
</div>
</font>
<p align="center"> </p>
<p align="center">
</p>
<div align="center">
<p align="center">
</p>
<p align="center">
</p>
<p align="center">
<a href="http://www.niagarafrontier.com/scow.html" target="_blank">
<img border="0" src="images/SUB/ScowBanner.jpg" alt="The History of the Stranded Scow - 100th Anniversary"></a></p>
<p align="center">
</p>
<p align="center">
<br>
</p>
<p align="center">
<a href="http://niagarafrontier.com/Rememberingworkers.html" target="_blank">
<img border="0" src="images/POWER/HEPC_ba_700.jpg" alt="Remembering the Workmen - Queenston - Chippawa Power Project"></a></p>
</div>
<p align="center">
<br>
</p>
<p align="center">
<a href="http://www.niagarafrontier.com/illuminationlights.html" target="_blank">
<img border="0" src="images/illumination/Illumination_logo1.jpg" alt="The Illumination of Niagara Falls"></a><br>
</p>
<p align="center">
</p>
<p align="center">
<a href="http://www.niagarafrontier.com/breakice.html" target="_blank">
<img border="0" src="images/POWER/BreakingICE_700.jpg" alt="Breaking Ice - A History of Ice Breaking on the Niagara River"></a></p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center">
<a href="http://www.niagarafrontier.com/greenhouse.html">
<img border="0" src="images/floralshowhouse_banner2014a_700.jpg"></a></p>
<p align="center">
</p>
<p align="center">
</p>
<p align="center">
<a href="http://www.niagarafrontier.com/history_story.html" target="_blank">
<img border="0" src="images/BannerYesterdayatNiagaraFalls.jpg" alt="Yesterday at Niagara Falls - Stories from the past"></a><font size="1"><u><br>
</u></font></p>
</div>
<p align="center"> </p>
<div align="center"><center>
<table border="4" width="700" height="62" bordercolor="#800080" cellspacing="1" cellpadding="0">
<tr>
<td width="751" height="62" align="center">
<p align="center"><u><em><big><big><strong><font color="#800080">E-MAIL REQUESTS</font></strong></big></big></em></u></p>
<blockquote>
<blockquote>
<p align="center"><strong><em><font size="2">If you have any questions of a current or historical nature
about the<br>
Niagara Falls area, have any suggestions, corrections or to report
broken links please feel free to e-mail Rick at</font></em></strong><font size="2">:<br>
</font><strong><font size="5">
<a href="mailto:niagarahistory@gmail.com">niagarahistory@gmail.com</a></font></strong></p>
<blockquote>
<p align="center"><font face="Arial" size="2"><i>An attempt is made
to answer all emails. Depending on the degree of difficulty and/or
time constraints, some responses may be delayed. <br>
Questions of a genealogical nature may not be answered as a result
of time constraints.</i> <br> </font></p>
</blockquote>
</blockquote>
</blockquote>
<p align="center"><big><strong><em>Links to this web site are welcome</em></strong></big></p>
</td>
</tr>
</table></center></div>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"> </p>
<p align="center"><font color="#000000">Thank you for visiting</font></p>
<p align="center"><font color="#000080"><big><big><big><big>Niagara Falls</big></big></big></big></font><strong><font color="#0000FF"><br>
</font><font color="#FF0000"><big><big><big>Thunder Alley</big></big></big></font></strong></p>
<p align="center"><font color="#000000"><small>please visit often</small></font></p>
<div align="left">
<address> </address></div>
<div align="left">
<address> </address></div>
<div align="left">
<address> </address></div>
<div align="left">
<address> </address></div>
<div align="left">
<address> </address></div>
<div align="left">
<address><b><i><font size="2" color="#000000">This web site is designed & prepared by:<br> </font></i></b></address>
</div>
<div align="left">
<address><strong><small><font color="#000000">Webmaster -</font>
<a target="_blank" href="http://www.niagarafrontier.com/netdetective.jpg">Rick Berketa</a><br> </small></strong></address>
</div>
<div align="left">
<address><strong><font size="2" color="#000000">with the assistance of</font></strong></address>
</div>
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<address> </address>
</div>
<div align="left">
<address><strong><small><a href="http://www.nflibrary.ca">
<img border="0" src="image/librarytitlelittle.jpg" width="166" height="34" alt="Niagara Falls (Ontario) Public Library"></a></small></strong></address>
</div>
<div align="left">
<address><br>
<small><a href="http://www.opticnerve.ca" target="_blank">
<img border="0" src="images/opticnerve.jpg" alt="Optic Nerve Design"></a><br>
<br>
Copyright ©1999-2022</small><br><small>All Rights Reserved</small></address></div>
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Niagara Falls Thunder Alley
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| |
| --- |
| October
3rd 2014 |
| [www.niagarafrontier.com](http://www.niagarafrontier.com) |
..........SHARING NIAGARA FALLS WITH THE WORLD..........
| |
| --- |
| **NIAGARA
FALLS THUNDER ALLEY NAVIGATOR** |
|
**INFORMATION INDEX**
Information Index
Accidents & Rescues
Aero Car
American Falls
Attractions
Attractions Price List
Aviary of Niagara
Barge (Scow)
Books & Authors
Botanical Gardens
Boundary Waters Treaty
Bridges History
Butterfly Conservatory
Carillon Tower
Casino Niagara
Cave of the Winds
Clifton Hill
Climate
Customs Regulations
Daredevils
Dewatered Falls
Directions & Parking
Dufferin Islands
Environmental Issues
EVENTS & NEWS
Falls Facts & History
Festival of Lights
Fireworks Over Falls
Floral Clock
Floral Showhouse
Frequently Asked Questions
Geology
Greenhouses
Horseshoe Falls
Hydro Diversion
Hydrology Quick Facts
Ice Breakers Niagara River
Ice Bridges / Ice Boom
Illumination Lights
Links to Educational Sites
Maid of the Mist
Municipalities of Niagara
NEWS & EVENTS
Niagara Glen
Niagara Gorge
Niagara Parks
Niagara River
Niagara River Treaty
Niagara Tunnel Project
Oakes Garden Theatre
Parking & Directions
Power History
Rankine Power Station
Rescues & Accidents
Scow (Stranded Barge)
SITE MAP
Spanish Aero Car
Towers of Niagara Falls
Urban Developments
Weather
Whirlpool
Whirlpool Aero Car
Whirlpool Rapids
|
**HISTORICAL
ARCHIVE**
History Index
Barge (Scow)
Accidents & Rescues
Accounts Historic
American Falls Dry 1969
American Revolution
Barnett, Thomas
Bender, Phillip
Birth of the Cities: a history
Bridges: a History
British in Niagara
Burning Springs
Buttery Elevator
Caroline, the Steamboat
Center, the
Chippawa - a History
City of the Falls Project
Clifton, Town & Village of
Commerce (Early)
Crysler, Harmanus
Daredevils Hall of Fame
Devil's Hole & Massacre
Dewatered Falls
Drummond Hill
Early Settlers
Explorers Accounts
Forsyth, James
Freedom Trail of Niagara
French in Niagara
Frontier Amusement Park
Geology - a History
Great Gorge Route
Historic Accounts
Honeymoon Bridge Collapse
Hotels & Campgrounds
Ice Breakers -A history of Niagara
Ice Bridges
Ice Bridge Deaths
Incline Railway Crash (1907)
Indian Nations
Islands of Upper Niagara
Jet Crash Into Gorge - December 1961
Lorreto Academy
MacKenzie Rebellion
Michigan, the Schooner
Mill District of New York
Mowat Gates
Muddy Run Creek
New York, Western
Niagara Falls 1800's
Niagara Parks - a History
Oakes, Harry
Pioneer Families
Post American Revolution
Portage Road
Power - a History
Powerhouse at Queenston 1954
Prospect Point Rockfall
Railroads - a History
Rankine Power Station
Schoellkopf Power Collapse
Scow(stranded barge)
SITE MAP
Skyview Airlines
Streetcars & Trolleys
Subchaser
Superior, the steamboat
Table Rock - a History
Terrapin Point - a History
Toll Roads - a History
Tower Terminal Inn
Towers - a History
Townships: a history
War of 1812 BiCentennial
Post War Development
Water Works
Yesterday 1909
Zimmerman, Samuel
|
**PICTURES & SLIDESHOWS**
Photo Index
American Memories (link)
Fireworks Over Falls
Historical Pictures Page #1
Historical Pictures Page #2
Honeymoon Bridge Collapse
NF Library Collection (link)
Panoramic Pictures
Powerhouse at Queenston 1954
Small Town America (link)
Yesterday 1909
|
| **[SITE MAP](http://www.niagarafrontier.com/sitemap.html)** |
Date last updated:
January 9, 2023
| |
| --- |
| ***IN MEMORY Of PETER GORDON***
Peter Gordon passed away on Sunday January 8th 2023 in Niagara Falls. He was 91 years of age and had been one of the light-masters for the Niagara Falls International Illumination Board. He worked at the illumination building overlooking the **Falls of Niagara** for over 50 years before his retirement in 2015.
*Peter was one of the two artists who painted the largest and most famous canvass in the world with the colours of the rainbow - Niagara Falls on a nightly basis*
Rest in Peace my Friend
|
[](images/PARK/NFPRR3.jpg)[](images/PARK/NFPRR1.jpg)
***Mass Transit - early 1900's
Niagara Falls Park & River Railway*** *Courtesy of Deborah
Milan Brudvig*
| | | | | |
| --- | --- | --- | --- | --- |
|
***[OPINION](/opinion.html)***
[Queen Victoria Place Restaurant](images/SEPT/QVP052.jpg)
***Queen Victoria Restaurant
Niagara Parks***
***[Terrapin Point - Niagara Falls State Park](images/SEPT/QVP083.jpg)***
***Terrapin Point
Horseshoe Falls*** | | Welcome to
**Thunder Alley**, a comprehensive web site about Niagara Falls.
***dedicated to education,
history & tourism***
***The Niagara Frontier has
a remarkably rich heritage of International and natural history that has
forever shaped our lives and future in peace and harmony.***
Experience and learn about the best of the sights, sounds and attractions that Niagara Falls has to offer.
Did you ever wonder how old is Niagara
Falls? How big is Niagara Falls? or how tall is Niagara Falls?
View the beautiful sights of nature's own
masterpiece carved into the landscape by wind, ice and water over 12,000 years
along the
7 miles (11 kilometers) of the Niagara River Gorge.
Hear
the incessant roaring **Thunder of Niagara** and experience the
awesome sights and feelings as 100,000 cubic feet of water per second
rush over the edge of the Falls as waters from the Upper Great Lakes
Basin empties over the 170 foot high precipice.
Visit
Ontario's Niagara Parks and New York State's Reservation Park at Niagara
Falls. See the Horseshoe Falls , the American Falls and the Bridal Veil
Falls. Walk amongst one of the finest and oldest
parks in the world. Enjoy the balance of nature which has been preserved, protected and
maintained by Canadians and Americans peacefully sharing the beauty and grandeur of the
Falls of Niagara with International flavour. It is truly one of the most beautiful
parklands in North America.
Niagara Falls is a
treasure of natural and man made jewels that must be seen. Visit the many exciting and
daring sites and attractions which highlight & compliment the very best Niagara Falls
has to offer.
These amazing sights and sounds can only be fully appreciated in person.
Aside from the natural
wonder of the Falls themselves - the twin Cities of Niagara Falls boasts
a large array of attractions for all ages. Visitors can enjoy the many
museums, amusement parks, gardens and parklands. As well as learn about
the various daredevils that have braved the challenge. Or, for those
that feel lucky - Niagara Falls is home to three casinos.
Thunder Alley provides
up-to-date information on
directions, parking, attractions, bridges and hydroelectric power.
For International visitors, learn about the
Customs Regulations that visitors should know about entering or exiting
the Canadian/USA border.
Whether planning
a vacation,
a honeymoon, or interested in learning about the history & facts of the Falls of
Niagara, find all this information here at your finger tips.
All this and much more
is just a click away.
**Begin your journey now by clicking
on any of the subjects listed in the navigator above and/or the
attractions highlighted below.**
**If you can not find the information you are seeking
or require additional information, Email inquiries are encouraged. *(see below)***
*The contents of this site, including all photographs,
images and text are for personal, educational or public/government non-commercial purposes only.**Please
refer to the
[copyright](http://www.niagarafrontier.com/copyright.html)
for more information***
***Links to this web site are welcome***
| |
Frequently Asked Questions
***Niagara Falls Web Cams***
*[Niagara Falls Earth Cam](http://www.earthcam.com/canada/niagarafalls/?cam=niagarafalls_str)*
*[Lake Erie Ice Boom](https://iceboom.nypa.gov/)*
[Partially Frozen Bridal veil Falls](images/illumination/March7th2019022Illumination.jpg)
***Night Illumination of
American Falls***
[Illumination of American Falls](images/illumination/March7th2019042Illumination.jpg)
|
[](images/1918BowmansGully.jpg)
***1918 Bowman's Ravine Topographic Chart
(before the hydro canal project)
Courtesy of Scott Ensminger and Ontario Power Generation***
[](images/1913riverdepthsb_L.jpg)
***1913 Upper Niagara
River Depth Chart
US Army Corps of Engineers***
| |
| --- |
|
ACTUAL RATES OF EROSION |
|
HORSESHOE FALLS | |
| | |
|
DURATION |
RECESSION RATE |
SOURCE |
| 1842-1875 | 1.2-1.3 metres per
year
3.9-4.2 feet per year | Gilbert, 1907
International Joint Commission, 1953 |
| 1875-1905 | 1.3-2.0 metres per
year
4.2-6.5 feet per year | Gilbert, 1907
International Joint Commission, 1953 |
| 1905-1927 | 0.98 metres per
year
3.2 feet per year | International
Joint Commission, 1953 |
| 1927-1950 | 0.67 metres per
year
2.19 feet per year | International
Joint Commission, 1953 |
| 1950-2000 | 0.1 metres per
year
0.32 feet per year | Tinkler, 1993,1994 |
| Modern Era | 0.1 metres per
year
0.32 feet per year | Tinkler, 1993,1994 |
|
AMERICAN FALLS | |
| | |
| 500 y-1905 | 0.098 metres per
year
0.32 feet per year | Gilbert, 1907 |
| Modern Era | 0.01 metres per
year
0.032 feet per year | Tinkler, 1993,1994 |
|
The decrease in the recession rate of the
Horseshoe Falls is related to the reduction of the river
discharge over the Falls because of water diversion
upriver for hydro generation and the increase in the
waterfall lip length, whereas that of the American Falls
is solely due to the reduction in water flow volume.
|
[](http://www.niagarafrontier.com/scow.html)
[](http://niagarafrontier.com/Rememberingworkers.html)
[](http://www.niagarafrontier.com/illuminationlights.html)
[](http://www.niagarafrontier.com/breakice.html)
[](http://www.niagarafrontier.com/greenhouse.html)
[](http://www.niagarafrontier.com/history_story.html)
| |
| --- |
| ***E-MAIL REQUESTS***
***If you have any questions of a current or historical nature
about the
Niagara Falls area, have any suggestions, corrections or to report
broken links please feel free to e-mail Rick at***:
**[niagarahistory@gmail.com](mailto:niagarahistory@gmail.com)**
*An attempt is made
to answer all emails. Depending on the degree of difficulty and/or
time constraints, some responses may be delayed.
Questions of a genealogical nature may not be answered as a result
of time constraints.*
***Links to this web site are welcome*** |
Thank you for visiting
Niagara Falls **Thunder Alley**
please visit often
***This web site is designed & prepared by:***
**Webmaster -
[Rick Berketa](http://www.niagarafrontier.com/netdetective.jpg)**
**with the assistance of**
**[](http://www.nflibrary.ca)**
[](http://www.opticnerve.ca)
Copyright ©1999-2022
All Rights Reserved
| http://www.niagarafrontier.com/ |
<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<title>My First Computer! – Qalle’s home page</title>
<link rel="stylesheet" type="text/css" href="main.css">
</head>
<body>
<main>
<h1>My First Computer!</h1>
<nav>
<ul>
<li><a href="#intro">Introduction</a></li>
<li><a href="#specs">Specs</a></li>
<li><a href="#dosgames">DOS games I played</a></li>
<li><a href="#wingames">Windows games I played</a></li>
<li><a href="#footer">Footer</a></li>
</ul>
</nav>
<h2 id="intro">Introduction</h2>
<figure>
<a href="img/firstcomp.jpg"><img src="img/firstcomp_thumb.jpg" alt=""></a>
<figcaption>Windows 3.1 & Paint­brush running before the big up­grade in 1996</figcaption>
</figure>
<p>I got my first computer in September 1993 when I was eight years old. I used it for playing games and programming with QBasic and MS-DOS batch files. The mouse didn’t work under DOS because I didn’t know how to install a driver. The internal speaker was loud. The computer broke in early 1997.</p>
<h2 id="specs">Specs</h2>
<ul>
<li>make/model: Digital DECpc 425i</li>
<li>CPU: Intel 486SX 25 MHz</li>
<li>RAM: 4 MB at first; upgraded to 8 MB in mid-1996</li>
<li>HDD: 170 MB</li>
<li>FDD: 3.5-inch HD</li>
<li>CD-ROM drive: none at first; a four-speed drive was added in mid-1996</li>
<li>sound card: a cheap SB-compatible (I used it only for the joystick port at first; I got speakers only later)</li>
<li>modem: none</li>
<li>monitor: 14 or 15-inch</li>
<li>joystick: an analog QuickShot at first; Gravis Analog Pro in 1996</li>
<li>OS: MS-DOS 6 & Windows 3.1</li>
<li>price: 10,000 FIM + upgrades</li>
</ul>
<h2 id="dosgames">DOS games I played</h2>
<ul>
<li><em>Abuse</em></li>
<li><em>Armored Fist</em> (a tank simulator on 4 floppy disks)</li>
<li><em>CD-Man</em> (a <em>Pac-Man</em> clone)</li>
<li><em>Commander Keen</em> series (1, Dreams, 4, 5, 6)</li>
<li><em>Cycles</em> (motorcycle racing in primitive 3D)</li>
<li><em>Doom</em></li>
<li><em>Duke Nukem II</em> (it crashed often on my computer)</li>
<li><em>Duke Nukem 3D</em> (it was really slow!)</li>
<li><em>Electro Body</em> (<em>Electro Man</em>; a platformer)</li>
<li><em>F-15 Strike Eagle II</em></li>
<li><em>Flight Simulator 5</em> (CD-ROM)</li>
<li><em>The Fortress of Dr. Radiaki</em></li>
<li><em>Gemstones III</em> (a <em>Breakout</em> clone from a PC Gamer coverdisc)</li>
<li><em>H2O</em> (a game with fluid physics from a PC Gamer coverdisc)</li>
<li><em>Jetpack</em> (from a shareware/freeware CD)</li>
<li><em>Leisure Suit Larry</em></li>
<li><em>Lotus: The Ultimate Challenge</em></li>
<li><em>Oh No! More Lemmings</em></li>
<li><em>PC Rally</em></li>
<li><em>SimCity</em></li>
<li><em>SkyRoads</em></li>
<li><em>Slicks ’n Slide</em> (the only shareware game I registered)</li>
<li><em>Street Fighter II</em> (the music slaps!)</li>
<li><em>Stunts</em></li>
<li><em>Tank Wars</em> (<em>Bomb</em>; a simple artillery game)</li>
<li><em>Terminal Velocity</em> (I borrowed the CD from a friend and my drive scratched it)</li>
<li><em>Wolfenstein 3D</em> (I edited the graphics a lot and didn’t keep a backup of the originals)</li>
<li><em>Worms</em></li>
</ul>
<p>(Most of the commercial games were “backups” from my friends, my dad’s workplace and the computer shop that did the upgrade.)</p>
<h2 id="wingames">Windows games I played</h2>
<ul>
<li><em>Minesweeper</em></li>
<li><em>Taipei</em> (mahjong)</li>
</ul>
</main>
<footer id="footer">
<ul>
<li><a href="/">Back to Qalle’s home page</a></li>
</ul>
</footer>
</body>
</html> |
My First Computer! – Qalle’s home page
# My First Computer!
* [Introduction](#intro)
* [Specs](#specs)
* [DOS games I played](#dosgames)
* [Windows games I played](#wingames)
* [Footer](#footer)
## Introduction
[](img/firstcomp.jpg)
Windows 3.1 & Paintbrush running before the big upgrade in 1996
I got my first computer in September 1993 when I was eight years old. I used it for playing games and programming with QBasic and MS-DOS batch files. The mouse didn’t work under DOS because I didn’t know how to install a driver. The internal speaker was loud. The computer broke in early 1997.
## Specs
* make/model: Digital DECpc 425i
* CPU: Intel 486SX 25 MHz
* RAM: 4 MB at first; upgraded to 8 MB in mid-1996
* HDD: 170 MB
* FDD: 3.5-inch HD
* CD-ROM drive: none at first; a four-speed drive was added in mid-1996
* sound card: a cheap SB-compatible (I used it only for the joystick port at first; I got speakers only later)
* modem: none
* monitor: 14 or 15-inch
* joystick: an analog QuickShot at first; Gravis Analog Pro in 1996
* OS: MS-DOS 6 & Windows 3.1
* price: 10,000 FIM + upgrades
## DOS games I played
* *Abuse*
* *Armored Fist* (a tank simulator on 4 floppy disks)
* *CD-Man* (a *Pac-Man* clone)
* *Commander Keen* series (1, Dreams, 4, 5, 6)
* *Cycles* (motorcycle racing in primitive 3D)
* *Doom*
* *Duke Nukem II* (it crashed often on my computer)
* *Duke Nukem 3D* (it was really slow!)
* *Electro Body* (*Electro Man*; a platformer)
* *F-15 Strike Eagle II*
* *Flight Simulator 5* (CD-ROM)
* *The Fortress of Dr. Radiaki*
* *Gemstones III* (a *Breakout* clone from a PC Gamer coverdisc)
* *H2O* (a game with fluid physics from a PC Gamer coverdisc)
* *Jetpack* (from a shareware/freeware CD)
* *Leisure Suit Larry*
* *Lotus: The Ultimate Challenge*
* *Oh No! More Lemmings*
* *PC Rally*
* *SimCity*
* *SkyRoads*
* *Slicks ’n Slide* (the only shareware game I registered)
* *Street Fighter II* (the music slaps!)
* *Stunts*
* *Tank Wars* (*Bomb*; a simple artillery game)
* *Terminal Velocity* (I borrowed the CD from a friend and my drive scratched it)
* *Wolfenstein 3D* (I edited the graphics a lot and didn’t keep a backup of the originals)
* *Worms*
(Most of the commercial games were “backups” from my friends, my dad’s workplace and the computer shop that did the upgrade.)
## Windows games I played
* *Minesweeper*
* *Taipei* (mahjong)
* [Back to Qalle’s home page](/)
| https://qalle.neocities.org/firstcomp |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
<HTML>
<HEAD>
<TITLE>Introduction to the Internet - email - and web sites</TITLE>
<META NAME="DESCRIPTION" CONTENT="An article describing the benefits from a small business perspective of using the internet - covering e-mail newsgroups forums and web sites.">
<META NAME="KEYWORDS" CONTENT="internet introduction email e-mail newsgroups mailing lists forums web site">
</HEAD>
<BODY BGCOLOR="#FFFBF0">
<H1 align="center">So what can the Internet do for me?</H1>
<BLOCKQUOTE>
<P>Everyone has now heard about the information superhighway, e-mail, and the World Wide Web. You may be thinking
that, possibly, you are missing out on this great new revolution - that somehow, if you knew more about it, you
too could be 'coining it in'. In this short article I will try to explain it all in simple terms so that you can
make your own decision.</P>
<H2>E-Mail</H2>
<P>This is probably the least hyped part of the electronic revolution, it is also the easiest to understand and
is also probably the most useful. Think of e-mail as a clever fax machine. With a fax you can send and receive
pages of information. You can do the same with e-mail but without having to print the pages first. For example:
instead of printing out your order to a supplier and then faxing it, all you need to do is click a few buttons
on the screen and the message can be e-mailed - not to a public fax machine - but directly to the person who will
deal with your order. When you receive an e-mail, rather than having to rekey all the information - it is already
on your computer - all you need to do is copy and paste it into any other application such as a report in a word
processor. E-mail messages can be forwarded to whoever needs to deal with the message next.</P>
<H3>E-Mail can save time and telephone costs</H3>
<P>Replacing the fax machine for a lot of business communications is a minor advantage of e-mail. A much more important
advantage is that e-mail can be more effective than the telephone for non urgent routine communications. Even a
short telephone conversation will take some five minutes - if you are lucky enough to speak to the correct person
the first time. Non urgent phone conversations can interrupt and delay work that is more important. How many times
have you been in the car on the way home, when you remember that important task, that was not completed because
you were side tracked by the ringing of the telephone? How often have you taken a phone message for a colleague
and forgotten to pass it on? Even if you never, ever, forget to pass on a message, how often have your messages
gone astray or got garbled in the passing. How many times have you had to phone back to clarify an earlier phone
message.</P>
<P>A short e-mail message can be composed whenever you want to - you have a written record of your message. The
recipient can pick up your message at his convenience, when it will probably also be convenient for him to deal
with your request. He cannot forget what you said in your message as it is there on his PC to review.</P>
<P>All e-mail is sent at local telephone rates. How much are you now paying on your international and long distance
fax and phone calls? How many of these could be replaced with e-mail?</P>
<P>As with everything else there are drawbacks that need to be considered. If your email address is posted on the
web sooner or later you will be on the receiving end of junk email. One of the benefits of email is the ease with
which it can be forwarded - this is also a disadvantage as anything you put in an email message may be sent onto
many other people without your consent nor your knowledge.</P>
<H2>News Groups, Mailing Lists, and Forums</H2>
<P>An example is probably the best way to describe a Newsgroup: Suppose you are a breeder of Oranics (a very rare
breed of small horses) and you want to discuss the finer points of breeding Oranics with other breeders. You could
start a Newsgroup devoted to the breeding of Oranics and invite other interested people to subscribe. Any message
posted to the Newsgroup can be read by all subscribers to the Newsgroup. Any one can respond to any message, and
the conversation will be seen by all subscribers.</P>
<P>Mailing Lists are similar to Newsgroups, but instead of having to periodically down load the messages, each
message posted to the list is then forwarded to all the members of the list. Instead of reading the newsgroups
you can subscribe to a mailing list and have the details sent to your mail box.</P>
<P>Also similar to the Newsgroups are the discussion forums hosted by CompuServe and other internet access providers
- these are worth a visit. I have found the computer related ones an invaluable resource; ask a question and you
will be amazed at the number of experts in the field competing with each other to give you the best answer!</P>
<P>Unfortunately many Newsgroups contain nothing more than gossip and tittle-tattle, also many have been overrun
by get rich quick schemes and other unsavoury advertising - if you have children keep them away or keep a close
eye on what they are reading.</P>
<H2>The Internet and The World Wide Web</H2>
<P>Once you have mastered e-mail the next step on the information superhighway is to start surfing the web. This
is where things can get very expensive: you will not realise just how much time you have wasted till the telephone
bill arrives! I would advise sitting down with a stiff whiskey or two before opening the bill!</P>
<P>Having issued the wealth warning - could surfing the web be useful from a business point of view? The answer,
I think, is a qualified yes. There is a lot of useful information out there - the problem is finding it quickly
and not getting sidetracked into following some links that seem more interesting at the time, and yes there is
quite a lot of pornography out there but (I understand) the pictures are not that good and take a long time to
download. If your competitors are on the web then it is worth a visit to their site. There are quite a lot of search
engines that may come up with interesting information if you do a search on subjects relating to your own company,
try <A HREF="http://www.altavista.digital.com/">http://www.altavista.digital.com/. </A>A search of news groups
may prove interesting try DejaNews at <A HREF="http://www.dejanews.com/">http://www.dejanews.com</A> to see who
is saying what about you and your competitors.</P>
<H2>Your Own Web Site</H2>
<P>'If it wasn't worth it - all the large companies would not be there!'.</P>
<P>The larger companies are there because they can see a possible source of profit and are afraid of missing out
on the bonanza. There are many stories of web sites that are making a fortune. These I think should be taken with
a pinch of salt. The sites that are probably making money are those selling pictures on a pay by view basis (maybe
the quality is better if you pay for it?). Possibly the search engines are making money thru advertising.<BR>
But probably the greatest benefit is to existing businesses that use the internet as a tool to improve their existing
business.</P>
<P><A HREF="vp041.htm">Read the story</A> by <A HREF="cgi-bin/email.pl?to=Mjschriner@aol.com">Michael Schriner</A>
of how <A HREF="http://www.webpads.com/">MicroVision Computer Products</A> used the internet to make the business
grow and become more profitable.</P>
<P>The main reason for most companies being on the internet is to provide information about themselves and their
products to the general public and their customers and suppliers. Treat your web site like an entry in the yellow
pages - but with the added advantage of being able to answer many of your potential customers and suppliers questions
before they need to phone you.</P>
<P>Some companies are using the internet to save costs: If you think about it, if you are answering the telephone
and most of the questions are similar then putting the info on the web must be a lot cheaper, on the condition
that your target audience has access to the web. Examples that come to mind are train timetables, freight transport
(see <A HREF="http://www.ups.com/tracking/tracking.html">http://www.ups.com/tracking/tracking.html</A>).</P>
<P>
<HR ALIGN="CENTER">
</P>
<P>(c) Mike Choroszewski, article created - August1997, reviewed 1998 and 1999. This article may be reproduced
free of charge on the condition you link back to this page and let me know how and when it is used. Mike Choroszewski
is an independent computer consultant with over twenty years in the computer industry. He has been using e-mail
and the internet for the last three years - and can provide the telephone bills to prove it! He would welcome any
feedback by e-mail to <A HREF="cgi-bin/email.pl?to=admin@amcho.com">Mike@amcho.com</A>.</P>
<P>
<HR ALIGN="CENTER" SIZE="3">
<FONT SIZE="4"><B>Other related articles that may be of interest:</B></FONT>
<BLOCKQUOTE>
<P><A HREF="emailfax.htm">Email to Fax Gateway</A><BR>
You can send an email to a fax machine <FONT COLOR="#440000">for free.<BR>
</FONT><A HREF="web_w004.htm">Steps to Your Own Web Site</A>. <BR>
From setting up a domain name to taking payments over the net.<BR>
<I>Read this if you have the time and want to do it all yourself.</I><BR>
<A HREF="pricelst.htm">Our Pricelist</A>. <BR>
Your web page, Your Domain, set up and hosted for you.<BR>
<I>This is for you if you do not have the time and want us to do it all for you.</I><BR>
<A HREF="makeitpay.htm">Making money from your website</A><BR>
Some ideas on how you can make some money from your website, you will not get rich quick, but.............<BR>
</BLOCKQUOTE>
</BLOCKQUOTE>
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ALT="SmartClicks: Click Here!" BORDER="1"></A> <BR>
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<BR>
AMCHO Computer Services Ltd, Tamar Way, Gunnislake, Cornwall, PL18 9DH, England.
</CENTER>
<CENTER>
<FONT SIZE="4">| </FONT><A HREF="index.htm"><FONT SIZE="2">AMCHO Home Page</FONT></A> <FONT SIZE="4">| </FONT><A
HREF="links.htm"><FONT SIZE="2">Links</FONT></A> <FONT SIZE="4">| </FONT><A HREF="services.htm"><FONT SIZE="2">Computer
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HREF="feedback.htm">Use our feedback form</A><FONT COLOR="#440000">]<BR>
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</HTML> |
Introduction to the Internet - email - and web sites
# So what can the Internet do for me?
>
> Everyone has now heard about the information superhighway, e-mail, and the World Wide Web. You may be thinking
> that, possibly, you are missing out on this great new revolution - that somehow, if you knew more about it, you
> too could be 'coining it in'. In this short article I will try to explain it all in simple terms so that you can
> make your own decision.
>
>
> ## E-Mail
>
>
> This is probably the least hyped part of the electronic revolution, it is also the easiest to understand and
> is also probably the most useful. Think of e-mail as a clever fax machine. With a fax you can send and receive
> pages of information. You can do the same with e-mail but without having to print the pages first. For example:
> instead of printing out your order to a supplier and then faxing it, all you need to do is click a few buttons
> on the screen and the message can be e-mailed - not to a public fax machine - but directly to the person who will
> deal with your order. When you receive an e-mail, rather than having to rekey all the information - it is already
> on your computer - all you need to do is copy and paste it into any other application such as a report in a word
> processor. E-mail messages can be forwarded to whoever needs to deal with the message next.
>
>
> ### E-Mail can save time and telephone costs
>
>
> Replacing the fax machine for a lot of business communications is a minor advantage of e-mail. A much more important
> advantage is that e-mail can be more effective than the telephone for non urgent routine communications. Even a
> short telephone conversation will take some five minutes - if you are lucky enough to speak to the correct person
> the first time. Non urgent phone conversations can interrupt and delay work that is more important. How many times
> have you been in the car on the way home, when you remember that important task, that was not completed because
> you were side tracked by the ringing of the telephone? How often have you taken a phone message for a colleague
> and forgotten to pass it on? Even if you never, ever, forget to pass on a message, how often have your messages
> gone astray or got garbled in the passing. How many times have you had to phone back to clarify an earlier phone
> message.
>
>
> A short e-mail message can be composed whenever you want to - you have a written record of your message. The
> recipient can pick up your message at his convenience, when it will probably also be convenient for him to deal
> with your request. He cannot forget what you said in your message as it is there on his PC to review.
>
>
> All e-mail is sent at local telephone rates. How much are you now paying on your international and long distance
> fax and phone calls? How many of these could be replaced with e-mail?
>
>
> As with everything else there are drawbacks that need to be considered. If your email address is posted on the
> web sooner or later you will be on the receiving end of junk email. One of the benefits of email is the ease with
> which it can be forwarded - this is also a disadvantage as anything you put in an email message may be sent onto
> many other people without your consent nor your knowledge.
>
>
> ## News Groups, Mailing Lists, and Forums
>
>
> An example is probably the best way to describe a Newsgroup: Suppose you are a breeder of Oranics (a very rare
> breed of small horses) and you want to discuss the finer points of breeding Oranics with other breeders. You could
> start a Newsgroup devoted to the breeding of Oranics and invite other interested people to subscribe. Any message
> posted to the Newsgroup can be read by all subscribers to the Newsgroup. Any one can respond to any message, and
> the conversation will be seen by all subscribers.
>
>
> Mailing Lists are similar to Newsgroups, but instead of having to periodically down load the messages, each
> message posted to the list is then forwarded to all the members of the list. Instead of reading the newsgroups
> you can subscribe to a mailing list and have the details sent to your mail box.
>
>
> Also similar to the Newsgroups are the discussion forums hosted by CompuServe and other internet access providers
> - these are worth a visit. I have found the computer related ones an invaluable resource; ask a question and you
> will be amazed at the number of experts in the field competing with each other to give you the best answer!
>
>
> Unfortunately many Newsgroups contain nothing more than gossip and tittle-tattle, also many have been overrun
> by get rich quick schemes and other unsavoury advertising - if you have children keep them away or keep a close
> eye on what they are reading.
>
>
> ## The Internet and The World Wide Web
>
>
> Once you have mastered e-mail the next step on the information superhighway is to start surfing the web. This
> is where things can get very expensive: you will not realise just how much time you have wasted till the telephone
> bill arrives! I would advise sitting down with a stiff whiskey or two before opening the bill!
>
>
> Having issued the wealth warning - could surfing the web be useful from a business point of view? The answer,
> I think, is a qualified yes. There is a lot of useful information out there - the problem is finding it quickly
> and not getting sidetracked into following some links that seem more interesting at the time, and yes there is
> quite a lot of pornography out there but (I understand) the pictures are not that good and take a long time to
> download. If your competitors are on the web then it is worth a visit to their site. There are quite a lot of search
> engines that may come up with interesting information if you do a search on subjects relating to your own company,
> try [http://www.altavista.digital.com/.](http://www.altavista.digital.com/) A search of news groups
> may prove interesting try DejaNews at [http://www.dejanews.com](http://www.dejanews.com/) to see who
> is saying what about you and your competitors.
>
>
> ## Your Own Web Site
>
>
> 'If it wasn't worth it - all the large companies would not be there!'.
>
>
> The larger companies are there because they can see a possible source of profit and are afraid of missing out
> on the bonanza. There are many stories of web sites that are making a fortune. These I think should be taken with
> a pinch of salt. The sites that are probably making money are those selling pictures on a pay by view basis (maybe
> the quality is better if you pay for it?). Possibly the search engines are making money thru advertising.
>
> But probably the greatest benefit is to existing businesses that use the internet as a tool to improve their existing
> business.
>
>
> [Read the story](vp041.htm) by [Michael Schriner](cgi-bin/email.pl?to=Mjschriner@aol.com)
> of how [MicroVision Computer Products](http://www.webpads.com/) used the internet to make the business
> grow and become more profitable.
>
>
> The main reason for most companies being on the internet is to provide information about themselves and their
> products to the general public and their customers and suppliers. Treat your web site like an entry in the yellow
> pages - but with the added advantage of being able to answer many of your potential customers and suppliers questions
> before they need to phone you.
>
>
> Some companies are using the internet to save costs: If you think about it, if you are answering the telephone
> and most of the questions are similar then putting the info on the web must be a lot cheaper, on the condition
> that your target audience has access to the web. Examples that come to mind are train timetables, freight transport
> (see <http://www.ups.com/tracking/tracking.html>).
>
>
>
>
>
> ---
>
>
>
>
>
> (c) Mike Choroszewski, article created - August1997, reviewed 1998 and 1999. This article may be reproduced
> free of charge on the condition you link back to this page and let me know how and when it is used. Mike Choroszewski
> is an independent computer consultant with over twenty years in the computer industry. He has been using e-mail
> and the internet for the last three years - and can provide the telephone bills to prove it! He would welcome any
> feedback by e-mail to [Mike@amcho.com](cgi-bin/email.pl?to=admin@amcho.com).
>
>
>
>
>
> ---
>
>
> **Other related articles that may be of interest:**
>
> >
> > [Email to Fax Gateway](emailfax.htm)
> >
> > You can send an email to a fax machine for free.
> >
> > [Steps to Your Own Web Site](web_w004.htm).
> >
> > From setting up a domain name to taking payments over the net.
> >
> > *Read this if you have the time and want to do it all yourself.*
> >
> > [Our Pricelist](pricelst.htm).
> >
> > Your web page, Your Domain, set up and hosted for you.
> >
> > *This is for you if you do not have the time and want us to do it all for you.*
> >
> > [Making money from your website](makeitpay.htm)
> >
> > Some ideas on how you can make some money from your website, you will not get rich quick, but.............
> >
> >
> >
> >
>
>
>
>
>
---
[](http://www.smartclicks.com) [](http://www.smartclicks.com:81/7/B036639/smartaddr)
[SmartClicks: Target Advertising
For Free](http://www.smartclicks.com/)
---
AMCHO Computer Services Ltd, Tamar Way, Gunnislake, Cornwall, PL18 9DH, England.
| [AMCHO Home Page](index.htm) | [Links](links.htm) | [Computer
Services](services.htm) | [Client List](clients.htm) |
[Price List](pricelst.htm) | [E-Mail us](cgi-bin/email.pl?to=admin@amcho.com) | [Send us Feedback](feedback.htm)
|
[[E-Mail:admin@amcho.com](cgi-bin/email.pl?to=admin@amcho.com)] or [[Use our feedback form](feedback.htm)]
Page last updated November 1999
This document URL: www.amcho.com/web\_w001.htm
| http://www.amcho.com/web_w001.htm |
<html>
<head>
<title>Custom Wedding Sign Generator</title>
<script language="JavaScript1.1" type="text/JavaScript">if (parent.frames.length > 0) top.location.replace(document.location);</script>
</head>
<body bgcolor="#ffdddd">
<h1>Custom Wedding Sign Generator</h1><br>
<table>
<tr>
<td width="70%" valign = "top">
<img src="custom_wedding_sign.jpg " width="397" height="391" ><br>
<br>
<p>Make a <strong>custom wedding sign</strong> to help celebrate the special day! The wedding sign above will say whatever wedding message you'd like
it to. There are no restrictions other than a limit on the number of letters to help make sure your message isn't bigger than the
wedding sign is.</p>
<strong>Type text below to make your own custom wedding sign</strong><br>
The words that you enter will appear on the sign after you press the "Make the sign!" button.<br>
<form action="menu.php" method="post">
<table>
<tr>
<td>
First Line:
</td><td>
<input type="text" name="line1" maxlength="18" value="">
</td>
</tr>
<tr>
<td>
Second Line:
</td>
<td><input type="text" name="line2" maxlength="18" value="">
</td>
</tr>
<tr>
<td>
Third Line:
</td>
<td><input type="text" name="line3" maxlength="18" value="">
</td>
</tr>
<tr>
<td>
Fourth Line:
</td>
<td><input type="text" name="line4" maxlength="18" value="">
</td>
</tr>
</table>
<input type="submit" name="go" value="Make the sign!">
</form>
<strong>Links:</strong><br>
<a target="_new" href="http://www.websavvy.org">Build your own web site</a> - Learn how to build your own web page so you can share your sign with the whole world<br>
<a target="_new" href="http://www.hostsleuth.com">Find a web host</a> - If you'd like to make your own website so you can share your pictures, then this site will help you find a great web host<br>
<br>
This page by <a href="http://www.pixbytom.com">Tom Blackwell</a><br>
</td>
<td width="120" valign="top">
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Custom Wedding Sign Generator
if (parent.frames.length > 0) top.location.replace(document.location);
# Custom Wedding Sign Generator
| | | | | | | | | | |
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Make a **custom wedding sign** to help celebrate the special day! The wedding sign above will say whatever wedding message you'd like
it to. There are no restrictions other than a limit on the number of letters to help make sure your message isn't bigger than the
wedding sign is.
**Type text below to make your own custom wedding sign**
The words that you enter will appear on the sign after you press the "Make the sign!" button.
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First Line:
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Second Line:
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Third Line:
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Fourth Line:
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**Links:**
[Build your own web site](http://www.websavvy.org) - Learn how to build your own web page so you can share your sign with the whole world
[Find a web host](http://www.hostsleuth.com) - If you'd like to make your own website so you can share your pictures, then this site will help you find a great web host
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<center><font color="#008000"><b><h1> Welcome to www.ElChupacabra.com</h1></b></font>
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<font color="#008000"><b><h3> Over 14 Years of Chupacabra Fun on the Internet.</h3></b></font>
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<font color="#008000"><b><h3> Page last Updated 4-5-2012</b></font>
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<h2><font color="#FF0000">More Sighting's in Texas:</font></h2>
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This picture above was taken by Regie Lagow
<BR>
I spoke to Regie Lagow. He was fun to chat with about this and a very nice man. He is the one who took the picture of the animal that was killing his chickens. He lost all but one chicken and his neighbor lost all but three. In three weeks it killed about thirty chickens, sometimes two a day.
The animal has been disposed of so there is nothing to get dna from.
If you look at the pictures you can see its not a coyote like some people claim.
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<img src="chupasintexas.bmp" width="320" height="240" alt="" border="0">
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Jim Williams of Abilene Texas took this picture. The animals look very similar except this one has a shorter tail.
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2 creatures have been found in New Mexico now.<BR>
</div><center><a href="http://www.coasttocoastam.com"><img src="tomj.jpeg" width="190" height="142" alt="" border="0" align=""></a>
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click the picture to visit coasttocoastam.com
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People keep disproving Chupacabra sightings with even more bizarre reasons.
I dont think the creature found in new mexico is some sea creature. Why would a creature that lives in the sea have wings and legs?
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<center><BR>
How do you explain such large teeth on a coyote and the skull is different. Some are stating the mange disease changed the animals skull. I don't think that is possible.
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<center><BR>
<div align="center">Jay Wroe caught a creature in maryland and named it a hyote because it was so strange looking. He tried to identify it but was told it was a coyote with mange. It doesn't look like a coyote to me.
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<h3><a href="http://www.elchupacabra.com/news.html" style="position:relative; width:275; filter:glow(color=#99CC00,Strength=1)"><font color="#FF0000"> Possible Chupacabra Tracks Found!<BR>Read the news story here!</font></a>
<BR></h3>
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<hr align="center" width="100%" size="10" color="#0000FF">
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<h3><center><a href="http://www.cafepress.com/elchupacabra" target="_blank" style="position:relative; width:275; filter:glow(Strength=1)"><font color="#000000">New T Shirt Designs and NEW Posters are HERE!</font></a>
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<font color="#FF0000"><h1><b> <center> 3 New Flash Movies added</center></b></h1></font>
<BR>
Click the Links below, be patient they may take a bit to load but they are worth the wait!
<BR>
<h1><center><a href="http://www.elchupacabra.com/turbochupa" style="position:relative; width:275; filter:glow(color=#FF0000,Strength=2)"><font color="#00FF00"><h1>I'm a Chupacabaaara </h1></font></a></center></h1>
<BR>
<center><h3><a href="http://www.elchupacabra.com/redflash/chupa.html" style="position:relative; width:275; filter:glow(color=#0000FF,Strength=3)"><font color="#00FF00">Rock Out With the Chupacabra</font></a></h3></center>
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<center><a href="http://www.elchupacabra.com/pictures.html"><img src="http://www.elchupacabra.com/ChupaHead.gif" width="150" height="80" alt="click here to enter the pictures site" align=""></a>
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<BR>
Click above to enter the picture page.
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<BR>
<a href="sightings.html"><h3> El Chupacabra has been in the news recently in East Texas</h3></a>
<BR>
<P><FONT SIZE="2" face="Arial,Helvetica"><a href="http://www.network54.com/Hide/Forum/223778"><h1><b>The CHUPACABRA FORUM IS BACK !</b> </h1></A></P>
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<center><h2>Chupacabra Fans Check out Elchupacabra.com on the history channel's program histories mysteries</h2></center>
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<a href="http://www.elchupacabra.com/monkeyman.html"><h3>What the heck is the monkey man? Some people believe its a chupacabra?</h3></a>
<BR>
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To Report Sightings visit here<a href="mailto:elchupacabradotcom@hotmail.com">elchupacabra.com</a>
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We are also looking for people who would like to help us investigate sightings.
<BR>
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<P><FONT SIZE="5" face="Arial,Helvetica"><B>What is a Chupacabra?</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">Want to know? Click <A HREF="whatis.html">this
link</A> now!<A HREF="http://www.zdtv.com/it"><IMG BORDER="0" SRC="it_logo_transparent.2122087.gif"
ALIGN="RIGHT" WIDTH="129" HEIGHT="81" NATURALSIZEFLAG="3"></A></P>
<P><FONT SIZE="5" face="Arial,Helvetica"><IMG SRC="new.gif" WIDTH="34"
HEIGHT="24" ALIGN="BOTTOM" NATURALSIZEFLAG="3"> <B>Chupacabra Shirts and more!</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">Beautiful designer shirts, coffee cups and mouse pads. Be the
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<BR>
<hr width="100%" size="4" color="#0000FF">
<BR>
<h1>Chupacabra Books</h1>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/0609800175/1haven">The Field Guide to North American Monsters</A>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/0609800175/1haven"><IMG SRC="fieldguide.jpeg" border="0" alt="cover" hspace="3" vspace="3"></A>
<BR>
<BR>
<center><A HREF="http://www.amazon.com/exec/obidos/ASIN/0380977060/1haven">Night of the Chupacabras</A>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/0380977060/1haven"><IMG SRC="night.jpg" border="0" alt="cover" hspace="3" vspace="3"></A>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/1883729068/1haven">Chupacabras: and other Mysteries</A>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/1883729068/1haven"><IMG SRC="other.jpg" border="0" alt="cover" hspace="3" vspace="3"></A>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/0805944907/1haven"> Chupacabra You Don't Scare Me!</A>
<BR>
<A HREF="http://www.amazon.com/exec/obidos/ASIN/0805944907/1haven"><IMG SRC="scare.jpg" border="0" alt="cover" hspace="3" vspace="3"></A>
</center>
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<hr width="100%" size="4" color="#0000FF">
<BR>
<P><FONT SIZE="5" face="Arial,Helvetica"><B>Pictures, Sounds, and Movies</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">Check out our Big Bend Photos! Hit
<A HREF="pictures.html">this link</A>.</P>
<center><A HREF="pictures.html"><img src="billschupa2.jpg" alt="Bill Hanfords chupacabra" border="0" align=""></a></center>
<BR>
<P><FONT SIZE="5" face="Arial,Helvetica"><B>Sightings</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">Have you seen the mysterious goat-sucker
lately? We need your help to discover what the chupacabra really is. Visit the sightings page for more info. Tell us about your experience. Read about other peoples experiences
by <A HREF="sightings.html">clicking here</A>.There have been sightings
in Arizona, Texas, New Mexico, Puerto Rico, Brazil, California, and even Washington
State.</P>
<P><FONT SIZE="5" face="Arial,Helvetica"><B>News</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">What is that crazy Chupacabra up to
now? <A HREF="news.html">Find out</A>.</P>
<BR>
<BR>
<P><FONT SIZE="5" face="Arial,Helvetica"><B>Message Board</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">Post whatever you want about El Chupacabra. THIRD TIME IS CHARM!
<a href="http://www.network54.com/Hide/Forum/223778">click here</A>.</P>
<P><FONT SIZE="5" face="Arial,Helvetica"><B>Links</B><BR>
<FONT SIZE="4" face="Arial,Helvetica">The largest goat-sucker link page
known to man! <A HREF="links.html">Go there</A>.</P>
<center><a href="links.html"><img src="gotblood.gif" width="250" height="125" alt="the chupacabra loves blood" border="0" align=""></a></center>
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Copyright 1998-2012 Elchupacabra.com </A> Contact us at <A HREF="mailto:elchupacabradotcom@hotmail.com">elchupacabra.com webmaster</A>
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El Chupacabra online elchupacabra.com home of the mysterious chupacabra unexplained creature aka goat sucker Some believe it is Alien.
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[What is a Chupacabra?](whatis.html)
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chupacabra reading material[chupacabra books](http://www.amazon.com/exec/obidos/external-search?tag=1haven&keyword=chupacabra&mode=blended)
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More Sighting's in Texas:
[Watch the latest videos on YouTube.com](http://www.youtube.com/browse)
This picture above was taken by Regie Lagow
I spoke to Regie Lagow. He was fun to chat with about this and a very nice man. He is the one who took the picture of the animal that was killing his chickens. He lost all but one chicken and his neighbor lost all but three. In three weeks it killed about thirty chickens, sometimes two a day.
The animal has been disposed of so there is nothing to get dna from.
If you look at the pictures you can see its not a coyote like some people claim.
Jim Williams of Abilene Texas took this picture. The animals look very similar except this one has a shorter tail.
---
2 creatures have been found in New Mexico now.
click the picture to visit coasttocoastam.com
People keep disproving Chupacabra sightings with even more bizarre reasons.
I dont think the creature found in new mexico is some sea creature. Why would a creature that lives in the sea have wings and legs?
How do you explain such large teeth on a coyote and the skull is different. Some are stating the mange disease changed the animals skull. I don't think that is possible.
Jay Wroe caught a creature in maryland and named it a hyote because it was so strange looking. He tried to identify it but was told it was a coyote with mange. It doesn't look like a coyote to me.
[Possible Chupacabra Tracks Found!Read the news story here!](http://www.elchupacabra.com/news.html)
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---
[click here to enter the pictures site](http://www.elchupacabra.com/pictures.html)
Click above to enter the picture page.
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[El Chupacabra has been in the news recently in East Texas](sightings.html)
[**The CHUPACABRA FORUM IS BACK !**](http://www.network54.com/Hide/Forum/223778)
---
---
Chupacabra Fans Check out Elchupacabra.com on the history channel's program histories mysteries
[What the heck is the monkey man? Some people believe its a chupacabra?](http://www.elchupacabra.com/monkeyman.html)
To Report Sightings visit here[elchupacabra.com](mailto:elchupacabradotcom@hotmail.com)
We are also looking for people who would like to help us investigate sightings.
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Want to know? Click [this
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---
Chupacabra Books
[The Field Guide to North American Monsters](http://www.amazon.com/exec/obidos/ASIN/0609800175/1haven)
[cover](http://www.amazon.com/exec/obidos/ASIN/0609800175/1haven)
[Night of the Chupacabras](http://www.amazon.com/exec/obidos/ASIN/0380977060/1haven)
[cover](http://www.amazon.com/exec/obidos/ASIN/0380977060/1haven)
[Chupacabras: and other Mysteries](http://www.amazon.com/exec/obidos/ASIN/1883729068/1haven)
[cover](http://www.amazon.com/exec/obidos/ASIN/1883729068/1haven)
[Chupacabra You Don't Scare Me!](http://www.amazon.com/exec/obidos/ASIN/0805944907/1haven)
[cover](http://www.amazon.com/exec/obidos/ASIN/0805944907/1haven)
---
**Pictures, Sounds, and Movies**
Check out our Big Bend Photos! Hit
[this link](pictures.html).
[Bill Hanfords chupacabra](pictures.html)
**Sightings**
Have you seen the mysterious goat-sucker
lately? We need your help to discover what the chupacabra really is. Visit the sightings page for more info. Tell us about your experience. Read about other peoples experiences
by [clicking here](sightings.html).There have been sightings
in Arizona, Texas, New Mexico, Puerto Rico, Brazil, California, and even Washington
State.
**News**
What is that crazy Chupacabra up to
now? [Find out](news.html).
**Message Board**
Post whatever you want about El Chupacabra. THIRD TIME IS CHARM!
[click here](http://www.network54.com/Hide/Forum/223778).
**Links**
The largest goat-sucker link page
known to man! [Go there](links.html).
[the chupacabra loves blood](links.html)
www.elchupacabra.com
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Copyright 1998-2012 Elchupacabra.com | Contact us at [elchupacabra.com webmaster](mailto:elchupacabradotcom@hotmail.com)
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<H2><FONT SIZE="+1">My Brush with the Unabomber</FONT></H2>
<P ALIGN=RIGHT><FONT SIZE="+1"> </FONT></P>
<P><FONT SIZE="+1">by Keith Stattenfield</FONT>
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<P><FONT SIZE="+1">It was January, 1995. Bill Clinton was in the
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<P><FONT SIZE="+1">A package. An interesting package. Perched at a
jaunty little angle in the mailbox. Wrapped in brown paper. About the
size of a VCR cassette. With our address printed neatly on the
outside; four dollars worth of 31¢ stamps, and no return
address. A very interesting package, indeed.</FONT></P>
<P><FONT SIZE="+1">Now, a bit of perspective, so you don't think I'm
a total moron. Some guy up in Sacramento has just been killed by the
Unabomber. The FBI has issued a warning to people associated with the
computer, airline, and timber industries to be wary of opening
suspicious packages. I am in the computer industry. Apple has kindly
forwarded this warning to all of it's employees; who knows, the
unabomber might be a Macintosh user and he might be getting really
tired of that system error box or something. And, every night on the
news they're talking about this guy and how it's only a matter of
time until he strikes again. He hasn't released his manifesto yet,
but he's promised to start picking off people like the FBI at Ruby
Ridge.</FONT></P>
<P><FONT SIZE="+1">But, it's the height of arrogance to assume that
I, a mere cog, an underling, a person of no huge consequence to the
world as a whole, would somehow be important enough for a random
serial killer to send a carefully constructed, individually
autographed, hand crafted bomb. I have to get this in here, before
too much longer, because otherwise you're going to assume that I'm
not aware of how big a load of crap I'm postulating here. There's a
perfectly rational explanation for this. It's a belated Christmas
present or something. It must be. It is.</FONT></P>
<P><FONT SIZE="+1">But there's no way I'm going to open that package.
I don't want a Christmas present, belated or not, badly enough to
die. So, I did what any rational person would. I ignored it.</FONT>
</P>
<P><FONT SIZE="+1">So, the package sat in the safest place possible:
on top of the television in the living room. Every day, Loretta and I
would see the package. Every day, Loretta and I would look at each
other and say "It's a present." And, every day we'd decide not to
open it. This went on for about a week. Then, I'd had enough.</FONT>
</P>
<P><FONT SIZE="+1">So I did what any rational person would do. Not
open the box; for god's sake, it's a bomb! I called everyone who
might have decided to send Loretta and I a present. I knew where it
was mailed from, because the zip code of the post office which
cancelled the stamps was clearly visible. It was mailed from the zip
code 60666. The Zip Code of the Beast, as Loretta and I called it.
Which, by the way, happens to be the post office inside Chicago,
OHare international. </FONT></P>
<P><FONT SIZE="+1">Not a post office in Chicago near O'Hare airport,
but the post office inside the airport. Nobody uses a post office
inside an airport. Certainly no rational person. Which points to only
one explaination: some nutcase has sent me a bomb from inside an
airport! And the unabomber hates airports! It's part of his fiendish,
twisted plot, that's what it is.</FONT></P>
<P><FONT SIZE="+1">But, just to be sure, Loretta and I called
everyone we could think of who might have sent us a Christmas
present. Mostly, this was my family, cousins and such, since many of
them are in Illinois. We told each one the story. They each thought I
was nuts. They all thought it was humorous. Not one of them had sent
us a package.</FONT></P>
<P><FONT SIZE="+1">So, it's a week later. We've still got an unopened
package sitting on the TV. And by now Loretta and I have completely
convinced ourselves that it's from the Unabomber. Which means it's a
bomb. An unopened bomb. Addressed to me. Personally addressed to
me.</FONT></P>
<P><FONT SIZE="+1">So I did the only logical thing. I called the
police. The Santa Clara police, since I figure there's a protocol to
this kind of stuff and it would be improper to bother the actual FBI.
Besides, I don't want the FBI to have, written in my dossier,
something like "Thought the unabomber was after him. Ha!" The Santa
Clara police sent over a very nice Sargent, who didn't believe a word
I said. He picked up the package; shook it; heard it tinkle; and
heard me explain that I understood that it was the height of
arrogance to believe anyone wanted me dead. He didn't think it was a
bomb for a second. Had he his way, he'd have ripped the paper off the
darn box right then and there shown me what it was. I, of course,
knew that if he opened that box he was going to die, because the
Unabomber wanted me to die and this poor cop would be the innocent
victim.</FONT></P>
<P><FONT SIZE="+1">So he took the package away. A couple of hours
later, our doorbell rang. He was back. In his hands, the package.
Opened. There were no pleasantries. He said "It's a windchime" as he
handed it back to me, and then turned and walked away. As if he
couldn't look me in the eyes without laughing out loud, and cops take
a pledge against laughing in the face of the public if they can at
all help it.</FONT></P>
<P><FONT SIZE="+1">So, we've got a lovely windchime now. It hangs in
the library, which isn't as stupid as it sounds because we have a
ceiling fan in there so it tinkles every once in a while. And, the
moment he said "It's a windchime", I knew who sent it. A nice pair of
friends we hadn't bothered to call because, well, we don't exchange
Christmas gifts. We called them. They said Merry Christmas. They
thought it was humorous. And they promised to use a return address
the next time.</FONT></P>
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| My Brush with the Unabomber
---
| | |
| --- | --- |
| My Brush with the Unabomber by Keith Stattenfield |
|
It was January, 1995. Bill Clinton was in the
Whitehouse, X-Files was beginning to climb in the television ratings,
and a madman called the Unabomber was sending packages to professors
and other people associated with the computer industry. Loretta, my
signifigant-other, and I were busy buying presents and getting ready
for the holidays. Then, one day, it arrived.
A package. An interesting package. Perched at a
jaunty little angle in the mailbox. Wrapped in brown paper. About the
size of a VCR cassette. With our address printed neatly on the
outside; four dollars worth of 31¢ stamps, and no return
address. A very interesting package, indeed.
Now, a bit of perspective, so you don't think I'm
a total moron. Some guy up in Sacramento has just been killed by the
Unabomber. The FBI has issued a warning to people associated with the
computer, airline, and timber industries to be wary of opening
suspicious packages. I am in the computer industry. Apple has kindly
forwarded this warning to all of it's employees; who knows, the
unabomber might be a Macintosh user and he might be getting really
tired of that system error box or something. And, every night on the
news they're talking about this guy and how it's only a matter of
time until he strikes again. He hasn't released his manifesto yet,
but he's promised to start picking off people like the FBI at Ruby
Ridge.
But, it's the height of arrogance to assume that
I, a mere cog, an underling, a person of no huge consequence to the
world as a whole, would somehow be important enough for a random
serial killer to send a carefully constructed, individually
autographed, hand crafted bomb. I have to get this in here, before
too much longer, because otherwise you're going to assume that I'm
not aware of how big a load of crap I'm postulating here. There's a
perfectly rational explanation for this. It's a belated Christmas
present or something. It must be. It is.
But there's no way I'm going to open that package.
I don't want a Christmas present, belated or not, badly enough to
die. So, I did what any rational person would. I ignored it.
So, the package sat in the safest place possible:
on top of the television in the living room. Every day, Loretta and I
would see the package. Every day, Loretta and I would look at each
other and say "It's a present." And, every day we'd decide not to
open it. This went on for about a week. Then, I'd had enough.
So I did what any rational person would do. Not
open the box; for god's sake, it's a bomb! I called everyone who
might have decided to send Loretta and I a present. I knew where it
was mailed from, because the zip code of the post office which
cancelled the stamps was clearly visible. It was mailed from the zip
code 60666. The Zip Code of the Beast, as Loretta and I called it.
Which, by the way, happens to be the post office inside Chicago,
OHare international.
Not a post office in Chicago near O'Hare airport,
but the post office inside the airport. Nobody uses a post office
inside an airport. Certainly no rational person. Which points to only
one explaination: some nutcase has sent me a bomb from inside an
airport! And the unabomber hates airports! It's part of his fiendish,
twisted plot, that's what it is.
But, just to be sure, Loretta and I called
everyone we could think of who might have sent us a Christmas
present. Mostly, this was my family, cousins and such, since many of
them are in Illinois. We told each one the story. They each thought I
was nuts. They all thought it was humorous. Not one of them had sent
us a package.
So, it's a week later. We've still got an unopened
package sitting on the TV. And by now Loretta and I have completely
convinced ourselves that it's from the Unabomber. Which means it's a
bomb. An unopened bomb. Addressed to me. Personally addressed to
me.
So I did the only logical thing. I called the
police. The Santa Clara police, since I figure there's a protocol to
this kind of stuff and it would be improper to bother the actual FBI.
Besides, I don't want the FBI to have, written in my dossier,
something like "Thought the unabomber was after him. Ha!" The Santa
Clara police sent over a very nice Sargent, who didn't believe a word
I said. He picked up the package; shook it; heard it tinkle; and
heard me explain that I understood that it was the height of
arrogance to believe anyone wanted me dead. He didn't think it was a
bomb for a second. Had he his way, he'd have ripped the paper off the
darn box right then and there shown me what it was. I, of course,
knew that if he opened that box he was going to die, because the
Unabomber wanted me to die and this poor cop would be the innocent
victim.
So he took the package away. A couple of hours
later, our doorbell rang. He was back. In his hands, the package.
Opened. There were no pleasantries. He said "It's a windchime" as he
handed it back to me, and then turned and walked away. As if he
couldn't look me in the eyes without laughing out loud, and cops take
a pledge against laughing in the face of the public if they can at
all help it.
So, we've got a lovely windchime now. It hangs in
the library, which isn't as stupid as it sounds because we have a
ceiling fan in there so it tinkles every once in a while. And, the
moment he said "It's a windchime", I knew who sent it. A nice pair of
friends we hadn't bothered to call because, well, we don't exchange
Christmas gifts. We called them. They said Merry Christmas. They
thought it was humorous. And they promised to use a return address
the next time.
---
| http://stattenfield.org/keith/unabomber.html |
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<FONT SIZE="+3"><B>Olfaction</B></FONT>
<P><FONT SIZE="+1">John C. Leffingwell,
Ph.D.</FONT><FONT SIZE="+4"><BR>
</FONT><FONT SIZE="+1">Leffingwell &
Associates</FONT></P></CENTER>
<P><FONT SIZE="+1">The sense of smell is a primal sense for humans as
well as animals. From an evolutionary standpoint it is one of the
most ancient of senses. Smell (or Olfaction) allows vertebrates and
other organisms with olfactory receptors to identify food, mates,
predators, and provides both sensual pleasure (the odor of flowers
and perfume) as well as warnings of danger (e.g., spoiled food,
chemical dangers). For both humans and animals, it is one of the
important means by which our environment communicates with
us.</FONT></P>
<P><FONT SIZE="+1">This paper will explore the current status our
understanding of olfaction and provide in some detail the possible
molecular interactions that specify odorant signaling.</FONT></P>
<P><FONT SIZE="+1"><B>General Physiology of Olfaction</B></FONT></P>
<P><FONT SIZE="+1">Odorants are volatile chemical compounds that are
carried by inhaled air to the Regio olfactoria (olfactory epithelium)
located in the roof of the two nasal cavities of the human nose, just
below and between the eyes.</FONT></P>
<CENTER><IMG SRC="olf1.gif" WIDTH=275 HEIGHT=226 X-CLARIS-USEIMAGEWIDTH X-CLARIS-USEIMAGEHEIGHT ALIGN=bottom></CENTER>
<P><FONT SIZE="+1">The odorant must possess certain molecular
properties in order to provide sensory properties. It must have some
water solubility, a sufficiently high vapor pressure, low polarity,
some ability to dissolve in fat (lipophilicity), and surface
activity. And to date, no known odorant possesses a molecular weight
greater than 294.<SUP>1</SUP></FONT></P>
<P><FONT SIZE="+1">The olfactory sense is able to distinguish among a
practically infinite number of chemical compounds at very low
concentrations.<SUP>2</SUP></FONT></P>
<P><FONT SIZE="+1">The olfactory region of each of the two nasal
passages in humans is a small area of about 2.5 square centimeters
containing in total approximately 50 million primary sensory receptor
cells.</FONT></P>
<P><FONT SIZE="+1">The olfactory region consists of cilia projecting
down out of the olfactory epithelium into a layer of mucous which is
about 60 microns thick. This mucous layer is a lipid-rich secretion
that bathes the surface of the receptors at the epithelium surface.
The mucous layer is produced by the Bowman’s glands which reside
in the olfactory epithelium. The mucous lipids assist in transporting
the odorant molecules as only volatile materials that are soluble in
the mucous can interact with the olfactory receptors and produce the
signals that our brain interprets as odor. Each olfactory receptor
neuron has 8-20 cilia that are whip-like extensions 30-200 microns in
length. The olfactory cilia are the sites where molecular reception
with the odorant occurs and sensory transduction (i.e., transmission)
starts.</FONT></P>
<CENTER><IMG SRC="olf2.gif" WIDTH=535 HEIGHT=375 X-CLARIS-USEIMAGEWIDTH X-CLARIS-USEIMAGEHEIGHT ALIGN=bottom></CENTER>
<P><FONT SIZE="+1">Above the mucous layer is the base olfactory
epithelium which consists partially of basal cells located in the
lowest cellular layer of the olfactory epithelium which are capable
of mitotic cell division to form olfactory receptor neurons when
functionally mature. The olfactory receptor neurons turnover
approximately every 40 days. The epithelium also contains pigmented
cells that are light yellow in humans and dark yellow to brown in
dogs. The depth of color seems to be correlated with olfactory
sensitivity.</FONT></P>
<P><FONT SIZE="+1">While the olfactory receptor neurons extend
through the epithelium to contact odorants in the atmosphere, on the
opposite side within the epithelium, the neuronal cells form axons
that are bundled in groups of 10-100 to penetrate the ethmoidal
cribiform plate of bone, reaching the olfactory bulb of the brain
where they converge to terminate with post-synaptic cells to form
synaptic structures called glomeruli. The glomeruli are connected in
groups that converge into mitral cells. (Note that in the picture
above this convergence is not clearly depicted). For example, in
rabbits, there are 26,000 receptor neurons converging onto 200
glomeruli which then converge at 25:1 onto each mitral cell. The
total convergence is estimated to be about
1000:1.<SUP>3</SUP></FONT></P>
<P><FONT SIZE="+1">Physiologically, this convergence increases the
sensitivity of the olfactory signal sent to the brain. From the
mitral cells the message is sent directly to the higher levels of the
central nervous system in the corticomedial amygdala portion of the
brain (via the olfactory nerve tract) where the signaling process is
decoded and olfactory interpretation and response occurs.</FONT></P>
<P><FONT SIZE="+1"><B>The Trigeminal Sense in the Olfactory
Epithelium</B></FONT></P>
<P><FONT SIZE="+1">It must also be recognized that the olfactory
epithelium contains another sensory system in the form of "Trigeminal
Nerve" receptors. Whereas, the olfactory receptor system is highly
localized in humans, the fifth cranial or trigeminal nerve (which is
the largest cranial nerve and is the responsible sensory nerve of the
face, teeth, mouth, most of the scalp, and the motor nerve of the
muscles of mastication) provides a second set of nerve endings which
are responsible for tactile, pressure, pain and temperature
sensations in the areas of the mouth, eyes and nasal cavity. A number
of chemical trigeminal stimulants produce effects described as hot,
cold, tingling or irritating. For example, "leavo-menthol or
(-)-menthol" produces the trigeminal feeling of cold at moderate
concentrations and "hot" at high concentrations in the nasal cavity.
This type of sensory "description" is often not just limited to the
areas of the nose, mouth and eyes, but also occurs on skin areas not
served by the 5th cranial nerve (especially, the genitalia) and thus
such stimulants may effect a variety of nerve endings. Similarly
"camphor" which possesses markedly more aroma than menthol, also
produces the "cold" sensation via interaction with trigeminal
receptors. Ohloff states that "About 70% of all odors are said to
stimulate the trigemenal nerve although, in general, they may be
several times less sensitive than olfactory
receptors".<SUP>4</SUP></FONT></P>
<P><FONT SIZE="+1">Other commonly encountered trigeminal stimulants
include the chemicals allyl isothiocyanate (mustard, mustard oil),
capsiacin (hot Chile powder, mace spray) and Allicin
(garlic).</FONT></P>
<CENTER><IMG SRC="olfaction1.gif" WIDTH=367 HEIGHT=359 ALIGN=bottom><FONT SIZE="+4"><BR>
</FONT><FONT COLOR="#FFFFFF">......<TABLE BORDER=0>
<TR>
<TD ALIGN=center NOWRAP WIDTH=391 HEIGHT=237>
<P><IMG SRC="trp.gif" WIDTH=391 HEIGHT=238 X-CLARIS-USEIMAGEWIDTH X-CLARIS-USEIMAGEHEIGHT ALIGN=middle></P>
</TD>
<TD ALIGN=center WIDTH=294 HEIGHT=237>
<P><IMG SRC="TRPM8_receptor_channel.jpg" WIDTH=250 HEIGHT=190 ALIGN=middle></P>
</TD>
</TR>
<TR>
<TD WIDTH=391>
<CENTER>Adapted from Leffingwell<SUP>4a</SUP></CENTER>
</TD>
<TD WIDTH=294>
<CENTER>TRPM8 receptor channel<SUP>4b</SUP></CENTER>
</TD>
</TR>
</TABLE>
</FONT></CENTER>
<P><FONT SIZE="+1">Trigeminal neurons mediate the detection of
thermal, mechanical, and chemical stimuli. For example, chemosensory
innervation of the nasal epithelium utilizes two major trigeminal
fiber systems - unmyelinated C-fibers and myelinated
A</FONT><FONT SIZE="+1" FACE="Symbol">d</FONT><FONT SIZE="+1">-fibers.
C-fibers are involved in the burning pain sensation whereas
A</FONT><FONT SIZE="+1" FACE="Symbol">d</FONT><FONT SIZE="+1">-fibers
mediate sharp, stinging sensations.<SUP>4c</SUP> </FONT></P>
<P><FONT SIZE="+1">In the case of thermoreceptors, these are
activated when a thermal (or chemical) stimulus excites primary
afferent sensory neurons of the dorsal or trigeminal ganglia. In the
last 20 years, there has been tremendous progress in determining the
various receptor structural sequences. Thermoreceptors belong to the
class of transient receptor potential (TRP) channels of which seven
subfamilies exist (TRPC, TRPV, TRPM, TRPA, TRPP, TRPML, and TRPN).
Six members of three TRP subfamilies are involved in mammalian
temperature-sensitive thermoreception<SUP>4a</SUP>. </FONT></P>
<P><FONT SIZE="+1">The closely related TRPV analogs are activated by
heat, TRPV1 (=/>43<SUP>o</SUP>C), TRPV2 (=/>52C), TRPV3
(22–40<SUP>o</SUP>C), and TRPV4 (>~27<SUP>o</SUP>C), while
TRPM8 (<~28<SUP>o</SUP>C) and TRPA1 (<~18<SUP>o</SUP>C) are
activated by cold<SUP>4a</SUP>. </FONT></P>
<P><FONT SIZE="+1">Certain types of chemical agonists activate these
same thermoTRP channels. TRPV1 was the first thermoreceptor
characterized and is referred to as a vanilloid receptor, as it is
activated by capsaicin as well as heat. The cold and menthol
receptor, TRPM8, was characterized by McKemy, Neuhausser, and
Julius<SUP>4d</SUP> and by Peier et al.<SUP>4e</SUP> in 2002.
</FONT></P>
<P><FONT SIZE="+1">Paradoxically, the cold receptor TRPA1, which is
activated by noxious cold to produce a pain-like sensation, produces
a human sensorial effect often described as
“hot.”</FONT></P>
<P><FONT SIZE="+1">The table above, entitled "Thermoreceptor
Agonists" provides examples of chemical agonists that activate these
thermoTRPs.</FONT></P>
<P><FONT SIZE="+1">All of these thermoTRPs are gated Ca<SUP>++</SUP>
channels consisting of six transmembrane domains (TM1–TM6)
flanked by large N- and C-terminal cytoplasmic domains<SUP>4a</SUP>.
A schematic representation is shown in the figure above, labeled
"TRPM8 receptor channel", with the putative ion channel between
TM5–TM6 in TRPM8, which is activated by menthol and other cold
stimuli.</FONT></P>
<P><FONT SIZE="+1">For a recent review of other peripheral factors
that modulate olfaction see the review by Mary
Lucero<SUP>4f</SUP>.</FONT></P>
<P>_____________</P>
<P>1. Demole, E., H. Wuest, Synthèses
stéréosélectives de deux trioxydes
C<SUB>18</SUB>H<SUB>30</SUB>O<SUB>3</SUB>
stéréoisomères, d’ambréinolide et
sclaréol-lactone a partir de derives du (+)-manool, Helv.
Chem. Acta, 50: 1314 (1967).</P>
<P>2. Ohloff, G., Scent and Fragrances, Springer-Verlag, Berlin
Heidelberg, 1994</P>
<P>3. <A HREF="http://www.cf.ac.uk/biosi/staffinfo/jacob/teaching/sensory/Copy%20of%20olfact1.html">http://www.cf.ac.uk/biosi/staffinfo/jacob/teaching/sensory/Copy%20of%20olfact1.html</A></P>
<P>4. Ohloff, G., <U>Scent and Fragrances</U>, Springer-Verlag,
Berlin Heidelberg, 1994, p. 6</P>
<P>4a. Leffingwell, J.C., <A HREF="https://www.researchgate.net/profile/John_Leffingwell/publication/245023301_Cooling_Ingredients_and_Their_Mechanism_of_Action/links/00b7d526d5cfce5bee000000.pdf" TARGET="_blank">Cooling
Ingredients and Their Mechanism of Action</A>, Chapter 65, Handbook
of Cosmetic Science and Technology, 3rd ed., Andre O. Barel, Marc
Paye, Howard I. Maibach, Eds., Informa Healthcare (Pub.), New York,
2009. p. 670-671; See also Voets, T., Talavera, K., Owsianik, G. and
Nilius, B., 2005. <A HREF="http://www.nature.com/nchembio/journal/v1/n2/full/nchembio0705-85.html" TARGET="_blank">Sensing
with TRP channels</A>. Nature chemical biology, 1(2), pp.85-92.</P>
<P>4b. The figure for the "TRPM8 receptor channel" is from the 2009
Leffingwell reference 4a. This <B>exact figure</B>, <B><U>without any
citation or acknowledgement</U></B>, is also found in Bharate, S.S.
and Bharate, S.B., 2012. <A HREF="https://www.researchgate.net/publication/230617071_Modulation_of_Thermoreceptor_TRPM8_by_Cooling_Compounds" TARGET="_blank">Modulation
of thermoreceptor TRPM8 by cooling compounds</A>. ACS chemical
neuroscience, 3(4), pp.248-267.</P>
<P>4c. Meusel, T., Negoias, S., Scheibe, M. and Hummel, T., 2010.
<A HREF="http://www.sciencedirect.com/science/article/pii/S0304395910004811" TARGET="_blank">Topographical
differences in distribution and responsiveness of trigeminal
sensitivity within the human nasal mucosa</A>. PAIN®, 151(2),
pp.516-521.</P>
<P>4d. McKemy DD, Neuhausser WM, Julius D. <A HREF="http://www.nature.com/nature/journal/v416/n6876/abs/nature719.html" TARGET="_blank">Identification
of a cold receptor reveals a general role for TRP channels in
thermosensation</A>. Nature 2002; 416:52–58.</P>
<P>4e. Peier AM, Moqrich A, Hergarden AC, et al. <A HREF="http://ac.els-cdn.com/S0092867402006529/1-s2.0-S0092867402006529-main.pdf?_tid=cfdcc62c-3179-11e6-84ce-00000aacb35f&acdnat=1465831173_dffcde5eb52b1a866fd3306ace986946" TARGET="_blank">A
TRP channel that senses cold stimuli and menthol</A>. Cell 2002;
108(5):705–715.</P>
<P>4f. Lucero, M.T., 2013, January. <A HREF="https://www.researchgate.net/profile/Mary_Lucero/publication/230870069_Peripheral_modulation_of_smell_Fact_or_fiction/links/00b4952fc178925352000000.pdf" TARGET="_blank">Peripheral
modulation of smell: fact or fiction?</A>. In Seminars in cell &
developmental biology (Vol. 24, No. 1, pp. 58-70). Academic
Press.</P>
<P>_____________</P>
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**Olfaction**
John C. Leffingwell,
Ph.D.
Leffingwell &
Associates
The sense of smell is a primal sense for humans as
well as animals. From an evolutionary standpoint it is one of the
most ancient of senses. Smell (or Olfaction) allows vertebrates and
other organisms with olfactory receptors to identify food, mates,
predators, and provides both sensual pleasure (the odor of flowers
and perfume) as well as warnings of danger (e.g., spoiled food,
chemical dangers). For both humans and animals, it is one of the
important means by which our environment communicates with
us.
This paper will explore the current status our
understanding of olfaction and provide in some detail the possible
molecular interactions that specify odorant signaling.
**General Physiology of Olfaction**
Odorants are volatile chemical compounds that are
carried by inhaled air to the Regio olfactoria (olfactory epithelium)
located in the roof of the two nasal cavities of the human nose, just
below and between the eyes.
The odorant must possess certain molecular
properties in order to provide sensory properties. It must have some
water solubility, a sufficiently high vapor pressure, low polarity,
some ability to dissolve in fat (lipophilicity), and surface
activity. And to date, no known odorant possesses a molecular weight
greater than 294.1
The olfactory sense is able to distinguish among a
practically infinite number of chemical compounds at very low
concentrations.2
The olfactory region of each of the two nasal
passages in humans is a small area of about 2.5 square centimeters
containing in total approximately 50 million primary sensory receptor
cells.
The olfactory region consists of cilia projecting
down out of the olfactory epithelium into a layer of mucous which is
about 60 microns thick. This mucous layer is a lipid-rich secretion
that bathes the surface of the receptors at the epithelium surface.
The mucous layer is produced by the Bowman’s glands which reside
in the olfactory epithelium. The mucous lipids assist in transporting
the odorant molecules as only volatile materials that are soluble in
the mucous can interact with the olfactory receptors and produce the
signals that our brain interprets as odor. Each olfactory receptor
neuron has 8-20 cilia that are whip-like extensions 30-200 microns in
length. The olfactory cilia are the sites where molecular reception
with the odorant occurs and sensory transduction (i.e., transmission)
starts.
Above the mucous layer is the base olfactory
epithelium which consists partially of basal cells located in the
lowest cellular layer of the olfactory epithelium which are capable
of mitotic cell division to form olfactory receptor neurons when
functionally mature. The olfactory receptor neurons turnover
approximately every 40 days. The epithelium also contains pigmented
cells that are light yellow in humans and dark yellow to brown in
dogs. The depth of color seems to be correlated with olfactory
sensitivity.
While the olfactory receptor neurons extend
through the epithelium to contact odorants in the atmosphere, on the
opposite side within the epithelium, the neuronal cells form axons
that are bundled in groups of 10-100 to penetrate the ethmoidal
cribiform plate of bone, reaching the olfactory bulb of the brain
where they converge to terminate with post-synaptic cells to form
synaptic structures called glomeruli. The glomeruli are connected in
groups that converge into mitral cells. (Note that in the picture
above this convergence is not clearly depicted). For example, in
rabbits, there are 26,000 receptor neurons converging onto 200
glomeruli which then converge at 25:1 onto each mitral cell. The
total convergence is estimated to be about
1000:1.3
Physiologically, this convergence increases the
sensitivity of the olfactory signal sent to the brain. From the
mitral cells the message is sent directly to the higher levels of the
central nervous system in the corticomedial amygdala portion of the
brain (via the olfactory nerve tract) where the signaling process is
decoded and olfactory interpretation and response occurs.
**The Trigeminal Sense in the Olfactory
Epithelium**
It must also be recognized that the olfactory
epithelium contains another sensory system in the form of "Trigeminal
Nerve" receptors. Whereas, the olfactory receptor system is highly
localized in humans, the fifth cranial or trigeminal nerve (which is
the largest cranial nerve and is the responsible sensory nerve of the
face, teeth, mouth, most of the scalp, and the motor nerve of the
muscles of mastication) provides a second set of nerve endings which
are responsible for tactile, pressure, pain and temperature
sensations in the areas of the mouth, eyes and nasal cavity. A number
of chemical trigeminal stimulants produce effects described as hot,
cold, tingling or irritating. For example, "leavo-menthol or
(-)-menthol" produces the trigeminal feeling of cold at moderate
concentrations and "hot" at high concentrations in the nasal cavity.
This type of sensory "description" is often not just limited to the
areas of the nose, mouth and eyes, but also occurs on skin areas not
served by the 5th cranial nerve (especially, the genitalia) and thus
such stimulants may effect a variety of nerve endings. Similarly
"camphor" which possesses markedly more aroma than menthol, also
produces the "cold" sensation via interaction with trigeminal
receptors. Ohloff states that "About 70% of all odors are said to
stimulate the trigemenal nerve although, in general, they may be
several times less sensitive than olfactory
receptors".4
Other commonly encountered trigeminal stimulants
include the chemicals allyl isothiocyanate (mustard, mustard oil),
capsiacin (hot Chile powder, mace spray) and Allicin
(garlic).
......
| | |
| --- | --- |
| | |
| Adapted from Leffingwell4a | TRPM8 receptor channel4b |
Trigeminal neurons mediate the detection of
thermal, mechanical, and chemical stimuli. For example, chemosensory
innervation of the nasal epithelium utilizes two major trigeminal
fiber systems - unmyelinated C-fibers and myelinated
Ad-fibers.
C-fibers are involved in the burning pain sensation whereas
Ad-fibers
mediate sharp, stinging sensations.4c
In the case of thermoreceptors, these are
activated when a thermal (or chemical) stimulus excites primary
afferent sensory neurons of the dorsal or trigeminal ganglia. In the
last 20 years, there has been tremendous progress in determining the
various receptor structural sequences. Thermoreceptors belong to the
class of transient receptor potential (TRP) channels of which seven
subfamilies exist (TRPC, TRPV, TRPM, TRPA, TRPP, TRPML, and TRPN).
Six members of three TRP subfamilies are involved in mammalian
temperature-sensitive thermoreception4a.
The closely related TRPV analogs are activated by
heat, TRPV1 (=/>43oC), TRPV2 (=/>52C), TRPV3
(22–40oC), and TRPV4 (>~27oC), while
TRPM8 (<~28oC) and TRPA1 (<~18oC) are
activated by cold4a.
Certain types of chemical agonists activate these
same thermoTRP channels. TRPV1 was the first thermoreceptor
characterized and is referred to as a vanilloid receptor, as it is
activated by capsaicin as well as heat. The cold and menthol
receptor, TRPM8, was characterized by McKemy, Neuhausser, and
Julius4d and by Peier et al.4e in 2002.
Paradoxically, the cold receptor TRPA1, which is
activated by noxious cold to produce a pain-like sensation, produces
a human sensorial effect often described as
“hot.”
The table above, entitled "Thermoreceptor
Agonists" provides examples of chemical agonists that activate these
thermoTRPs.
All of these thermoTRPs are gated Ca++
channels consisting of six transmembrane domains (TM1–TM6)
flanked by large N- and C-terminal cytoplasmic domains4a.
A schematic representation is shown in the figure above, labeled
"TRPM8 receptor channel", with the putative ion channel between
TM5–TM6 in TRPM8, which is activated by menthol and other cold
stimuli.
For a recent review of other peripheral factors
that modulate olfaction see the review by Mary
Lucero4f.
\_\_\_\_\_\_\_\_\_\_\_\_\_
1. Demole, E., H. Wuest, Synthèses
stéréosélectives de deux trioxydes
C18H30O3
stéréoisomères, d’ambréinolide et
sclaréol-lactone a partir de derives du (+)-manool, Helv.
Chem. Acta, 50: 1314 (1967).
2. Ohloff, G., Scent and Fragrances, Springer-Verlag, Berlin
Heidelberg, 1994
3. <http://www.cf.ac.uk/biosi/staffinfo/jacob/teaching/sensory/Copy%20of%20olfact1.html>
4. Ohloff, G., Scent and Fragrances, Springer-Verlag,
Berlin Heidelberg, 1994, p. 6
4a. Leffingwell, J.C., [Cooling
Ingredients and Their Mechanism of Action](https://www.researchgate.net/profile/John_Leffingwell/publication/245023301_Cooling_Ingredients_and_Their_Mechanism_of_Action/links/00b7d526d5cfce5bee000000.pdf), Chapter 65, Handbook
of Cosmetic Science and Technology, 3rd ed., Andre O. Barel, Marc
Paye, Howard I. Maibach, Eds., Informa Healthcare (Pub.), New York,
2009. p. 670-671; See also Voets, T., Talavera, K., Owsianik, G. and
Nilius, B., 2005. [Sensing
with TRP channels](http://www.nature.com/nchembio/journal/v1/n2/full/nchembio0705-85.html). Nature chemical biology, 1(2), pp.85-92.
4b. The figure for the "TRPM8 receptor channel" is from the 2009
Leffingwell reference 4a. This **exact figure**, **without any
citation or acknowledgement**, is also found in Bharate, S.S.
and Bharate, S.B., 2012. [Modulation
of thermoreceptor TRPM8 by cooling compounds](https://www.researchgate.net/publication/230617071_Modulation_of_Thermoreceptor_TRPM8_by_Cooling_Compounds). ACS chemical
neuroscience, 3(4), pp.248-267.
4c. Meusel, T., Negoias, S., Scheibe, M. and Hummel, T., 2010.
[Topographical
differences in distribution and responsiveness of trigeminal
sensitivity within the human nasal mucosa](http://www.sciencedirect.com/science/article/pii/S0304395910004811). PAIN®, 151(2),
pp.516-521.
4d. McKemy DD, Neuhausser WM, Julius D. [Identification
of a cold receptor reveals a general role for TRP channels in
thermosensation](http://www.nature.com/nature/journal/v416/n6876/abs/nature719.html). Nature 2002; 416:52–58.
4e. Peier AM, Moqrich A, Hergarden AC, et al. [A
TRP channel that senses cold stimuli and menthol](http://ac.els-cdn.com/S0092867402006529/1-s2.0-S0092867402006529-main.pdf?_tid=cfdcc62c-3179-11e6-84ce-00000aacb35f&acdnat=1465831173_dffcde5eb52b1a866fd3306ace986946). Cell 2002;
108(5):705–715.
4f. Lucero, M.T., 2013, January. [Peripheral
modulation of smell: fact or fiction?](https://www.researchgate.net/profile/Mary_Lucero/publication/230870069_Peripheral_modulation_of_smell_Fact_or_fiction/links/00b4952fc178925352000000.pdf). In Seminars in cell &
developmental biology (Vol. 24, No. 1, pp. 58-70). Academic
Press.
\_\_\_\_\_\_\_\_\_\_\_\_\_
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<HTML>
<HEAD>
<TITLE>The Document Which Was Formerly Called The MIT Guide to Lockpicking</TITLE>
</HEAD>
<BODY>
<H3>RECENT NEWS</H3>
An interesting new lockpicking technique has been making its way
around the internet. This technique uses 'bump keys' to open locks in
a similar fashion to lockpicking guns but without requiring specialized
hardware. You can read about bump keys in <A href="bumping.pdf">this
document</a>, and see a news report about them <a href="http://www.youtube.com/watch?v=7Uv45y6vkcQ">here</a>.
<br>
<hr>
<br>
--- Presenting ---<br>(drumroll please)
<H1>The Document Which Used To Be Called The MIT Lockpicking Guide</H1>
I am told that the university which has its' name associated with this
document would prefer not to. Fine. I will now no longer refer to it as
<I>The MIT Guide To Lockpicking</I> or <I>The MIT Lockpicking Guide</I>.
Truth be told, I am a member of the Bavarian Illuminati and I wrote it myself
shortly after I instigated Watergate and the Cuban Missile Crisis. I hereby
absolve a certain highly respectable university in Massachusets from any
and all responsibility for this document.
<P>
Which is too bad in a way. I thought it was a cool piece of urban folklore
no matter where it came from, and it contributed to giving college students
everywhere a reputation for healthy rebeliousness.
<P>
My original copy of this file was a text file zipped up with several GIF's.
I have tried as much as possible to lay out this HTML version in such a way
that it makes sense, but the GIF's that came with it were of poor quality
at best. Where captions are cropped off, that is the way that they came to me.
If you notice any errors, and I'm sure that they are there, please send me some
e-mail so I can correct them.
<P>
If you prefer, the entire thing is available as a
<A HREF="mitlg-a4.pdf">PDF file</A> or the original
<A HREF="mitlg-a4.zip">zipped postscript</A> that the PDF was generated from.
The postscript is formatted for a4 paper, so some printers may have trouble
printing it on letter.
I have to appologize for the PDF -- all the fonts are rendered as 72 dpi
bitmaps. They print great, but they don't look so hot on screen. They also
make it impossible to search the document. If you don't understand what all
that means, just get the PDF file and print it. I promise you'll be
happy.
<P>
Nearly half of all the illustrations appear in chapter nine, so if that
one takes a little while for your browser to fetch try to be patient.
<P>
Otherwise, enjoy the file. Oh, and good luck. :-)
<P>
<CENTER>
- Akira
</CENTER>
<HR>
This is how the Guide looked to me (as best I can recreate it) when it was
given to me. You'll note the missing 'Legal Issues' section which whether
intentional or not, was not part of the guide as given to me.
<P>
- Dave Ferret
<P>
<PRE>
</PRE>
<P>
<CENTER><H1>
MIT Guide to Lock Picking
</CENTER></H1>
<P>
Ted the Tool
<BR>
February 14, 1992
<P><H2>
Distribution
</H2><P>
Copyright 1987, 1991 Theodore T. Tool. All right reserved.
<P>
Permission to reproduce this document on a non-profit basis
is granted provided that this copyright and distribution
notice is included in full. The information in this booklet is
provided for educational purposes only.
<P>
August 1991 revision.
<P>
<HR>
<H2>
Contents
</H2>
<DL>
<DT>
<B>1</B> <A HREF="chapter1.html">It's Easy</A>
<P>
<DT>
<B>2</B> <A HREF="chapter2.html">How a Key Opens a Lock</A>
<P>
<DT>
<B>3</B> <A HREF="chapter3.html">The Flatland Model</A>
<P>
<DT>
<B>4</B> <A HREF="chapter4.html">Basic Picking & The Binding Defect</A>
<P>
<DT>
<B>5</B> <A HREF="chapter5.html">The Pin Column Model</A>
<P>
<DT>
<B>6</B> <A HREF="chapter6.html">Basic Scrubbing</A>
<P>
<DT>
<B>7</B> <A HREF="chapter7.html">Advanced Lock Picking</A>
<DD>
<B>7.1</B> Mechanical Skills<BR>
<B>7.2</B> Zen and the Art of Lock Picking<BR>
<B>7.3</B> Analytic Thinking<BR>
<P>
<DT>
<B>8</B> <A HREF="chapter8.html">Exercises</A>
<DD>
<B>8.1</B> Exercise 1: Bouncing the pick<BR>
<B>8.2</B> Exercise 2: Picking Pressure<BR>
<B>8.3</B> Exercise 3: Picking Torque<BR>
<B>8.4</B> Exercise 4: Identifying Set Pins<BR>
<B>8.5</B> Exercise 5: Projections<BR>
<P>
<DT>
<B>9</B> <A HREF="chapter9.html">Recognizing and Exploiting Personality Traits</A>
<DD>
<B>9.1</B> Which Way To Turn<BR>
<B>9.2</B> How Far to Turn<BR>
<B>9.3</B> Gravity<BR>
<B>9.4</B> Pins Not Setting<BR>
<B>9.5</B> Elastic Deformation<BR>
<B>9.6</B> Loose Plug<BR>
<B>9.7</B> Pin Diameter<BR>
<B>9.8</B> Beveled Holes and Rounded pins<BR>
<B>9.9</B> Mushroom Driver Pins<BR>
<B>9.10</B> Which Way To Turn<BR>
<B>9.11</B> Which Way To Turn<BR>
<B>9.12</B> Which Way To Turn<BR>
<B>9.13</B> Disk Tumblers<BR>
<P>
<DT>
<B>10</B> <A HREF="chapter0.html">Final Remarks</A>
<P>
<DT>
<B>A</B> <A HREF="appendix.html">Tools</A>
<DD>
<B>A.1</B> Pick Shapes<BR>
<B>A.2</B> Street cleaner bristles<BR>
<B>A.3</B> Bicycle spokes<BR>
<B>A.4</B> Brick Strap<BR>
<P>
<DT>
<B>B</B> Legal Issues
</DL>
<P>
<HR>
<B>
[ <A HREF="chapter1.html">Next</A> ] -
[ <A HREF="/~akira">Home</A> ]
</B>
<P>
</BODY>
</HTML>
|
The Document Which Was Formerly Called The MIT Guide to Lockpicking
### RECENT NEWS
An interesting new lockpicking technique has been making its way
around the internet. This technique uses 'bump keys' to open locks in
a similar fashion to lockpicking guns but without requiring specialized
hardware. You can read about bump keys in [this
document](bumping.pdf), and see a news report about them [here](http://www.youtube.com/watch?v=7Uv45y6vkcQ).
---
--- Presenting ---
(drumroll please)
# The Document Which Used To Be Called The MIT Lockpicking Guide
I am told that the university which has its' name associated with this
document would prefer not to. Fine. I will now no longer refer to it as
*The MIT Guide To Lockpicking* or *The MIT Lockpicking Guide*.
Truth be told, I am a member of the Bavarian Illuminati and I wrote it myself
shortly after I instigated Watergate and the Cuban Missile Crisis. I hereby
absolve a certain highly respectable university in Massachusets from any
and all responsibility for this document.
Which is too bad in a way. I thought it was a cool piece of urban folklore
no matter where it came from, and it contributed to giving college students
everywhere a reputation for healthy rebeliousness.
My original copy of this file was a text file zipped up with several GIF's.
I have tried as much as possible to lay out this HTML version in such a way
that it makes sense, but the GIF's that came with it were of poor quality
at best. Where captions are cropped off, that is the way that they came to me.
If you notice any errors, and I'm sure that they are there, please send me some
e-mail so I can correct them.
If you prefer, the entire thing is available as a
[PDF file](mitlg-a4.pdf) or the original
[zipped postscript](mitlg-a4.zip) that the PDF was generated from.
The postscript is formatted for a4 paper, so some printers may have trouble
printing it on letter.
I have to appologize for the PDF -- all the fonts are rendered as 72 dpi
bitmaps. They print great, but they don't look so hot on screen. They also
make it impossible to search the document. If you don't understand what all
that means, just get the PDF file and print it. I promise you'll be
happy.
Nearly half of all the illustrations appear in chapter nine, so if that
one takes a little while for your browser to fetch try to be patient.
Otherwise, enjoy the file. Oh, and good luck. :-)
- Akira
---
This is how the Guide looked to me (as best I can recreate it) when it was
given to me. You'll note the missing 'Legal Issues' section which whether
intentional or not, was not part of the guide as given to me.
- Dave Ferret
```
```
#
MIT Guide to Lock Picking
Ted the Tool
February 14, 1992
##
Distribution
Copyright 1987, 1991 Theodore T. Tool. All right reserved.
Permission to reproduce this document on a non-profit basis
is granted provided that this copyright and distribution
notice is included in full. The information in this booklet is
provided for educational purposes only.
August 1991 revision.
---
##
Contents
**1** [It's Easy](chapter1.html)
**2** [How a Key Opens a Lock](chapter2.html)
**3** [The Flatland Model](chapter3.html)
**4** [Basic Picking & The Binding Defect](chapter4.html)
**5** [The Pin Column Model](chapter5.html)
**6** [Basic Scrubbing](chapter6.html)
**7** [Advanced Lock Picking](chapter7.html)
**7.1** Mechanical Skills
**7.2** Zen and the Art of Lock Picking
**7.3** Analytic Thinking
**8** [Exercises](chapter8.html)
**8.1** Exercise 1: Bouncing the pick
**8.2** Exercise 2: Picking Pressure
**8.3** Exercise 3: Picking Torque
**8.4** Exercise 4: Identifying Set Pins
**8.5** Exercise 5: Projections
**9** [Recognizing and Exploiting Personality Traits](chapter9.html)
**9.1** Which Way To Turn
**9.2** How Far to Turn
**9.3** Gravity
**9.4** Pins Not Setting
**9.5** Elastic Deformation
**9.6** Loose Plug
**9.7** Pin Diameter
**9.8** Beveled Holes and Rounded pins
**9.9** Mushroom Driver Pins
**9.10** Which Way To Turn
**9.11** Which Way To Turn
**9.12** Which Way To Turn
**9.13** Disk Tumblers
**10** [Final Remarks](chapter0.html)
**A** [Tools](appendix.html)
**A.1** Pick Shapes
**A.2** Street cleaner bristles
**A.3** Bicycle spokes
**A.4** Brick Strap
**B** Legal Issues
---
**[ [Next](chapter1.html) ] -
[ [Home](/~akira) ]**
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<TD align="left" width="50"></TD>
<td align="left" width="150"><a href="cd_lamp.jpg"><img style="HEIGHT: 225px" src="cd_lamp1.jpg" align="left" width="140"></a>
</td>
<td align="center">
<h1>CD Lamp 1<br>
</h1>
</td>
<td align="right" width="150"><a href="cd_lamp_top.jpg"><img style="HEIGHT: 225px" src="cd_lamp2.jpg" align="right" width="140"></a>
</td>
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</tbody></table>
<P>
Also see <a href="../cd_lamp2/index.html">CD Lamp 2</a> and <a href="../cd_lamp3/index.html">CD Lamp 3</a>, they uses a duel
tube fluorescent bulb and runs off AC.</P>
<P> </P>
<h2>Inspiration</h2>
At a previous job, the head of QA had several stacks of several hundred CDs, on
the floor, in front of floor to ceiling windows. The sunlight shining
through the window would glow through these CDs in a very appealing manner that
made the green light seem warm. From that point forward I always thought
that a stack of CDs with a tubular light inside would make a very cool lamp.
<br>
<h2>Materials</h2>
When ever I went to a hardware or housewares store, I would look at the lights
trying to find something that would fit into the existing hole in the CD, and
that would not be too hot to melt the CDs. Even the low wattage
incandescent bulbs for lighting framed pictures were way too hot.
<br>
<br>
<table id="Table2" style="WIDTH: 100%; TEXT-ALIGN: left" border="0" cellpadding="2" cellspacing="2">
<tbody>
<tr valign="top">
<td align="center" width="117">
<p><a href="cds.jpg"><img style="WIDTH: 98px; HEIGHT: 118px" alt="Stack of junk CDs" src="cds_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>
In the mean time I started collecting old CDs. Any time I burnt a coaster
with my CD writer, or AOL or another company sent me a CD I did not want I put
it into a box. In about 3 years I ended up with about 70 CDs.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="52-5724-4.jpg"><img style="WIDTH: 52px; HEIGHT: 130px" alt="52-5724-4 from Canadian Tire" src="52-5724-4_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>At Canadian Tire I found this battery operated utility light that looked the
exact diameter and length. And as a bonus, it is battery operated
with a jack for a 6V DC adapter. 6" long with twin connections at each
end.</p>
<p>part # <a href="http://www.canadiantire.ca/assortments/product_detail.jsp?FOLDER%3C%3Efolder_id=1408474396669946&PRODUCT%3C%3Eprd_id=845524442203727&ASSORTMENT%3C%3East_id=1408474396670271&bmUID=1108502465891&assortment=primary&fromSearch=true"
target="_blank">52-5724-4</a> from Canadian Tire for $14.69</p>
<p>There is also a 12" version for $17.79</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="52-5724-4_off.jpg"><img style="WIDTH: 100px; HEIGHT: 33px" alt="52-5724-4 turned off" src="52-5724-4_off_sm.jpg"></a></p>
<p><a href="52-5724-4_on.jpg"><img style="WIDTH: 100px; HEIGHT: 33px" alt="52-5724-4 turned on" src="52-5724-4_on_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>Here it is out of the container off and on. I am using an adapter to power
it here. Using batteries it is about 2/3 the brightness :-( They
were a little old so new batteries should be better.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="52-5724-4_parts.jpg"><img style="WIDTH: 98px; HEIGHT: 78px" alt="Light parts" src="52-5724-4_parts_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>Next step. Taking the light apart to see what was inside and what I
got.
<br>
- Fluorescent bulb 6" / 15cm long<br>
- Batter container for 4 AA batteries<br>
- Circuit board to control the light<br>
- Switch<br>
- Contacts for bulb<br>
Things I do not need: shade, holder for bulb, Velcro with adhesive</p>
<p> </p>
</td>
</tr>
</tbody></table>
<br>
<h2>Putting it together</h2>
<br>
<table id="Table3" style="WIDTH: 100%; TEXT-ALIGN: left" border="0" cellpadding="2" cellspacing="2">
<tbody>
<tr valign="top">
<td align="center" width="117">
<p><a href="dry_fit.jpg"><img alt="Dry fit of cd on bulb" src="dry_fit_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>Dry fit of the CDs over the fluorescent bulb indicated that it is just a little
bit too big. Goes over the electronic prong but not the bulb
itself. I will have to make the hole bigger. I was hoping to avoid
that!</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_before.jpg"><img alt="CD hole before enlarging" src="cd_before_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>This is the center of a CD before it is enlarged.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="drill_press.jpg"><img alt="Drillpress set up" src="drill_press_sm.jpg"></a> </p>
<p> </p>
</td>
<td>
<p>To enlarge the hole on the CD I used a tapered grinding bit. Placed CDs
on a piece of Styrofoam to prevent scratching. The drill press made this
fairly easily. The tapered grinding bit would self center the hole which
also helped the process.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="drill_press_detail.jpg"><img alt="detail of drillpress setup" src="drill_press_detail_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>Grind a little bit on one side then flip it over and grind a little bit on the
other side. Every CD seamed to be made of a different quality or type of
plastic. Some would melt more than grind away. It just meant using
a little less pressure and some more time. After it looked right I would
test each one on the bulb to make sure it would fit.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_after.jpg"><img alt="CD after enlarging hole" src="cd_after_sm.jpg"></a> </p>
<p> </p>
</td>
<td>
<p>This is the center of a CD after it is enlarged. Only a small difference.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="drill_jig.jpg"><img alt="Drillpress setup" src="drill_jig_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>After enlarging the center I had to make another hole for a wire to connect to
the top of the bulb. I made a jig for the drill press to do this.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="drill_jig_detail.jpg"><img alt="drillpress setup detail" src="drill_jig_detail_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>I wanted the hole the same distance from the center each time. To create
the jig I drilled a 1/4" hole all the way through a board. then drilled
another one larger to an exact depth so that enough of the grinding bit poked
out to align the CDs.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_stack.jpg"><img alt="Stack of CDs" src="cd_stack_sm.jpg"></a>
</p>
<p> </p>
</td>
<td align="left">
<p>After the CDs were done on the drill press I cleaned then off. Rubbing
alcohol was good to get rid of on permanent marker I put on the CDs to indicate
they were bad.</p>
<p>I was hoping I had enough CDs to glue the printed side snug together, and leave
the shiny sides a CD thickness apart. I needed another 30 or more to do
that.
</p>
<p>I put the wire I am using to connect the top of the bulb through the little
hole and placed the CD on the bulb one at a time as I glued them. All
the CDs have the printed side down.</p>
<p>I glued the CDs together using clear hot glue. I used three small business
size CDs as spacers.
</p>
<p>You have to wait a little bit (20 sec) to let the glue harden before adding the
next. If the glue is only partly cooled, adding more hot glue above it
was sometimes enough to soften it a bit and make that layer squish together a
little too much.</p>
<p><b>Cation:</b> do not use too much pressure.<br>
</p>
<div style="MARGIN-LEFT: 40px">I also noticed that some times that although I had
the spacers in place, I squished the inside together too much, and gave the CD
a little concave effect, until the spacers were removed, then they snapped
down, too close.
</div>
<br>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="electronics.jpg"><img alt="Electrontics and battery case" src="electronics_sm.jpg"></a></p>
<p> </p>
</td>
<td valign="top">
<p>The battery case was removed from the rest of the case and glued back together
with model glue. I soldered some longer wires to connect to the battery
case.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="botton_off.jpg"><img alt="" src="botton_off_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>The base I made out of 3 pieces of 3 ply plywood each 3/8". Total
thickness 1 & 1/8". I needed at least 1" for the batter
container. Cut into a circle the size of a CD with jig saw and sanded
smooth by drilling a hole in center, and putting a bolt through and attaching
it to the drill press while I held sand paper up next to it. (Don't have
a lathe).
</p>
<p>I used the drill press and some chisels and files to create the compartments I
needed to store the batteries and electronics.
</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="botton_on.jpg"><img alt="" src="botton_on_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>While filings the hole big enough to fit the switch through, I accidentally
broke it, but this meant that I did not have to go any bigger. I can put
everything in, and glue the wood back in place. But before everything is
glued in make sure everything works.</p>
<p> </p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_joint.jpg"><img alt="" src="cd_joint_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>To make it easy to change the bulb in the future I made the top come off the
base by screwing in three screws part way into the top of the base.
Making three matching holes in the bottom three CDs</p>
<p>It might have been possible to use the supplied Velcro for this job.</p>
<p> </p>
</td>
</tr>
</tbody></table>
<br>
<h2>The finished Product</h2>
<br>
<table id="Table4" style="WIDTH: 100%; TEXT-ALIGN: left" border="0" cellpadding="2" cellspacing="2">
<tbody>
<tr valign="top">
<td align="center" width="117">
<p><a href="base.jpg"><img alt="" src="base_sm.jpg"></a></p>
<p> </p>
</td>
<td>I had to remove a little of the bottom CD so that the battery compartment could
open. The switch is indented, but the hole is large enough to use
easily.<br>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="bottom.jpg"><img alt="" src="bottom_sm.jpg"></a></p>
<p> </p>
</td>
<td>The bottom CD is attached by 3 screws just in case someone needs to get at
the electronics. I saved one gold disk for the top and bottom.<br>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_lamp.jpg"><img alt="" src="cd_lamp_sm.jpg"></a></p>
<p> </p>
</td>
<td>
<p>Finished and all lit up.
</p>
<p>I would not use exposed plywood on many projects but it works with the CDs.<br>
</p>
</td>
</tr>
<tr valign="top">
<td align="center" width="117">
<p><a href="cd_lamp_top.jpg"><img alt="" src="cd_lamp_top_sm.jpg"></a></p>
<p> </p>
</td>
<td><br>
</td>
</tr>
</tbody></table>
<p> </p>
<h2>What I Would do Different Next Time</h2>
<p>Find either a bulb that would fit inside the CD without altering the size of the
hole.<br>
Or use a <a href="http://www.nolico.com/saveenergy/pl_quad_tube_2pin.htm" target="_blank">quad
tube</a> bulb, so that there is no connection at the top, thus the top can
be illuminated, will need to make the hole bigger anyway. The quad tube
would also be brighter.</p>
<p>Run directly on AC instead of needing to use an AC to DC adapter.</p>
<h2>
<p>
</p>
</h2>
<h2>Links</h2>
<P>My <A href="../cd_lamp2/index.html">second CD Lamp</A> that uses a duel tube fluorescent bulb and runs off AC.</P>
<p>My <a href="../cd_lamp3/index.html">third CD Lamp </a> with CD arranged in the pattern of piano keys.</p>
<P><a href="http://neil.fraser.name/hardware/lamp/" target="_blank">Neil Fraser's AOL Lamp</a></P>
<p><a href="http://www.szczepanek.de/%7Eweissler/basteleien/cdlampe/cdlampe.htm" target="_blank">Boernson's
CD - Lampen</a> in German, and <a href="http://216.239.39.104/translate_c?hl=en&ie=UTF-8&oe=UTF-8&langpair=de%7Cen&u=http://www.szczepanek.de/%7Eweissler/basteleien/cdlampe/cdlampe.htm&prev=/language_tools"
target="_blank">CD - Lamp</a> translated into English with Google</p>
<p><a href="http://216.239.39.104/translate_c?hl=en&u=http://www.heise.de/ct/machflott/projekte/55857"
target="_blank">Kurt Schuster's Terabyte standing lamp</a></p>
<p><a href="http://science.howstuffworks.com/fluorescent-lamp.htm" target="_blank">How
Fluorescent Lamps Work</a></p>
<p><a href="http://www.georgehart.com/sculpture/sculpture.html" target="_blank">Geometric
Sculptures including several using CDs</a></p>
<p><a href="http://dmoz.org/Computers/Internet/Access_Providers/AOL/Disks/"
target="_blank">Dmoz list of links to more pages on things to do with AOL discs</a></p>
<p>
<table id="Table1" border="0" cellpadding="0" cellspacing="0" width="780">
<tbody>
<tr>
<td align="center"><font face="Verdana,Arial,Helvetica" size="1">
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<font color="gray">All content is ©1991-2014
<script language="JavaScript"> document.write('<a href=\"mai' + 'lto:' + 'jwatters' + '@' + 'photocreations.ca' + '\">' + 'Jim Watters' + '</a>.'); </script>
<noscript> <font color="#3333ff">jwatters (at) photocreations (dot) ca</font></noscript>
All Rights Reserved.<br>
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Jim Watters - Technical - CD Lamp
DisplayNavBar('../');
[Home](../index.html) [Photo](../photos.html) [Technical](../technical.html) [Resume](../resume.html)
| | | | | |
| --- | --- | --- | --- | --- |
| | | CD Lamp 1
| | |
Also see [CD Lamp 2](../cd_lamp2/index.html) and [CD Lamp 3](../cd_lamp3/index.html), they uses a duel
tube fluorescent bulb and runs off AC.
## Inspiration
At a previous job, the head of QA had several stacks of several hundred CDs, on
the floor, in front of floor to ceiling windows. The sunlight shining
through the window would glow through these CDs in a very appealing manner that
made the green light seem warm. From that point forward I always thought
that a stack of CDs with a tubular light inside would make a very cool lamp.
## Materials
When ever I went to a hardware or housewares store, I would look at the lights
trying to find something that would fit into the existing hole in the CD, and
that would not be too hot to melt the CDs. Even the low wattage
incandescent bulbs for lighting framed pictures were way too hot.
| | |
| --- | --- |
| [Stack of junk CDs](cds.jpg)
|
In the mean time I started collecting old CDs. Any time I burnt a coaster
with my CD writer, or AOL or another company sent me a CD I did not want I put
it into a box. In about 3 years I ended up with about 70 CDs.
|
| [52-5724-4 from Canadian Tire](52-5724-4.jpg)
| At Canadian Tire I found this battery operated utility light that looked the
exact diameter and length. And as a bonus, it is battery operated
with a jack for a 6V DC adapter. 6" long with twin connections at each
end.
part # [52-5724-4](http://www.canadiantire.ca/assortments/product_detail.jsp?FOLDER%3C%3Efolder_id=1408474396669946&PRODUCT%3C%3Eprd_id=845524442203727&ASSORTMENT%3C%3East_id=1408474396670271&bmUID=1108502465891&assortment=primary&fromSearch=true) from Canadian Tire for $14.69
There is also a 12" version for $17.79
|
| [52-5724-4 turned off](52-5724-4_off.jpg)
[52-5724-4 turned on](52-5724-4_on.jpg)
| Here it is out of the container off and on. I am using an adapter to power
it here. Using batteries it is about 2/3 the brightness :-( They
were a little old so new batteries should be better.
|
| [Light parts](52-5724-4_parts.jpg)
| Next step. Taking the light apart to see what was inside and what I
got.
- Fluorescent bulb 6" / 15cm long
- Batter container for 4 AA batteries
- Circuit board to control the light
- Switch
- Contacts for bulb
Things I do not need: shade, holder for bulb, Velcro with adhesive
|
## Putting it together
| | |
| --- | --- |
| [Dry fit of cd on bulb](dry_fit.jpg)
| Dry fit of the CDs over the fluorescent bulb indicated that it is just a little
bit too big. Goes over the electronic prong but not the bulb
itself. I will have to make the hole bigger. I was hoping to avoid
that!
|
| [CD hole before enlarging](cd_before.jpg)
| This is the center of a CD before it is enlarged.
|
| [Drillpress set up](drill_press.jpg)
| To enlarge the hole on the CD I used a tapered grinding bit. Placed CDs
on a piece of Styrofoam to prevent scratching. The drill press made this
fairly easily. The tapered grinding bit would self center the hole which
also helped the process.
|
| [detail of drillpress setup](drill_press_detail.jpg)
| Grind a little bit on one side then flip it over and grind a little bit on the
other side. Every CD seamed to be made of a different quality or type of
plastic. Some would melt more than grind away. It just meant using
a little less pressure and some more time. After it looked right I would
test each one on the bulb to make sure it would fit.
|
| [CD after enlarging hole](cd_after.jpg)
| This is the center of a CD after it is enlarged. Only a small difference.
|
| [Drillpress setup](drill_jig.jpg)
| After enlarging the center I had to make another hole for a wire to connect to
the top of the bulb. I made a jig for the drill press to do this.
|
| [drillpress setup detail](drill_jig_detail.jpg)
| I wanted the hole the same distance from the center each time. To create
the jig I drilled a 1/4" hole all the way through a board. then drilled
another one larger to an exact depth so that enough of the grinding bit poked
out to align the CDs.
|
| [Stack of CDs](cd_stack.jpg)
| After the CDs were done on the drill press I cleaned then off. Rubbing
alcohol was good to get rid of on permanent marker I put on the CDs to indicate
they were bad.
I was hoping I had enough CDs to glue the printed side snug together, and leave
the shiny sides a CD thickness apart. I needed another 30 or more to do
that.
I put the wire I am using to connect the top of the bulb through the little
hole and placed the CD on the bulb one at a time as I glued them. All
the CDs have the printed side down.
I glued the CDs together using clear hot glue. I used three small business
size CDs as spacers.
You have to wait a little bit (20 sec) to let the glue harden before adding the
next. If the glue is only partly cooled, adding more hot glue above it
was sometimes enough to soften it a bit and make that layer squish together a
little too much.
**Cation:** do not use too much pressure.
I also noticed that some times that although I had
the spacers in place, I squished the inside together too much, and gave the CD
a little concave effect, until the spacers were removed, then they snapped
down, too close.
|
| [Electrontics and battery case](electronics.jpg)
| The battery case was removed from the rest of the case and glued back together
with model glue. I soldered some longer wires to connect to the battery
case.
|
|
| The base I made out of 3 pieces of 3 ply plywood each 3/8". Total
thickness 1 & 1/8". I needed at least 1" for the batter
container. Cut into a circle the size of a CD with jig saw and sanded
smooth by drilling a hole in center, and putting a bolt through and attaching
it to the drill press while I held sand paper up next to it. (Don't have
a lathe).
I used the drill press and some chisels and files to create the compartments I
needed to store the batteries and electronics.
|
|
| While filings the hole big enough to fit the switch through, I accidentally
broke it, but this meant that I did not have to go any bigger. I can put
everything in, and glue the wood back in place. But before everything is
glued in make sure everything works.
|
|
| To make it easy to change the bulb in the future I made the top come off the
base by screwing in three screws part way into the top of the base.
Making three matching holes in the bottom three CDs
It might have been possible to use the supplied Velcro for this job.
|
## The finished Product
| | |
| --- | --- |
|
| I had to remove a little of the bottom CD so that the battery compartment could
open. The switch is indented, but the hole is large enough to use
easily. |
|
| The bottom CD is attached by 3 screws just in case someone needs to get at
the electronics. I saved one gold disk for the top and bottom. |
|
| Finished and all lit up.
I would not use exposed plywood on many projects but it works with the CDs.
|
|
| |
## What I Would do Different Next Time
Find either a bulb that would fit inside the CD without altering the size of the
hole.
Or use a [quad
tube](http://www.nolico.com/saveenergy/pl_quad_tube_2pin.htm) bulb, so that there is no connection at the top, thus the top can
be illuminated, will need to make the hole bigger anyway. The quad tube
would also be brighter.
Run directly on AC instead of needing to use an AC to DC adapter.
##
## Links
My [second CD Lamp](../cd_lamp2/index.html) that uses a duel tube fluorescent bulb and runs off AC.
My [third CD Lamp](../cd_lamp3/index.html) with CD arranged in the pattern of piano keys.
[Neil Fraser's AOL Lamp](http://neil.fraser.name/hardware/lamp/)
[Boernson's
CD - Lampen](http://www.szczepanek.de/%7Eweissler/basteleien/cdlampe/cdlampe.htm) in German, and [CD - Lamp](http://216.239.39.104/translate_c?hl=en&ie=UTF-8&oe=UTF-8&langpair=de%7Cen&u=http://www.szczepanek.de/%7Eweissler/basteleien/cdlampe/cdlampe.htm&prev=/language_tools) translated into English with Google
[Kurt Schuster's Terabyte standing lamp](http://216.239.39.104/translate_c?hl=en&u=http://www.heise.de/ct/machflott/projekte/55857)
[How
Fluorescent Lamps Work](http://science.howstuffworks.com/fluorescent-lamp.htm)
[Geometric
Sculptures including several using CDs](http://www.georgehart.com/sculpture/sculpture.html)
[Dmoz list of links to more pages on things to do with AOL discs](http://dmoz.org/Computers/Internet/Access_Providers/AOL/Disks/)
| |
| --- |
|
Page last modified Dec 27, 2014
All content is ©1991-2014
document.write('<a href=\"mai' + 'lto:' + 'jwatters' + '@' + 'photocreations.ca' + '\">' + 'Jim Watters' + '</a>.');
jwatters (at) photocreations (dot) ca
All Rights Reserved.
All trademarks are property of their respective owners. |
| http://photocreations.ca/cd_lamp/ |
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My name is Richard Piotter and I was 19 years old when I first wrote this in 1998. I'm 31 now, in 2010. I like to design, build, and fix robots, electronics, computers, and stuff like that. I like to program TI Graphing calculators and computers. I like building models, especialy buildings for a model railroad that I have (I spend so much time making the buildings (cause I like it so much) that I don't even have the track and layout done)! I also like to work with metal and wood (I don't have all the tools to do everything, but when it comes down to the basic hammer, saw, and wood, I can build just about anthing. I also like to let people know about the things I do so that they can also try it, and that's why I learned HTML and created this web page.<P>
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My High School Diploma</center>
<p>
I Graduated from Minnesota Valley Lutheran High School (Great School!!!) and I attended Minnesota West, a near by college in Jackson, to study Electronics Technology.<p>
Other Interests are video games (I like Zelda, Mario, Blast Corps, GoldenEye 007, Duke Nukem, Various Racing games, MarioKart, Quest 64, various RPGs, MedEvil, and Space RPGs (like Escape Velocity). More recently, Fallout, Shadow of the Colossus, Elder Scrolls, Okami, Dragon Quest, Final Fantasy, Skies of Arcadia, Chrono Trigger, Eternal Darkness, and Katamari Damacy, and it's various sequels.<p>
I also like most sciences in general, but Electronics and Biology are some of my favorites, Physics and Chemistry interest me, but I'm not all that great with formulas. Considering that Biology and electronics are some of my highest ranking scientific interests, biomech based robotics seemed the best hobby! I love building robots, and using neural networks instead of microprocessors can be satisfying! That's why BEAM robotics interests me so much! BEAM has a zillion definitions, but the popular one seems to be Biology, Electronics, Asthetics, and Mechanics. The Biology is where many ideas come from. Electronics and Mechanics are obvious. Asthetics are "looks" and I can say that I've seen some robots that just plain look cool! A robot that's just too cool may be inefficient and useless, but can sometimes still be deemed worthy of not salvaging just cause you know you won't ever get that look again. MECI IV M realy ought to have a whole new PCB, but that one looks cool! I can just cut a few traces on the PCB and solder wires to addon boards. That'll still keep the look, which of course has elements of a robot that has long passed. Even the name sounded cool. It was named for the cool looking MECI motors, of which there were IV (4) M (Motors) used. If you look, there is nothing from MECI except for 4 capacitors! The MECI motors are long gone, but the COOL name remains. I'm a sucker for a cool look or name for a robot. I have 2 robots that simply don't work whatsoever, yet they are still in one piece (Well, the solarbotics photopopper is just sagging on the ground, but the other one is definitely dead).<p>
I'm a devout Mac and N64 user. I have no grudge against PCs or Playstation, but I do prefer my systems over those. My Apple Power Macintosh G3 runs at a clock speed of 400 MHz (now upgraded to 900 MHz) and I can get Playstation games to perform better on my Mac than they do on the real console! Inside the Assylum, in MedEvil, without slowdown! That's a challenge without the Magic Sword or Enchanting your large sword! I even subscribe to MacWorld for the articles (Yeah right, you realy get it for the big colroful pictures of iMacs and G3 Towers! Mwahahaha)! I now also have a Gamecube and PS2. Since this time, I've upgraded to a PowerMac G5 (dual 1.8 GHz, 4 GB ram, 11 TB of hard drive space... Yes, 11 TERABYTES). I frequently record video on it and save it. Like the world's most awesome TiVo. I've Since gotten a Dreamcast, Saturn, PS3, Wii, DS, PSP, and Xbox 360. I have a strong PS3 preference.<p>
I used to watch Sliders, Quantum Leap, Sea Quest, Star Trek(s), Simpsons, Futurama, King of the Hill, and I like the Discovery Channel and The Learning Channel for some of their more interesting programing ( Shows like "Robots Rising", and technology, biology, history, and other such shows are interesting to me). Now my current shows are more or less, whatever anime is playing. I also watch Stargate, Smallvile, Enterprise, Junkyard Wars, Mythbusters, American Chopper, Monster House, Modern Marvels, Pawn Stars, American Pickers, etc, and I still watch Simpsons and King of the Hill... I stay away from anything related to reality shows or gameshows... I rarely watch sitcoms. No time for them, well except for The Big Bang Theory. That show is worth watching. I've allowed myself to watch Deadliest Catch and Ice Road Truckers... Don't know why. I guess watching people work can be entertaining.<p>
As for music, I like all sorts of stuff. In general, I like Natalie Imbruglia, DJ Gigi D'Agostino, Ayumi Hamasaki, Anime and video game sound tracks, Barenaked Ladies, Savage Garden (a few songs), Bryan Adams (a few songs), Chumbawamba (a few songs), AC/DC, Metalica, ABBA, various 70's music, lot's of 80's music, lot's of 90's music. I like most styles from pop, to rock, to some metal and rap (some). I go for trance and dance, techno and... Hmm. I like too much music to classify. I don't usually listen to too much country, but I like it well enough. Garth Brooks, Josh Turner, George Michael Montgomery, Shania Twain, Alan Jackson... I can only name a few country singers. I don't know enough about country though to go into a long list of names, but I do like some of it. My music collection honestly reaches 12 days of music long. Anyway, I just like what I like! So There! <b>( :</b>
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The Richfiles: Personal Info Page
# The RichFiles
## About Me
---
My name is Richard Piotter and I was 19 years old when I first wrote this in 1998. I'm 31 now, in 2010. I like to design, build, and fix robots, electronics, computers, and stuff like that. I like to program TI Graphing calculators and computers. I like building models, especialy buildings for a model railroad that I have (I spend so much time making the buildings (cause I like it so much) that I don't even have the track and layout done)! I also like to work with metal and wood (I don't have all the tools to do everything, but when it comes down to the basic hammer, saw, and wood, I can build just about anthing. I also like to let people know about the things I do so that they can also try it, and that's why I learned HTML and created this web page.
My High School Diploma
I Graduated from Minnesota Valley Lutheran High School (Great School!!!) and I attended Minnesota West, a near by college in Jackson, to study Electronics Technology.
Other Interests are video games (I like Zelda, Mario, Blast Corps, GoldenEye 007, Duke Nukem, Various Racing games, MarioKart, Quest 64, various RPGs, MedEvil, and Space RPGs (like Escape Velocity). More recently, Fallout, Shadow of the Colossus, Elder Scrolls, Okami, Dragon Quest, Final Fantasy, Skies of Arcadia, Chrono Trigger, Eternal Darkness, and Katamari Damacy, and it's various sequels.
I also like most sciences in general, but Electronics and Biology are some of my favorites, Physics and Chemistry interest me, but I'm not all that great with formulas. Considering that Biology and electronics are some of my highest ranking scientific interests, biomech based robotics seemed the best hobby! I love building robots, and using neural networks instead of microprocessors can be satisfying! That's why BEAM robotics interests me so much! BEAM has a zillion definitions, but the popular one seems to be Biology, Electronics, Asthetics, and Mechanics. The Biology is where many ideas come from. Electronics and Mechanics are obvious. Asthetics are "looks" and I can say that I've seen some robots that just plain look cool! A robot that's just too cool may be inefficient and useless, but can sometimes still be deemed worthy of not salvaging just cause you know you won't ever get that look again. MECI IV M realy ought to have a whole new PCB, but that one looks cool! I can just cut a few traces on the PCB and solder wires to addon boards. That'll still keep the look, which of course has elements of a robot that has long passed. Even the name sounded cool. It was named for the cool looking MECI motors, of which there were IV (4) M (Motors) used. If you look, there is nothing from MECI except for 4 capacitors! The MECI motors are long gone, but the COOL name remains. I'm a sucker for a cool look or name for a robot. I have 2 robots that simply don't work whatsoever, yet they are still in one piece (Well, the solarbotics photopopper is just sagging on the ground, but the other one is definitely dead).
I'm a devout Mac and N64 user. I have no grudge against PCs or Playstation, but I do prefer my systems over those. My Apple Power Macintosh G3 runs at a clock speed of 400 MHz (now upgraded to 900 MHz) and I can get Playstation games to perform better on my Mac than they do on the real console! Inside the Assylum, in MedEvil, without slowdown! That's a challenge without the Magic Sword or Enchanting your large sword! I even subscribe to MacWorld for the articles (Yeah right, you realy get it for the big colroful pictures of iMacs and G3 Towers! Mwahahaha)! I now also have a Gamecube and PS2. Since this time, I've upgraded to a PowerMac G5 (dual 1.8 GHz, 4 GB ram, 11 TB of hard drive space... Yes, 11 TERABYTES). I frequently record video on it and save it. Like the world's most awesome TiVo. I've Since gotten a Dreamcast, Saturn, PS3, Wii, DS, PSP, and Xbox 360. I have a strong PS3 preference.
I used to watch Sliders, Quantum Leap, Sea Quest, Star Trek(s), Simpsons, Futurama, King of the Hill, and I like the Discovery Channel and The Learning Channel for some of their more interesting programing ( Shows like "Robots Rising", and technology, biology, history, and other such shows are interesting to me). Now my current shows are more or less, whatever anime is playing. I also watch Stargate, Smallvile, Enterprise, Junkyard Wars, Mythbusters, American Chopper, Monster House, Modern Marvels, Pawn Stars, American Pickers, etc, and I still watch Simpsons and King of the Hill... I stay away from anything related to reality shows or gameshows... I rarely watch sitcoms. No time for them, well except for The Big Bang Theory. That show is worth watching. I've allowed myself to watch Deadliest Catch and Ice Road Truckers... Don't know why. I guess watching people work can be entertaining.
As for music, I like all sorts of stuff. In general, I like Natalie Imbruglia, DJ Gigi D'Agostino, Ayumi Hamasaki, Anime and video game sound tracks, Barenaked Ladies, Savage Garden (a few songs), Bryan Adams (a few songs), Chumbawamba (a few songs), AC/DC, Metalica, ABBA, various 70's music, lot's of 80's music, lot's of 90's music. I like most styles from pop, to rock, to some metal and rap (some). I go for trance and dance, techno and... Hmm. I like too much music to classify. I don't usually listen to too much country, but I like it well enough. Garth Brooks, Josh Turner, George Michael Montgomery, Shania Twain, Alan Jackson... I can only name a few country singers. I don't know enough about country though to go into a long list of names, but I do like some of it. My music collection honestly reaches 12 days of music long. Anyway, I just like what I like! So There! **( :**
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<div id="e16" style="position:absolute;left:230;top:139;width:514;height:190;"><span class="text"><b><font face="Trebuchet MS" color="#330066" size="3"><span style="font-size:16px;line-height:19px;">Welcome to the Tempest Newfoundlands Website!<br><br>Please use the navigation bar on the left to explore this site for <br soft>information about our Newfs, the Newfoundland breed in general, <br soft>and links to other useful sites.<br><br>Feel free to contact us with any questions you might have about <br soft>Newfoundlands! Email us at:</span></font></b><a href="mailto:info@tempestnewfoundlands.com"><b><font face="Trebuchet MS" size="3"><span style="font-size:16px;line-height:19px;"> info@tempestnewfoundlands.com</span></font></b></a><b><font face="Trebuchet MS" size="3"><span style="font-size:16px;line-height:19px;">.<br><br></span></font></b><b><font face="Trebuchet MS" color="#330066" size="3"><span style="font-size:16px;line-height:19px;">Enjoy your visit!<br soft></span></font></b></span> </div>
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<td nowrap height="155" align="center" valign="top"><span class="text"><b><font face="Trebuchet MS" color="#330066" size="3"><span style="font-size:16px;line-height:19px;">The Tempest Newfoundlands celebrate winning the NCA's First Ever <br soft>Breeder's Class - look at the giant ribbon!<br>Pictured from left to right:<br>Judge Sylvia Hammarstrom<br>Bodhi - CH Tempest's Kilyka Bodhisattva CD, DD, WD handled by Ingrid Lyden<br>Finley - CH Tempest's First Draft Kilyka CD, TDD handled by Betty McDonnell<br>Mark - Tempest's Mollybrook's Watermark handled by Karen Friedman<br>Shelby - CH Tempest's Kilyka Girl Next Door handled by Steve Petsch<br soft></span></font></b></span></td>
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<td nowrap height="77" align="center" valign="top"><span class="text"><b><i><font face="Trebuchet MS" color="#003366"><span style="font-size:14px;line-height:18px;">New! </span></font></i></b><i><font face="Trebuchet MS" color="#003366"><span style="font-size:14px;line-height:18px;"> Go to Livy's page <br soft>under Our Girls to follow <br soft>Livy and the Tempest Newfs <br soft>on Twitter and Facebook!<br soft></span></font></i></span></td>
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**Welcome to the Tempest Newfoundlands Website!
Please use the navigation bar on the left to explore this site for
information about our Newfs, the Newfoundland breed in general,
and links to other useful sites.
Feel free to contact us with any questions you might have about
Newfoundlands! Email us at:** [**info@tempestnewfoundlands.com**](mailto:info@tempestnewfoundlands.com)**.****Enjoy your visit!**
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| **The Tempest Newfoundlands celebrate winning the NCA's First Ever Breeder's Class - look at the giant ribbon!Pictured from left to right:Judge Sylvia HammarstromBodhi - CH Tempest's Kilyka Bodhisattva CD, DD, WD handled by Ingrid LydenFinley - CH Tempest's First Draft Kilyka CD, TDD handled by Betty McDonnellMark - Tempest's Mollybrook's Watermark handled by Karen FriedmanShelby - CH Tempest's Kilyka Girl Next Door handled by Steve Petsch** |
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| ***New!*** *Go to Livy's page under Our Girls to follow Livy and the Tempest Newfs on Twitter and Facebook!* |
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<FONT SIZE="4"><B>Christopher Warnock, Esq.</B></FONT>
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<FONT SIZE=6> Talismanic Magic:
<br>
<I><b>The Images & Figures of Hermes</b></I> </FONT>
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<FONT SIZE="6">H<FONT SIZE="5">ermes, a Philosopher sufficiently known,
mentioneth the following Images and Figures graved in Stones,
to be of singular Virtues.
<BR>
<br>
<FONT SIZE="4">Images & Figures of Hermes</i>
<BR>
<BR>
<br>
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<A HREF="#A">Introduction</A><br>
<A HREF="#B">Images & Figures of Hermes</A><br>
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<A NAME="A"><B>Introduction</B></A>
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<FONT SIZE="6">T<FONT SIZE="4">he Images and Figures of Hermes, i.e.,
<a href="hermestrismegistus.html">Hermes Trismegistus</a>,
are often included in collections of Renaissance and medieval talismanic and
astrological images that include the Seals of Thetel, the
<A HREF="talismanchael.html">Seals & Sigils of Chael</a> and
the <A HREF="talismansolomon.html">Seals of Stones of Solomon</a>.
We can see an example of this typical collection
in the 17th century Sloane 3822 manuscript, but examples of individual sections date
back to the 12th century. The current translation of the Images and Figures of Hermes
appeared in the Dutch physician Herman Boerhaave's <I>An essay on the virtue
and efficient cause of magnetical cures</I>, published in London in 1743. The
original pagination of the 1743 edition has been retained.
<BR>
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<A NAME="B"><H2><i>The Images & Figures of Hermes </I></H2></A>
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<FONT SIZE="6">H<FONT SIZE="4">ermes, a Philosopher sufficiently known,
mentioneth the following Images and Figures graved in Stones, to be of singular Virtues.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Image of a Man of a great Stature, standing,
graved in a Stone call'd Diadochus,
(a Stone like a Beryl) having in the right Hand an Obolus, or and Halfpenny, and
in the other a Serpent, above him the Figure of the Sun, and under his Feet
keeping a Lion prostrate; if such a Stone is set in a Ring of Lead with a
little of Mugwort or Motherwort, and the Root of Fenugreek, it will impower
him who weareth it, to call on the Shore of a River the Spirits belonging to the
Waters, and to receive answer to what he is asking of them.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of Aquarius,
(one of the Signs of the Zodiack) being graved in a
green Jasper, and worn, causeth Profit in buying and selling. A Bird carrying
in his Bill a Leaf, and the Head of a Man being in his Sight looking at the Bird,
if this is graved in a precious Stone, called Pangonius, having many Angels, and
set in Gold, is to cause him who weareth it to become rich and respected by every Body.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of Jupiter, which is a Man
sitting on a Bench or Chair with four
Feet, four Men standing before Jupiter, and Jupiter having his Hands erected
towards Heaven, and on his Head a Diadem; if such a Figure is graved in a
Jacinct, and set a Gold, and this Ring worn, or an Impression there-
<br>
<br>
<center>
<b> [35]</b>
</center>
<br>
<br>
of made in Wax, and tyed to the Neck of a Person, it will cause him to
have granted of Kings and wise People, every thing he desireth.
<br>
<TABLE ALIGN="right">
<TR>
<TD>
<IMG SRC="images/wheat2.gif" WIDTH="4" HEIGHT="4">
</TD>
<TD>
<IMG SRC="images/hermescapital2.jpg" ALT="Renaissance Image"
BORDER="2" WIDTH="109" HEIGHT="105"> </A>
</TD>
</tr>
</TABLE>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Man on Horseback, holding in one Hand
the Bridle, and in the other a Bow bent, and girded with a Sword;
if such a Figure is graved in a precious Stone call'd Pyrites,
before mentioned, and set in Gold, it is to render him who weareth
it victorious in a Battle, and no body can resist him.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Woman, having in her Hairs spread over
her Breast, and in her Sight a Man as coming unto her and making some
Signs of Love, being graved in a Jacinct or Crystal and set in Gold,
and under the Stone a little Ambergrise, Aloe and Mugwort or Motherwort,
will cause him who weareth such a Stone in a Ring to be obey'd by every
body, and if he toucheth a Woman therewith she will love him; and if he layeth
it under his Head at going to Bed, he will see any thing he desireth.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Image of a Man sitting over a Fish, and over the Head
of the Man a Peacock, being graved in a red Stone, and laid under the Table at
a Feast, no Body, eating with the right Hand, will be satiated.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Image of a naked Man standing,
and at his right Hand a Girl
likewise standing, whose Hairs are tyed round the Head, and the Man is holding his
left Hand over her Breast, and the Right round her Neck, looking in her Face,
and the Girl looking downwards; if such a Figure is graved in a Stone and set
in an Iron Ring, and under the Stone laid a little Bit of a Sparrow's Tongue,
and of that of a Bird called Upupa, Myrrh, Alum, and human Blood; the Person
who weareth such a Ring will be invincible, no body can resist, and no Beast
can hurt him. It will cure the Falling Sickness, if red Wax is seal'd
therewith and tyed to the Neck; and
<br>
<br>
<center>
<b> [36]</b>
</center>
<br>
<br>
if it is held to the Neck of a Dog, it will stop his barking.
<br>
<TABLE ALIGN="left">
<TR>
<TD>
<IMG SRC="images/hermescapital3.jpg" ALT="Renaissance Image"
BORDER="2" WIDTH="100" HEIGHT="132"> </A>
</TD>
<TD>
<IMG SRC="images/wheat2.gif" WIDTH="4" HEIGHT="4">
</TD>
</tr>
</TABLE>
<FONT SIZE="6">T<FONT SIZE="4">he Image of a Man holding Flowers in his Hand,
being graved in
a Cornelian, and set in a Pewter Ring, the Ring being made on a Monday or Friday
in the 4th, 8th, or 12th Hour, every Body will obey who is touched with this Ring.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Man bearded, with a long
Face and bended Eyebrows,
sitting upon a Plow, between two Bulls, and having a Vulture in his Hand, being
graved in a Stone, is of Virtue to cause good Success in planting of Trees,
discovering of Treasures, and to be victorious in Battles. It cureth the
Falling Sickness, and must be set and worn in an Iron Ring.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Man holding a Scythe in
his Hand over his Head,
and under his Feet a Crocodile, being graved in a Stone, and set in a leaden Ring,
and under the Stone laid a little of the Root of an Herb call'd Sea-Onyon,
is to cause him who weareth it to be secure against all his Enemies, and on
Journies against Robbers and Highwaymen.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Man holding a Sword in his Hand, and sitting
on a Dragon, being graved in an Amethyst, and set in a leaden or Iron Ring, is
to procure to him who weareth such a Ring, the Obedience of all Spirits and
Discovery of all Treasures.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of an Eagle standing, graved in a precious Stone
call'd AEtites, before mentioned, and set in a leaden Ring, causeth him who weareth
it to be successful in fishing; no Beast can hurt him, and he is beloved by every Body.
<br>
<FONT SIZE="6">T<FONT SIZE="4">he Figure of a Man, having in his Hand a
Bough of a Palm or Date Tree,
being graved in a Stone, is to render him who weareth it acceptable and beloved by
Princes and great People. As much out of Hermes.
<BR>
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Specializing in <a href="horary.html">Horary Astrology</a>,
<a href="electional.html">Electional Astrology</a>
<a href="astrologicalmagic.html">Astrological Magic</a> and
<a href="astrologicaltalisman.html">Astrological Talismans</a>.
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Talismanic Magic-Images and Figures of Hermes
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| **Christopher Warnock, Esq.** |
Talismanic Magic:
***The Images & Figures of Hermes***
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Hermes, a Philosopher sufficiently known,
mentioneth the following Images and Figures graved in Stones,
to be of singular Virtues.
Images & Figures of Hermes
[Introduction](#A)
[Images & Figures of Hermes](#B)
**Introduction**
[TOP](#top)
The Images and Figures of Hermes, i.e.,
[Hermes Trismegistus](hermestrismegistus.html),
are often included in collections of Renaissance and medieval talismanic and
astrological images that include the Seals of Thetel, the
[Seals & Sigils of Chael](talismanchael.html) and
the [Seals of Stones of Solomon](talismansolomon.html).
We can see an example of this typical collection
in the 17th century Sloane 3822 manuscript, but examples of individual sections date
back to the 12th century. The current translation of the Images and Figures of Hermes
appeared in the Dutch physician Herman Boerhaave's *An essay on the virtue
and efficient cause of magnetical cures*, published in London in 1743. The
original pagination of the 1743 edition has been retained.
*The Images & Figures of Hermes*
[TOP](#top)
| | |
| --- | --- |
| Renaissance Image | |
Hermes, a Philosopher sufficiently known,
mentioneth the following Images and Figures graved in Stones, to be of singular Virtues.
The Image of a Man of a great Stature, standing,
graved in a Stone call'd Diadochus,
(a Stone like a Beryl) having in the right Hand an Obolus, or and Halfpenny, and
in the other a Serpent, above him the Figure of the Sun, and under his Feet
keeping a Lion prostrate; if such a Stone is set in a Ring of Lead with a
little of Mugwort or Motherwort, and the Root of Fenugreek, it will impower
him who weareth it, to call on the Shore of a River the Spirits belonging to the
Waters, and to receive answer to what he is asking of them.
The Figure of Aquarius,
(one of the Signs of the Zodiack) being graved in a
green Jasper, and worn, causeth Profit in buying and selling. A Bird carrying
in his Bill a Leaf, and the Head of a Man being in his Sight looking at the Bird,
if this is graved in a precious Stone, called Pangonius, having many Angels, and
set in Gold, is to cause him who weareth it to become rich and respected by every Body.
The Figure of Jupiter, which is a Man
sitting on a Bench or Chair with four
Feet, four Men standing before Jupiter, and Jupiter having his Hands erected
towards Heaven, and on his Head a Diadem; if such a Figure is graved in a
Jacinct, and set a Gold, and this Ring worn, or an Impression there-
**[35]**
of made in Wax, and tyed to the Neck of a Person, it will cause him to
have granted of Kings and wise People, every thing he desireth.
| | |
| --- | --- |
| | Renaissance Image |
The Figure of a Man on Horseback, holding in one Hand
the Bridle, and in the other a Bow bent, and girded with a Sword;
if such a Figure is graved in a precious Stone call'd Pyrites,
before mentioned, and set in Gold, it is to render him who weareth
it victorious in a Battle, and no body can resist him.
The Figure of a Woman, having in her Hairs spread over
her Breast, and in her Sight a Man as coming unto her and making some
Signs of Love, being graved in a Jacinct or Crystal and set in Gold,
and under the Stone a little Ambergrise, Aloe and Mugwort or Motherwort,
will cause him who weareth such a Stone in a Ring to be obey'd by every
body, and if he toucheth a Woman therewith she will love him; and if he layeth
it under his Head at going to Bed, he will see any thing he desireth.
The Image of a Man sitting over a Fish, and over the Head
of the Man a Peacock, being graved in a red Stone, and laid under the Table at
a Feast, no Body, eating with the right Hand, will be satiated.
The Image of a naked Man standing,
and at his right Hand a Girl
likewise standing, whose Hairs are tyed round the Head, and the Man is holding his
left Hand over her Breast, and the Right round her Neck, looking in her Face,
and the Girl looking downwards; if such a Figure is graved in a Stone and set
in an Iron Ring, and under the Stone laid a little Bit of a Sparrow's Tongue,
and of that of a Bird called Upupa, Myrrh, Alum, and human Blood; the Person
who weareth such a Ring will be invincible, no body can resist, and no Beast
can hurt him. It will cure the Falling Sickness, if red Wax is seal'd
therewith and tyed to the Neck; and
**[36]**
if it is held to the Neck of a Dog, it will stop his barking.
| | |
| --- | --- |
| Renaissance Image | |
The Image of a Man holding Flowers in his Hand,
being graved in
a Cornelian, and set in a Pewter Ring, the Ring being made on a Monday or Friday
in the 4th, 8th, or 12th Hour, every Body will obey who is touched with this Ring.
The Figure of a Man bearded, with a long
Face and bended Eyebrows,
sitting upon a Plow, between two Bulls, and having a Vulture in his Hand, being
graved in a Stone, is of Virtue to cause good Success in planting of Trees,
discovering of Treasures, and to be victorious in Battles. It cureth the
Falling Sickness, and must be set and worn in an Iron Ring.
The Figure of a Man holding a Scythe in
his Hand over his Head,
and under his Feet a Crocodile, being graved in a Stone, and set in a leaden Ring,
and under the Stone laid a little of the Root of an Herb call'd Sea-Onyon,
is to cause him who weareth it to be secure against all his Enemies, and on
Journies against Robbers and Highwaymen.
The Figure of a Man holding a Sword in his Hand, and sitting
on a Dragon, being graved in an Amethyst, and set in a leaden or Iron Ring, is
to procure to him who weareth such a Ring, the Obedience of all Spirits and
Discovery of all Treasures.
The Figure of an Eagle standing, graved in a precious Stone
call'd AEtites, before mentioned, and set in a leaden Ring, causeth him who weareth
it to be successful in fishing; no Beast can hurt him, and he is beloved by every Body.
The Figure of a Man, having in his Hand a
Bough of a Palm or Date Tree,
being graved in a Stone, is to render him who weareth it acceptable and beloved by
Princes and great People. As much out of Hermes.
[TOP](#TOP)
[HOME](https://www.renaissanceastrology.com/)
Please [Contact](contact.html) me with any Questions & Comments
Specializing in [Horary Astrology](horary.html),
[Electional Astrology](electional.html)
[Astrological Magic](astrologicalmagic.html) and
[Astrological Talismans](astrologicaltalisman.html).
Copyright 2007, Christopher Warnock, All Rights Reserved.
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<td width="340" align=center><font color="#663300" size="-1">A bronze and stone marker (left) In Haddonfield, N.J. commemorates the site where the skeleton of Hadrosaurus <i>foulkii</i> (right) was unearthed in 1858.</font><br><hr></td>
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<font size="+2">I</font>n the summer of 1858, Victorian gentleman and fossil hobbyist William Parker Foulke was vacationing in Haddonfield, New Jersey, when he heard that twenty years previous, workers had found gigantic bones in a local marl pit. Foulke spent the the late summer and fall directing a crew of hired diggers shin deep in gray slime. Eventually he found the bones (above, right) of an animal larger than an elephant with structural features of both a lizard and a bird.
<p>
<center><b>First Nearly-Complete Dinosaur Skeleton</b></center>
Foulke had discovered the first nearly-complete skeleton of a dinosaur -- an event that would rock the scientific world and forever change our view of natural history.
<p>
Today, located where a tidy suburban street dead ends against deep woods, the historic site is marked with a modest commemorative stone (above, left) and a tiny landscaped park. Just beyond the stone the ground drops away into the steep ravine where the bones of <i>Hadrosaurus foulkii </i> were originally excavated on the eve of the Civil War.
<p>
<center><b>The "Ground Zero" of Dinosaur Paleontology</b></center>
<a name="menu">In relation</a> to the history of dinosaur paleontology, this Haddonfield Hadrosaurus site is ground zero; the spot where our collective fascination with dinosaurs began. Visitors can still climb down crude paths into the 30-foot, vine-entangled chasm to stand in an almost primordial quiet at the actual marl pit where the imagination of all mankind was exploded outward to embrace the stunning fact that our planet was once ruled by fantastically large, bizarrely shaped reptilian creatures.
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<font size="-1" color="#663300">First Mounted Dinosaur Skeleton</font></a><br>
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<font size="-1" color="#663300">The Creature</font></a><br>
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<font size="-1" color="#663300">Changing Shape of Hadrosaurus</font></a><br>
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<font size="-1" color="#663300">Haddonfield and the "Bone Wars"</font></a><br>
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<font size="-1" color="#663300">Re-establishing the Site, 1984</font></a><br>
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<td width="100" align=left><a href="state.shtml">
<font size="-1" color="#663300">Official State Fossil Designation, 1991</font></a><br>
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<font size="-1" color="#663300">National Historic Site Designation, 1994</font></a><br>
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<font size="-1" color="#663300">Dedication Ceremony, 1995</font></a><br>
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<tr><td width="10" valign=top align=left><font color="#993333" size="-2"><b>></b></font></td>
<td width="100" align=left><a href="maps.shtml">
<font size="-1" color="#663300">Maps: Haddonfield & Hadrosaurus site</font></a><br>
<img width=110 height=5 src="hf_spacer110x5.gif" border=0 alt="spacer"></td></tr>
<tr><td width="10" valign=top align=left><font color="#993333" size="-2"><b>></b></font></td>
<td width="100" align=left><a href="academy.shtml">
<font size="-1" color="#663300">Philadelphia Academy of Natural Sciences</font></a><br>
<img width=110 height=5 src="hf_spacer110x5.gif" border=0 alt="spacer"></td>
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<a href="http://www.haddonfieldnj.org" target="_new"><img width=104 height=107 src="hadorg.gif" border=0 alt="Borough Web site"></a><br>
<p align="right">
<font color="#663300" size="-1"><b>OTHER LOCAL SITES</b></font><br>
<a href="http://www.08033.com/ORGANIZATIONS.NSF/by+75+Name/Historical%20Society%20of%20Haddonfield?OpenDocument" target="_new">
<font color="#663300" size="-1"><b>></b>The Haddonfield Historical Society</font></a><br>
<img width=106 height=5 src="hf_spacer106x5.gif" border=0 alt="spacer"><br>
<a href="http://www.cchsnj.com" target="_new">
<font color="#663300" size="-1"><b>></b>Camden County Historical Society</font></a><br>
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<a href="http://HistoricCamdenCounty.com" target="_new">
<font color="#663300" size="-1"><b>></b>Historic Camden County.com</font></a><br>
<img width=106 height=5 src="hf_spacer106x5.gif" border=0 alt="spacer"><br>
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Hadrosaurus.com -- Finding the World's First Dinosaur Skeleton
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| Hadro head, left
Hadro head, low
| |
| --- |
| [Hoag Levins Home Page](index.shtml)
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[Poster](http://hadrosaurus.com/poster.shtml)
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[Museum Exhibit](http://www.youtube.com/watch?v=9NwXn5C6S8Q)
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[Museum Exhibit](http://www.youtube.com/watch?v=eklr6JemnvY)
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[Dinosaur sculpture](http://hadrosaurus.com/index.shtml)
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[Discovery site]( http://www.youtube.com/watch?v=OpRghAe9rBI)
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| Hadro head, center
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| --- |
| Hadrosaurus site marker and bones |
| | A bronze and stone marker (left) In Haddonfield, N.J. commemorates the site where the skeleton of Hadrosaurus *foulkii* (right) was unearthed in 1858.
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| In the summer of 1858, Victorian gentleman and fossil hobbyist William Parker Foulke was vacationing in Haddonfield, New Jersey, when he heard that twenty years previous, workers had found gigantic bones in a local marl pit. Foulke spent the the late summer and fall directing a crew of hired diggers shin deep in gray slime. Eventually he found the bones (above, right) of an animal larger than an elephant with structural features of both a lizard and a bird.
**First Nearly-Complete Dinosaur Skeleton**
Foulke had discovered the first nearly-complete skeleton of a dinosaur -- an event that would rock the scientific world and forever change our view of natural history.
Today, located where a tidy suburban street dead ends against deep woods, the historic site is marked with a modest commemorative stone (above, left) and a tiny landscaped park. Just beyond the stone the ground drops away into the steep ravine where the bones of *Hadrosaurus foulkii* were originally excavated on the eve of the Civil War.
**The "Ground Zero" of Dinosaur Paleontology**
In relation to the history of dinosaur paleontology, this Haddonfield Hadrosaurus site is ground zero; the spot where our collective fascination with dinosaurs began. Visitors can still climb down crude paths into the 30-foot, vine-entangled chasm to stand in an almost primordial quiet at the actual marl pit where the imagination of all mankind was exploded outward to embrace the stunning fact that our planet was once ruled by fantastically large, bizarrely shaped reptilian creatures.
|
---
All Rights Reserved © 1995 - 2008, Hoag Levins
[HoagL@earthlink.net](mailto:HoagL@earthlink.net)
.
| Hadro head right
Hadro head right
| | |
| --- | --- |
| **>** | [Home Page](dinosaur.shtml)
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| **>** | [Into the Ravine Today](ravine.shtml)
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| **>** | [Finding the Bones in 1858](bones.shtml)
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| **>** | [Meaning of the Find](meaning.shtml)
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| **>** | [First Mounted Dinosaur Skeleton](mount.shtml)
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| **>** | [The Creature](creature.shtml)
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| **>** | [Changing Shape of Hadrosaurus](shape.shtml)
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| **>** | [Haddonfield and the "Bone Wars"](bwars.shtml)
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| **>** | [Re-establishing the Site, 1984](marking.shtml)
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| **>** | [Official State Fossil Designation, 1991](state.shtml)
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| **>** | [National Historic Site Designation, 1994](parks.shtml)
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| **>** | [Dedication Ceremony, 1995](news.shtml)
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| **>** | [Maps: Haddonfield & Hadrosaurus site](maps.shtml)
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| **>** | [Philadelphia Academy of Natural Sciences](academy.shtml)
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| |
| --- |
|
---
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[Borough Web site](http://www.haddonfieldnj.org)
**OTHER LOCAL SITES**
[**>**The Haddonfield Historical Society](http://www.08033.com/ORGANIZATIONS.NSF/by+75+Name/Historical%20Society%20of%20Haddonfield?OpenDocument)
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[**>**Camden County Historical Society](http://www.cchsnj.com)
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[**>**Historic Camden County.com](http://HistoricCamdenCounty.com)
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<a href="http://mcubed.net/nascar/nascarcupseriesw.shtml">NASCAR Cup Series</a>
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<a href="http://mcubed.net/nascar/index.shtml">All time wins</a>
<a href="http://mcubed.net/nascar/d201.shtml">Wins by Decade</a>
<a href="http://mcubed.net/nascar/xyears.shtml">Wins by Year</a>
<a href="http://mcubed.net/nascar/race.shtml">Wins by Race</a>
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<a href="http://mcubed.net/soccer/worldcup/index.shtml">FIFA Men's World Cup</a>
<a href="http://mcubed.net/soccer/worldcupw/index.shtml">FIFA Women's World Cup</a>
<a href="http://mcubed.net/soccer/europe/index.shtml">Men's European Football Championship</a>
<a href="http://mcubed.net/soccer/europew/index.shtml">Women's European Football Championship</a>
<a href="http://mcubed.net/soccer/africa/index.shtml">Africa Cup of Nations</a>
<a href="http://mcubed.net/soccer/africaw/index.shtml">Women's African Football Championship</a>
<a href="http://mcubed.net/soccer/asia/index.shtml">Asian Cup</a>
<a href="http://mcubed.net/soccer/asiaw/index.shtml">Women's Asian Cup</a>
<a href="http://mcubed.net/soccer/southamerica/index.shtml">Copa America (South America)</a>
<a href="http://mcubed.net/soccer/southamericaw/index.shtml">Copa America Femenina (South America women's)</a>
<a href="http://mcubed.net/soccer/northamerica/index.shtml">CONCACAF Gold Cup (North America)</a>
<a href="http://mcubed.net/soccer/northamericaw/index.shtml">CONCACAF Women's Gold Cup (North America)</a>
<a href="http://mcubed.net/soccer/oceania/index.shtml">Oceania Nations Cup</a>
<a href="http://mcubed.net/soccer/oceaniaw/index.shtml">OFC Women's Championship (Oceania)</a>
<a href="http://mcubed.net/soccer/confed/index.shtml">FIFA Confederations Cup</a>
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<a href="http://mcubed.net/bowling/index.shtml">All time wins</a>
<a href="http://mcubed.net/bowling/dec2000s.shtml">Wins by Decade</a>
<a href="http://mcubed.net/bowling/xyears.shtml">Wins by Year</a>
<a href="http://mcubed.net/bowling/tourney.shtml">Wins by Tournament</a>
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<table cellspacing="0" cellpadding="0" border="0">
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<td width="2" bgcolor="#000000"></td>
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<font face="Comic Sans MS"><small><b>Most popular teams on mcubed.net in November</b></small></font>
<table>
<tbody><tr><td width="160">
<table>
<tbody><tr><td width="160" <="" td=""></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NFL</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nfl/dal">Dallas Cowboys</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nfl/pit">Pittsburgh Steelers</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nfl/kc">Kansas City Chiefs</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nfl/buf">Buffalo Bills</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nfl/sea">Seattle Seahawks</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>MLB</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="mlb/nyy">New York Yankees</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="mlb/tex">Texas Rangers</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="mlb/hou">Houston Astros</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="mlb/phi">Philadelphia Phillies</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="mlb/ari">Arizona Diamondbacks</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NCAA Football</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="ncaaf/teams/mi.shtml">Michigan</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="ncaaf/teams/al.shtml">Alabama</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="ncaaf/teams/ohst.shtml">Ohio State</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="ncaaf/teams/ga.shtml">Georgia</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="ncaaf/teams/flast.shtml">Florida State</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>6. <a href="ncaaf/teams/ok.shtml">Oklahoma</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>7. <a href="ncaaf/teams/clem.shtml">Clemson</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>8. <a href="ncaaf/teams/tn.shtml">Tennessee</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>9. <a href="ncaaf/teams/ky.shtml">Kentucky</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>10. <a href="ncaaf/teams/nd.shtml">Notre Dame</a></small></td></tr>
</tbody></table>
</td>
<td width="2"></td>
<td width="160">
<table>
<tbody><tr><td width="160" <="" td=""></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NBA</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nba/lal">Los Angeles Lakers</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nba/bos">Boston Celtics</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nba/gs">Golden State Warriors</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nba/den">Denver Nuggets</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nba/orl">Orlando Magic</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NHL</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nhl/mon">Montreal Canadiens</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nhl/bos">Boston Bruins</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nhl/van">Vancouver Canucks</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nhl/tor">Toronto Maple Leafs</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nhl/pit">Pittsburgh Penguins</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr> <td bgcolor="#ffffcc"><p><b><u><small>NCAA Basketball</small></u></b></p></td></tr>
<tr> <td bgcolor="#cccccc"><small>1. <a href="ncaab/or">Oregon</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>2. <a href="ncaab/ks">Kansas</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>3. <a href="ncaab/mi">Michigan</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>4. <a href="ncaab/nw">Northwestern</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>5. <a href="ncaab/mist">Michigan State</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>6. <a href="ncaab/ksst">Kansas State</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>7. <a href="ncaab/usc">Southern California</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>8. <a href="ncaab/houston">Houston</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>9. <a href="ncaab/purdue">Purdue</a></small></td></tr>
<tr> <td bgcolor="#cccccc"><small>10. <a href="ncaab/ucla">UCLA</a></small></td></tr>
</tbody></table>
</td></tr></tbody></table>
</td>
<td width="5"></td>
<td width="2" bgcolor="#000000"></td>
<td width="5"></td>
<td valign="top">
<font face="Comic Sans MS"><small><b>Least popular teams on mcubed.net in November</b></small></font>
<table>
<tbody><tr><td width="160">
<table>
<tbody><tr><td width="160" <="" td=""></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NFL</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nfl/no">New Orleans Saints</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nfl/ind">Indianapolis Colts</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nfl/ne">New England Patriots</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nfl/wsh">Washington Commanders</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nfl/sf">San Francisco 49ers</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>MLB</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="mlb/tb">Tampa Bay Rays</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="mlb/mia">Miami Marlins</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="mlb/mil">Milwaukee Brewers</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="mlb/sea">Seattle Mariners</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="mlb/stl">St. Louis Cardinals</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NCAA Football</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="ncaaf/teams/uncchar.shtml">UNC-Charlotte</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="ncaaf/teams/od.shtml">Old Dominion</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="ncaaf/teams/gast.shtml">Georgia State</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="ncaaf/teams/flaintl.shtml">Florida International</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="ncaaf/teams/sal.shtml">South Alabama</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>6. <a href="ncaaf/teams/txsa.shtml">Texas-San_Antonio</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>7. <a href="ncaaf/teams/cc.shtml">Coastal Carolina</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>8. <a href="ncaaf/teams/umass.shtml">Massachusetts</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>9. <a href="ncaaf/teams/wk.shtml">Western Kentucky</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>10. <a href="ncaaf/teams/flaatl.shtml">Florida Atlantic</a></small></td></tr>
</tbody></table>
</td>
<td width="2"></td>
<td width="160">
<table>
<tbody><tr><td width="160" <="" td=""></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NBA</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nba/hou">Houston Rockets</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nba/por">Portland Trail Blazers</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nba/sa">San Antonio Spurs</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nba/phx">Phoenix Suns</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nba/uth">Utah Jazz</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NHL</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="nhl/min">Minnesota Wild</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nhl/nsh">Nashville Predators</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nhl/sea">Seattle Kraken</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nhl/wsh">Washington Capitals</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nhl/phi">Philadelphia Flyers</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>NCAA Basketball</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="ncaab/lebval">Lebanon Valley</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="ncaab/trintx">Trinity (TX)</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="ncaab/wtxam">West Texas A&M</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="ncaab/tufts">Tufts</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="ncaab/okcity">Oklahoma City</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>6. <a href="ncaab/loyolala">Loyola (LA)</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>7. <a href="ncaab/nyu">New York University</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>8. <a href="ncaab/hardinsi">Hardin-Simmons</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>9. <a href="ncaab/williams">Williams</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>10. <a href="ncaab/ccny">CCNY</a></small></td></tr>
</tbody></table>
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<font face="Comic Sans MS"><small><b>Popular pages</b></small></font>
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<tr><td bgcolor="#ffffcc"><p><b><u><small>Recently</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="ncaaf/ncaafera.shtml">NCAA Football: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nfl/nflera.shtml">NFL: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nhl/nhlera.shtml">NHL: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nfl/series1.shtml">NFL: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="nba/nbaera.shtml">NBA: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>6. <a href="nba/series1.shtml">NBA: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>7. <a href="mlb/mlbera.shtml">MLB: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>8. <a href="nfl/standings.shtml">NFL: Standings By Year</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>9. <a href="ncaaf/series/mi/al.shtml">NCAA Football: Michigan vs. Alabama</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>10. <a href="ncaaf/series/">NCAA Football: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>11. <a href="ncaaf/tvc/sec/big10.shtml">NCAA Football: SEC vs. Big Ten </a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>12. <a href="nfl/sf/series1.shtml">NFL: 49ers' Series Records</a></small></td></tr>
<tr><td><small></small></td></tr>
<tr><td bgcolor="#ffffcc"><p><b><u><small>Most popular in November</small></u></b></p></td></tr>
<tr><td bgcolor="#cccccc"><small>1. <a href="ncaaf/series/">NCAA Football: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>2. <a href="nfl/series1.shtml">NFL: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>3. <a href="nhl/series1.shtml">NHL: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>4. <a href="nba/series1.shtml">NBA: Series Records</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>5. <a href="ncaaf/tvc/sec/acc.shtml">NCAA Football: SEC vs. ACC</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>6. <a href="nfl/nflera.shtml">NFL: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>7. <a href="ncaaf/ncaafera.shtml">NCAA Football: Best of an Era</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>8. <a href="ncaaf/2023/">NCAA Football: 2023 Rankings</a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>9. <a href="ncaaf/tvc/sec/big10.shtml">NCAA Football: SEC vs. Big Ten </a></small></td></tr>
<tr><td bgcolor="#cccccc"><small>10. <a href="nfl/standings.shtml">NFL: Standings By Year</a></small></td></tr>
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[All time wins](http://mcubed.net/bowling/index.shtml)
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|
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| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | | **Most popular teams on mcubed.net in November**
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| |
| **NFL** |
| 1. [Dallas Cowboys](nfl/dal) |
| 2. [Pittsburgh Steelers](nfl/pit) |
| 3. [Kansas City Chiefs](nfl/kc) |
| 4. [Buffalo Bills](nfl/buf) |
| 5. [Seattle Seahawks](nfl/sea) |
| |
| |
| |
| **MLB** |
| 1. [New York Yankees](mlb/nyy) |
| 2. [Texas Rangers](mlb/tex) |
| 3. [Houston Astros](mlb/hou) |
| 4. [Philadelphia Phillies](mlb/phi) |
| 5. [Arizona Diamondbacks](mlb/ari) |
| |
| |
| |
| **NCAA Football** |
| 1. [Michigan](ncaaf/teams/mi.shtml) |
| 2. [Alabama](ncaaf/teams/al.shtml) |
| 3. [Ohio State](ncaaf/teams/ohst.shtml) |
| 4. [Georgia](ncaaf/teams/ga.shtml) |
| 5. [Florida State](ncaaf/teams/flast.shtml) |
| 6. [Oklahoma](ncaaf/teams/ok.shtml) |
| 7. [Clemson](ncaaf/teams/clem.shtml) |
| 8. [Tennessee](ncaaf/teams/tn.shtml) |
| 9. [Kentucky](ncaaf/teams/ky.shtml) |
| 10. [Notre Dame](ncaaf/teams/nd.shtml) |
| |
| |
| --- |
| |
| **NBA** |
| 1. [Los Angeles Lakers](nba/lal) |
| 2. [Boston Celtics](nba/bos) |
| 3. [Golden State Warriors](nba/gs) |
| 4. [Denver Nuggets](nba/den) |
| 5. [Orlando Magic](nba/orl) |
| |
| |
| |
| **NHL** |
| 1. [Montreal Canadiens](nhl/mon) |
| 2. [Boston Bruins](nhl/bos) |
| 3. [Vancouver Canucks](nhl/van) |
| 4. [Toronto Maple Leafs](nhl/tor) |
| 5. [Pittsburgh Penguins](nhl/pit) |
| |
| |
| |
| **NCAA Basketball** |
| 1. [Oregon](ncaab/or) |
| 2. [Kansas](ncaab/ks) |
| 3. [Michigan](ncaab/mi) |
| 4. [Northwestern](ncaab/nw) |
| 5. [Michigan State](ncaab/mist) |
| 6. [Kansas State](ncaab/ksst) |
| 7. [Southern California](ncaab/usc) |
| 8. [Houston](ncaab/houston) |
| 9. [Purdue](ncaab/purdue) |
| 10. [UCLA](ncaab/ucla) |
|
| | | | **Least popular teams on mcubed.net in November**
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| |
| **NFL** |
| 1. [New Orleans Saints](nfl/no) |
| 2. [Indianapolis Colts](nfl/ind) |
| 3. [New England Patriots](nfl/ne) |
| 4. [Washington Commanders](nfl/wsh) |
| 5. [San Francisco 49ers](nfl/sf) |
| |
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| |
| **MLB** |
| 1. [Tampa Bay Rays](mlb/tb) |
| 2. [Miami Marlins](mlb/mia) |
| 3. [Milwaukee Brewers](mlb/mil) |
| 4. [Seattle Mariners](mlb/sea) |
| 5. [St. Louis Cardinals](mlb/stl) |
| |
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| |
| **NCAA Football** |
| 1. [UNC-Charlotte](ncaaf/teams/uncchar.shtml) |
| 2. [Old Dominion](ncaaf/teams/od.shtml) |
| 3. [Georgia State](ncaaf/teams/gast.shtml) |
| 4. [Florida International](ncaaf/teams/flaintl.shtml) |
| 5. [South Alabama](ncaaf/teams/sal.shtml) |
| 6. [Texas-San\_Antonio](ncaaf/teams/txsa.shtml) |
| 7. [Coastal Carolina](ncaaf/teams/cc.shtml) |
| 8. [Massachusetts](ncaaf/teams/umass.shtml) |
| 9. [Western Kentucky](ncaaf/teams/wk.shtml) |
| 10. [Florida Atlantic](ncaaf/teams/flaatl.shtml) |
| |
| |
| --- |
| |
| **NBA** |
| 1. [Houston Rockets](nba/hou) |
| 2. [Portland Trail Blazers](nba/por) |
| 3. [San Antonio Spurs](nba/sa) |
| 4. [Phoenix Suns](nba/phx) |
| 5. [Utah Jazz](nba/uth) |
| |
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| |
| **NHL** |
| 1. [Minnesota Wild](nhl/min) |
| 2. [Nashville Predators](nhl/nsh) |
| 3. [Seattle Kraken](nhl/sea) |
| 4. [Washington Capitals](nhl/wsh) |
| 5. [Philadelphia Flyers](nhl/phi) |
| |
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| |
| **NCAA Basketball** |
| 1. [Lebanon Valley](ncaab/lebval) |
| 2. [Trinity (TX)](ncaab/trintx) |
| 3. [West Texas A&M](ncaab/wtxam) |
| 4. [Tufts](ncaab/tufts) |
| 5. [Oklahoma City](ncaab/okcity) |
| 6. [Loyola (LA)](ncaab/loyolala) |
| 7. [New York University](ncaab/nyu) |
| 8. [Hardin-Simmons](ncaab/hardinsi) |
| 9. [Williams](ncaab/williams) |
| 10. [CCNY](ncaab/ccny) |
|
| | | | **Popular pages**
| | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
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| --- |
| |
| **Recently** |
| 1. [NCAA Football: Best of an Era](ncaaf/ncaafera.shtml) |
| 2. [NFL: Best of an Era](nfl/nflera.shtml) |
| 3. [NHL: Best of an Era](nhl/nhlera.shtml) |
| 4. [NFL: Series Records](nfl/series1.shtml) |
| 5. [NBA: Best of an Era](nba/nbaera.shtml) |
| 6. [NBA: Series Records](nba/series1.shtml) |
| 7. [MLB: Best of an Era](mlb/mlbera.shtml) |
| 8. [NFL: Standings By Year](nfl/standings.shtml) |
| 9. [NCAA Football: Michigan vs. Alabama](ncaaf/series/mi/al.shtml) |
| 10. [NCAA Football: Series Records](ncaaf/series/) |
| 11. [NCAA Football: SEC vs. Big Ten](ncaaf/tvc/sec/big10.shtml) |
| 12. [NFL: 49ers' Series Records](nfl/sf/series1.shtml) |
| |
| **Most popular in November** |
| 1. [NCAA Football: Series Records](ncaaf/series/) |
| 2. [NFL: Series Records](nfl/series1.shtml) |
| 3. [NHL: Series Records](nhl/series1.shtml) |
| 4. [NBA: Series Records](nba/series1.shtml) |
| 5. [NCAA Football: SEC vs. ACC](ncaaf/tvc/sec/acc.shtml) |
| 6. [NFL: Best of an Era](nfl/nflera.shtml) |
| 7. [NCAA Football: Best of an Era](ncaaf/ncaafera.shtml) |
| 8. [NCAA Football: 2023 Rankings](ncaaf/2023/) |
| 9. [NCAA Football: SEC vs. Big Ten](ncaaf/tvc/sec/big10.shtml) |
| 10. [NFL: Standings By Year](nfl/standings.shtml) |
|
| | | |
---
| |
| --- |
|
[email me](mailto:matt@mcubed.net) |
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<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
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<br><LI><a
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| | | |
| --- | --- | --- |
|
* [Aesthetic Investigation](./index.htm)
* [Saturnian Cosmology](http://saturniancosmology.org/)
* [OtherGroup Net](http://othergroup.net/)
* [Spaces Org](http://spaces.org/)
* [Student Work](http://jnocook.net/students/index.htm)
[[e-mail]](mail.htm)
| | |
| https://jnocook.net/ |
<!doctypehtml><html lang=en><meta charset=utf-8><title>Computer latency: 1977-2017</title><meta name=viewport content="width=device-width,initial-scale=1"><style>img{max-width:100%;height:auto}pre{max-width:100%;height:auto;white-space:pre-wrap}.np{display:flex;flex-direction:row;justify-content:space-between;padding-bottom:.5em;font-style:italic}</style><link rel=icon href="data:;base64,="> <header><strong>Computer latency: 1977-2017</strong> | <i><b><a href=https://patreon.com/danluu>I'm trying some experimental tiers on Patreon</a></b> to see if I can get to <a href=https://twitter.com/danluu/status/1456346963691991041>substack-like levels of financial support for this blog without moving to substack</a>!</i><hr></header><main> <p>I've had this nagging feeling that the computers I use today feel slower than the computers I used as a kid. As a rule, I don’t trust this kind of feeling because human perception has been shown to be unreliable in empirical studies, so I carried around a high-speed camera and measured the response latency of devices I’ve run into in the past few months. Here are the results:</p> <style>table{border-collapse:collapse;margin:0 auto}table,td,th{border:1px solid #000}td{text-align:center}td.l{text-align:left}</style> <table> <tr> <th>computer<th>latency<br>(ms)<th>year<th>clock<th># T</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Apple_IIe>apple 2e</a><td bgcolor=#ffffcc>30<td bgcolor=#54278f><font color=white>1983</font><td bgcolor=#08306b><font color=white>1 MHz</font><td bgcolor=#08306b><font color=white>3.5k</font></tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B004GYBZBE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B004GYBZBE&linkId=123a7b9e283914f633fbdc9b001f255b">ti 99/4a</a><td bgcolor=#ffffcc>40<td bgcolor=#3f007d><font color=white>1981</font><td bgcolor=#08519c><font color=white>3 MHz</font><td bgcolor=#08306b><font color=white>8k</font></tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314">custom haswell-e <i>165Hz</i></a><td bgcolor=#ffeda0>50<td bgcolor=#efedf5>2014<td bgcolor=#deebf7>3.5 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Commodore_PET>commodore pet 4016</a><td bgcolor=#ffeda0>60<td bgcolor=#3f007d><font color=white>1977</font><td bgcolor=#08306b><font color=white>1 MHz</font><td bgcolor=#08306b><font color=white>3.5k</font></tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/SGI_Indy>sgi indy</a><td bgcolor=#ffeda0>60<td bgcolor=#807dba>1993<td bgcolor=#6baed6>.1 GHz<td bgcolor=#4292c6>1.2M</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314">custom haswell-e <i>120Hz</i></a><td bgcolor=#ffeda0>60<td bgcolor=#efedf5>2014<td bgcolor=#deebf7>3.5 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01LWNVFIM/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LWNVFIM&linkId=d4f3e06001021e2bfc95eb2c8c3a9805">thinkpad 13 <b>chromeos</b></a><td bgcolor=#fed976>70<td bgcolor=#fcfbfd>2017<td bgcolor=#deebf7>2.3 GHz<td bgcolor=#deebf7>1G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B007O35FI8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B007O35FI8&linkId=dc8b3670da16e98e718b157661037e4b">imac g4 <b>os 9</b></a><td bgcolor=#fed976>70<td bgcolor=#bcbddc>2002<td bgcolor=#c6dbef>.8 GHz<td bgcolor=#6baed6>11M</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314">custom haswell-e <i>60Hz</i></a><td bgcolor=#fed976>80<td bgcolor=#efedf5>2014<td bgcolor=#deebf7>3.5 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Macintosh_Color_Classic>mac color classic</a><td bgcolor=#feb24c>90<td bgcolor=#807dba>1993<td bgcolor=#2171b5><font color=white>16 MHz</font><td bgcolor=#2171b5><font color=white>273k</font></tr> <tr> <td class=l><a href="http://www.powerspec.com/systems/system_specs.phtml?selection=G405">powerspec g405 <b>linux</b> <i>60Hz</i></a><td bgcolor=#feb24c>90<td bgcolor=#fcfbfd>2017<td bgcolor=#f7fbff>4.2 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B0096VDM8G/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0096VDM8G&linkId=d134e4e812fd9e68ddb6191e03f78a72">macbook pro 2014</a><td bgcolor=#feb24c>100<td bgcolor=#efedf5>2014<td bgcolor=#deebf7>2.6 GHz<td bgcolor=#deebf7>700M</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01LWNVFIM/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LWNVFIM&linkId=d4f3e06001021e2bfc95eb2c8c3a9805">thinkpad 13 <b>linux chroot</b></a><td bgcolor=#feb24c>100<td bgcolor=#fcfbfd>2017<td bgcolor=#deebf7>2.3 GHz<td bgcolor=#deebf7>1G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B072BDGLBC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072BDGLBC&linkId=b316192e2edacb439be22ef01a6bb779">lenovo x1 carbon 4g <b>linux</b></a><td bgcolor=#fd8d3c>110<td bgcolor=#efedf5>2016<td bgcolor=#deebf7>2.6 GHz<td bgcolor=#deebf7>1G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B007O35FI8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B007O35FI8&linkId=dc8b3670da16e98e718b157661037e4b">imac g4 <b>os x</b></a><td bgcolor=#fd8d3c>120<td bgcolor=#bcbddc>2002<td bgcolor=#c6dbef>.8 GHz<td bgcolor=#6baed6>11M</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314">custom haswell-e <i>24Hz</i></a><td bgcolor=#fc4e2a>140<td bgcolor=#efedf5>2014<td bgcolor=#deebf7>3.5 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B072BDGLBC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072BDGLBC&linkId=b316192e2edacb439be22ef01a6bb779">lenovo x1 carbon 4g <b>win</b></a><td bgcolor=#e31a1c>150<td bgcolor=#efedf5>2016<td bgcolor=#deebf7>2.6 GHz<td bgcolor=#deebf7>1G</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/NeXTcube>next cube</a><td bgcolor=#e31a1c>150<td bgcolor=#6a51a3><font color=white>1988</font><td bgcolor=#4292c6>25 MHz<td bgcolor=#4292c6>1.2M</tr> <tr> <td class=l><a href="http://www.powerspec.com/systems/system_specs.phtml?selection=G405">powerspec g405 <b>linux</b></a><td bgcolor=#bd0026>170<td bgcolor=#fcfbfd>2017<td bgcolor=#f7fbff>4.2 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l bgcolor=silver>packet around the world<td bgcolor=silver>190</tr> <tr> <td class=l><a href="http://www.powerspec.com/systems/system_specs.phtml?selection=G405">powerspec g405 <b>win</b></a><td bgcolor=black><font color=white>200</font><td bgcolor=#fcfbfd>2017<td bgcolor=#f7fbff>4.2 GHz<td bgcolor=#f7fbff>2G</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Symbolics>symbolics 3620</a><td bgcolor=black><font color=white>300</font><td bgcolor=#54278f><font color=white>1986</font><td bgcolor=#08519c><font color=white>5 MHz</font><td bgcolor=#2171b5><font color=white>390k</font></tr> </table> <p>These are tests of the latency between a keypress and the display of a character in a terminal (see appendix for more details). The results are sorted from quickest to slowest. In the latency column, the background goes from green to yellow to red to black as devices get slower and the background gets darker as devices get slower. No devices are green. When multiple OSes were tested on the same machine, the os is <b>in bold</b>. When multiple refresh rates were tested on the same machine, the refresh rate is <i>in italics</i>.</p> <p>In the year column, the background gets darker and purple-er as devices get older. If older devices were slower, we’d see the year column get darker as we read down the chart.</p> <p>The next two columns show the clock speed and number of transistors in the processor. Smaller numbers are darker and blue-er. As above, if slower clocked and smaller chips correlated with longer latency, the columns would get darker as we go down the table, but it, if anything, seems to be the other way around.</p> <p>For reference, the latency of a packet going around the world through fiber from NYC back to NYC via <a href=https://www.extremetech.com/extreme/122989-1-5-billion-the-cost-of-cutting-london-toyko-latency-by-60ms>Tokyo and London</a> is inserted in the table.</p> <p>If we look at overall results, the fastest machines are ancient. Newer machines are all over the place. Fancy gaming rigs with unusually high refresh-rate displays are almost competitive with machines from the late 70s and early 80s, but “normal” modern computers can’t compete with thirty to forty year old machines.</p> <p>We can also look at mobile devices. In this case, we’ll look at scroll latency in the browser:</p> <table> <tr> <th>device<th>latency<br>(ms)<th>year</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B072V4HK9F/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072V4HK9F&linkId=5679f47f9a699d00e721eff9592bed11">ipad pro 10.5" pencil</a><td bgcolor=#ffffcc>30<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B072V4HK9F/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072V4HK9F&linkId=5679f47f9a699d00e721eff9592bed11">ipad pro 10.5"</a><td bgcolor=#fed976>70<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B006FMDVDK/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B006FMDVDK&linkId=9ad1ee1c78ed24a00d7aeaa7acba466b">iphone 4s</a><td bgcolor=#fed976>70<td bgcolor=#dadaeb>2011</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00YD547Q6/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00YD547Q6&linkId=8760bcadabac2a1a34059f5695523d18">iphone 6s</a><td bgcolor=#fed976>70<td bgcolor=#efedf5>2015</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B008VUNRZQ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B008VUNRZQ&linkId=f9f973947891d7eb01a251146c8a17ed">iphone 3gs</a><td bgcolor=#fed976>70<td bgcolor=#dadaeb>2009</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B075QN8NDJ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QN8NDJ&linkId=17f3a63a6d672e453c1bb28c26f1e680">iphone x</a><td bgcolor=#fed976>80<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B075QJSQLT/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QJSQLT&linkId=0e9df41aaed6dc80988793dcbc08a175">iphone 8</a><td bgcolor=#fed976>80<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B0743HK992/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0743HK992&linkId=ad1f03111643f0e52f245f120f8efb2b">iphone 7</a><td bgcolor=#fed976>80<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00YD545CC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00YD545CC&linkId=cc899d2e45b87f032042af8eb666cef1">iphone 6</a><td bgcolor=#fed976>80<td bgcolor=#efedf5>2014</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B077629NJ2/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B077629NJ2&linkId=cadd23b2ef84a2b9c6abe268754e6cb4">gameboy color</a><td bgcolor=#fed976>80<td bgcolor=#9e9ac8>1998</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00WZR5URO/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00WZR5URO&linkId=f781b3a6200f81f6a0137a69ab1b4c0f">iphone 5</a><td bgcolor=#feb24c>90<td bgcolor=#efedf5>2012</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00CES5B96/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00CES5B96&linkId=fab4357d277c9716f691d15431aace90">blackberry q10</a><td bgcolor=#feb24c>100<td bgcolor=#efedf5>2013</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01IVV7W8M/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01IVV7W8M&linkId=be83bfddcd1ff8029f548810b405a281">huawei honor 8</a><td bgcolor=#fd8d3c>110<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B0766TPHSH/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0766TPHSH&linkId=774b61b9fe3692df21821844dfedc18b">google pixel 2 xl</a><td bgcolor=#fd8d3c>110<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01F48QLFA/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01F48QLFA&linkId=00e8a7505d84e546c50e3d8761944d05">galaxy s7</a><td bgcolor=#fd8d3c>120<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00TJ4FFHQ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00TJ4FFHQ&linkId=f74214ac520214bcb199ce2710ed470f">galaxy note 3</a><td bgcolor=#fd8d3c>120<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00EP2CLII/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00EP2CLII&linkId=f3ad24ebb82fb4b8282ae94deede1319">moto x</a><td bgcolor=#fd8d3c>120<td bgcolor=#efedf5>2013</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B076KTGJPG/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B076KTGJPG&linkId=9164d7895c51ee31fd8db00c3d1597e7">nexus 5x</a><td bgcolor=#fd8d3c>120<td bgcolor=#efedf5>2015</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01MXR13TZ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01MXR13TZ&linkId=924c9f9d8f2413c64f0f295d505f09da">oneplus 3t</a><td bgcolor=#fc4e2a>130<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B075QBLBN8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QBLBN8&linkId=439fabf5b71beb2b4820618432366e72">blackberry key one</a><td bgcolor=#fc4e2a>130<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B016QP7SKC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B016QP7SKC&linkId=207d8847bf6e6740694ea85cc97a8363">moto e (2g)</a><td bgcolor=#fc4e2a>140<td bgcolor=#efedf5>2015</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B071YC3G5V/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B071YC3G5V&linkId=d5c16509db8a503bfd0e9fa4480bd92f">moto g4 play</a><td bgcolor=#fc4e2a>140<td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01DZJFYLC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01DZJFYLC&linkId=d173832b8e78e184d0ec5f801c582403">moto g4 plus</a><td bgcolor=#fc4e2a>140<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B0731KJVGG/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0731KJVGG&linkId=a52d46d36b6136641937b82c5f99fa1d">google pixel</a><td bgcolor=#fc4e2a>140<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00N3FSWG8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00N3FSWG8&linkId=a4df2be4f14002eed6fdbd267b8dca91">samsung galaxy avant</a><td bgcolor=#e31a1c>150<td bgcolor=#efedf5>2014</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01LZ8516T/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LZ8516T&linkId=16070e26fe5b1eee184b3fcfa6a7f373">asus zenfone3 max</a><td bgcolor=#e31a1c>150<td bgcolor=#efedf5>2016</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B01LACBMV2/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LACBMV2&linkId=6a38fa7701b76f17fc1ba183e2bac551">sony xperia z5 compact</a><td bgcolor=#e31a1c>150<td bgcolor=#efedf5>2015</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00F618DXE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00F618DXE&linkId=481f35c95f57b730ab417f680ff1cdf3">htc one m4</a><td bgcolor=#e31a1c>160<td bgcolor=#efedf5>2013</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B00UZ7QJ6W/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00UZ7QJ6W&linkId=a37479092aca4085fc7bee582232fbfe">galaxy s4 mini</a><td bgcolor=#bd0026>170<td bgcolor=#efedf5>2013</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B072K1BY62/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072K1BY62&linkId=7a9dc6d3a3400a24cba9141b09d85f32">lg k4</a><td bgcolor=#800026><font color=white>180</font><td bgcolor=#efedf5>2016</tr> <tr> <td class=l bgcolor=silver>packet<td bgcolor=silver>190</tr> <tr> <td class=l><a href="https://www.amazon.com/gp/product/B0073YBGCC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0073YBGCC&linkId=75785e57c1c5a2318dcd95a6178af60c">htc rezound</a><td bgcolor=black><font color=white>240</font><td bgcolor=#dadaeb>2011</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Pilot_1000>palm pilot 1000</a><td bgcolor=black><font color=white>490</font><td bgcolor=#807dba>1996</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Amazon_Kindle>kindle oasis 2</a><td bgcolor=black><font color=white>570</font><td bgcolor=#fcfbfd>2017</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Amazon_Kindle>kindle paperwhite 3</a><td bgcolor=black><font color=white>630</font><td bgcolor=#efedf5>2015</tr> <tr> <td class=l><a href=https://en.wikipedia.org/wiki/Amazon_Kindle>kindle 4</a><td bgcolor=black><font color=white>860</font><td bgcolor=#dadaeb>2011</tr> </table> <p>As above, the results are sorted by latency and color-coded from green to yellow to red to black as devices get slower. Also as above, the year gets purple-er (and darker) as the device gets older.</p> <p>If we exclude the <code>game boy color</code>, which is a different class of device than the rest, all of the quickest devices are Apple phones or tablets. The next quickest device is the <code>blackberry q10</code>. Although we don’t have enough data to really tell why the <code>blackberry q10</code> is unusually quick for a non-Apple device, one plausible guess is that it’s helped by having actual buttons, which are easier to implement with low latency than a touchscreen. The other two devices with actual buttons are the <code>gameboy color</code> and the <code>kindle 4</code>.</p> <p>After that <code>iphones</code> and non-kindle button devices, we have a variety of Android devices of various ages. At the bottom, we have the ancient <code>palm pilot 1000</code> followed by the kindles. The <code>palm</code> is hamstrung by a touchscreen and display created in an era with much slower touchscreen technology and the <code>kindles</code> use <a href=https://en.wikipedia.org/wiki/E_Ink>e-ink</a> displays, which are much slower than the displays used on modern phones, so it’s not surprising to see those devices at the bottom.</p> <h3 id=why-is-the-apple-2e-so-fast>Why is the <code>apple 2e</code> so fast?</h3> <p>Compared to a modern computer that’s not the latest <code>ipad pro</code>, the <code>apple 2</code> has significant advantages on both the input and the output, and it also has an advantage between the input and the output for all but the most carefully written code since the <code>apple 2</code> doesn’t have to deal with context switches, buffers involved in handoffs between different processes, etc.</p> <p>On the input, if we look at modern keyboards, it’s common to see them scan their inputs at <code>100 Hz</code> to <code>200 Hz</code> (e.g., <a href=https://github.com/benblazak/ergodox-firmware>the ergodox claims to scan at <code>167 Hz</code></a>). By comparison, the <code>apple 2e</code> effectively scans at <code>556 Hz</code>. See appendix for details.</p> <p>If we look at the other end of the pipeline, the display, we can also find latency bloat there. I have a display that advertises <code>1 ms</code> switching on the box, but if we look at how long it takes for the display to actually show a character from when you can first see the trace of it on the screen until the character is solid, it can easily be <code>10 ms</code>. You can even see this effect with some high-refresh-rate displays that are sold on their allegedly good latency.</p> <p>At <code>144 Hz</code>, each frame takes <code>7 ms</code>. A change to the screen will have <code>0 ms</code> to <code>7 ms</code> of extra latency as it waits for the next frame boundary before getting rendered (on average,we expect half of the maximum latency, or <code>3.5 ms</code>). On top of that, even though my display at home advertises a <code>1 ms</code> switching time, it actually appears to take <code>10 ms</code> to fully change color once the display has started changing color. When we add up the latency from waiting for the next frame to the latency of an actual color change, we get an expected latency of <code>7/2 + 10 = 13.5ms</code></p> <p>With the old CRT in the <code>apple 2e</code>, we’d expect half of a <code>60 Hz</code> refresh (<code>16.7 ms / 2</code>) plus a negligible delay, or <code>8.3 ms</code>. That’s hard to beat today: a state of the art “gaming monitor” can get the total display latency down into the same range, but in terms of marketshare, very few people have such displays, and even displays that are advertised as being fast aren’t always actually fast.</p> <h3 id=ios-rendering-pipeline>iOS rendering pipeline</h3> <p>If we look at what’s happening between the input and the output, the differences between a modern system and an <code>apple 2e</code> are too many to describe without writing an entire book. To get a sense of the situation in modern machines, here’s former iOS/UIKit engineer <a href=https://andymatuschak.org/ >Andy Matuschak</a>’s high-level sketch of what happens on iOS, which he says should be presented with the disclaimer that “this is my out of date memory of out of date information”:</p> <ul> <li>hardware has its own scanrate (e.g. <code>120 Hz</code> for recent touch panels), so that can introduce up to <code>8 ms</code> latency</li> <li>events are delivered to the kernel through firmware; this is relatively quick but system scheduling concerns may introduce a couple <code>ms</code> here</li> <li>the kernel delivers those events to privileged subscribers (here, <code>backboardd</code>) over a mach port; more scheduling loss possible</li> <li><code>backboardd</code> must determine which process should receive the event; this requires taking a lock against the window server, which shares that information (a trip back into the kernel, more scheduling delay)</li> <li><code>backboardd</code> sends that event to the process in question; more scheduling delay possible before it is processed</li> <li>those events are only dequeued on the main thread; something else may be happening on the main thread (e.g. as result of a timer or network activity), so some more latency may result, depending on that work</li> <li>UIKit introduced <code>1-2 ms</code> event processing overhead, CPU-bound</li> <li>application decides what to do with the event; apps are poorly written, so usually this takes many <code>ms</code>. the consequences are batched up in a data-driven update which is sent to the render server over IPC <ul> <li>If the app needs a new shared-memory video buffer as a consequence of the event, which will happen anytime something non-trivial is happening, that will require round-trip IPC to the render server; more scheduling delays</li> <li>(trivial changes are things which the render server can incorporate itself, like affine transformation changes or color changes to layers; non-trivial changes include anything that has to do with text, most raster and vector operations)</li> <li>These kinds of updates often end up being triple-buffered: the GPU might be using one buffer to render right now; the render server might have another buffer queued up for its next frame; and you want to draw into another. More (cross-process) locking here; more trips into kernel-land.</li> </ul></li> <li>the render server applies those updates to its render tree (a few <code>ms</code>)</li> <li>every <code>N Hz</code>, the render tree is flushed to the GPU, which is asked to fill a video buffer <ul> <li>Actually, though, there’s often triple-buffering for the screen buffer, for the same reason I described above: the GPU’s drawing into one now; another might be being read from in preparation for another frame</li> </ul></li> <li>every <code>N Hz</code>, that video buffer is swapped with another video buffer, and the display is driven directly from that memory <ul> <li>(this <code>N Hz</code> isn’t necessarily ideally aligned with the preceding step’s <code>N Hz</code>)</li> </ul></li> </ul> <p>Andy says “the actual amount of <em>work</em> happening here is typically quite small. A few <code>ms</code> of CPU time. Key overhead comes from:”</p> <ul> <li>periodic scanrates (input device, render server, display) imperfectly aligned</li> <li>many handoffs across process boundaries, each an opportunity for something else to get scheduled instead of the consequences of the input event</li> <li>lots of locking, especially across process boundaries, necessitating trips into kernel-land</li> </ul> <p>By comparison, on the Apple 2e, there basically aren’t handoffs, locks, or process boundaries. Some very simple code runs and writes the result to the display memory, which causes the display to get updated on the next scan.</p> <h3 id=refresh-rate-vs-latency>Refresh rate vs. latency</h3> <p>One thing that’s curious about the computer results is the impact of refresh rate. We get a <code>90 ms</code> improvement from going from <code>24 Hz</code> to <code>165 Hz</code>. At <code>24 Hz</code> each frame takes <code>41.67 ms</code> and at <code>165 Hz</code> each frame takes <code>6.061 ms</code>. As we saw above, if there weren’t any buffering, we’d expect the average latency added by frame refreshes to be <code>20.8ms</code> in the former case and <code>3.03 ms</code> in the latter case (because we’d expect to arrive at a uniform random point in the frame and have to wait between <code>0ms</code> and the full frame time), which is a difference of about <code>18ms</code>. But the difference is actually <code>90 ms</code>, implying we have latency equivalent to <code>(90 - 18) / (41.67 - 6.061) = 2</code> buffered frames.</p> <p>If we plot the results from the other refresh rates on the same machine (not shown), we can see that they’re roughly in line with a “best fit” curve that we get if we assume that, for that machine running powershell, we get 2.5 frames worth of latency regardless of refresh rate. This lets us estimate what the latency would be if we equipped this low latency gaming machine with an <code>infinity Hz</code> display -- we’d expect latency to be <code>140 - 2.5 * 41.67 = 36 ms</code>, almost as fast as quick but standard machines from the 70s and 80s.</p> <h3 id=complexity>Complexity</h3> <p>Almost every computer and mobile device that people buy today is slower than common models of computers from the 70s and 80s. Low-latency gaming desktops and the <code>ipad pro</code> can get into the same range as quick machines from thirty to forty years ago, but most off-the-shelf devices aren’t even close.</p> <p>If we had to pick one root cause of latency bloat, we might say that it’s because of “complexity”. Of course, we all know that complexity is bad. If you’ve been to a non-academic non-enterprise tech conference in the past decade, there’s a good chance that there was at least one talk on how complexity is the root of all evil and we should aspire to reduce complexity.</p> <p>Unfortunately, it's a lot harder to remove complexity than to give a talk saying that we should remove complexity. A lot of the complexity buys us something, either directly or indirectly. When we looked at the input of a fancy modern keyboard vs. the <code>apple 2</code> keyboard, we saw that using a relatively powerful and expensive general purpose processor to handle keyboard inputs can be slower than dedicated logic for the keyboard, which would both be simpler and cheaper. However, using the processor gives people the ability to easily customize the keyboard, and also pushes the problem of “programming” the keyboard from hardware into software, which reduces the cost of making the keyboard. The more expensive chip increases the manufacturing cost, but considering how much of the cost of these small-batch artisanal keyboards is the design cost, it seems like a net win to trade manufacturing cost for ease of programming.</p> <p>We see this kind of tradeoff in every part of the pipeline. One of the biggest examples of this is the OS you might run on a modern desktop vs. the loop that’s running on the <code>apple 2</code>. Modern OSes let programmers write generic code that can deal with having other programs simultaneously running on the same machine, and do so with pretty reasonable general performance, but we pay a huge complexity cost for this and the handoffs involved in making this easy result in a significant latency penalty.</p> <p>A lot of the complexity might be called <a href=http://wiki.c2.com/?AccidentalComplexity>accidental complexity</a>, but most of that accidental complexity is there because it’s so convenient. At every level from the hardware architecture to the syscall interface to the I/O framework we use, we take on complexity, much of which could be eliminated if we could sit down and re-write all of the systems and their interfaces today, but it’s too inconvenient to re-invent the universe to reduce complexity and we get benefits from economies of scale, so we live with what we have.</p> <p>For those reasons and more, in practice, the solution to poor performance caused by “excess” complexity is often to add more complexity. In particular, the gains we’ve seen that get us back to the quickness of the quickest machines from thirty to forty years ago have come not from listening to exhortations to reduce complexity, but from piling on more complexity.</p> <p>The <code>ipad pro</code> is a feat of modern engineering; the engineering that went into increasing the refresh rate on both the input and the output as well as making sure the software pipeline doesn’t have unnecessary buffering is complex! The design and manufacture of high-refresh-rate displays that can push system latency down is also non-trivially complex in ways that aren’t necessary for bog standard <code>60 Hz</code> displays.</p> <p>This is actually a common theme when working on latency reduction. A common trick to reduce latency is to add a cache, but adding a cache to a system makes it more complex. For systems that generate new data and can’t tolerate a cache, the solutions are often even more complex. An example of this might be <a href=https://en.wikipedia.org/wiki/RDMA_over_Converged_Ethernet>large scale RoCE deployments</a>. These can push remote data access latency from from the millisecond range down to the microsecond range, <a href=//danluu.com/infinite-disk/ >which enables new classes of applications</a>. However, this has come at a large cost in complexity. Early large-scale RoCE deployments easily took tens of person years of effort to get right and also came with a tremendous operational burden.</p> <h3 id=conclusion>Conclusion</h3> <p>It’s a bit absurd that a modern gaming machine running at <code>4,000x</code> the speed of an <code>apple 2</code>, with a CPU that has <code>500,000x</code> as many transistors (with a GPU that has <code>2,000,000x</code> as many transistors) can maybe manage the same latency as an <code>apple 2</code> in very carefully coded applications if we have a monitor with nearly <code>3x</code> the refresh rate. It’s perhaps even more absurd that the default configuration of the <code>powerspec g405</code>, which had the fastest single-threaded performance you could get until October 2017, had more latency from keyboard-to-screen (approximately <code>3 feet</code>, maybe <code>10 feet</code> of actual cabling) than sending a packet around the world (<code>16187 mi</code> from NYC to Tokyo to London back to NYC, more due to the cost of running the shortest possible length of fiber).</p> <p>On the bright side, we’re arguably emerging from the latency dark ages and it’s now possible to assemble a computer or buy a tablet with latency that’s in the same range as you could get off-the-shelf in the 70s and 80s. This reminds me a bit of the screen resolution & density dark ages, where CRTs from the 90s offered better resolution and higher pixel density than affordable non-laptop LCDs until relatively recently. 4k displays have now become normal and affordable 8k displays are on the horizon, blowing past anything we saw on consumer CRTs. I don’t know that we’ll see the same kind improvement with respect to latency, but one can hope. There are individual developers improving the experience for people who use certain, very carefully coded, applications, but it's not clear what force could cause a significant improvement in the default experience most users see.</p> <h3 id=other-posts-on-latency-measurement>Other posts on latency measurement</h3> <ul> <li><a href=//danluu.com/term-latency/ >Terminal latency</a></li> <li><a href=//danluu.com/keyboard-latency/ >Keyboard latency</a></li> <li><a href=//danluu.com/keyboard-v-mouse/ >Mouse vs. keyboard latency</a> (human factors, not device latency)</li> <li><a href=https://pavelfatin.com/typing-with-pleasure/ >Editor latency</a> (by Pavel Fatin)</li> <li><a href=http://www.lofibucket.com/articles/dwm_latency.html>Windows 10 compositing latency</a> (by Pekka Vaananen)</li> <li><a href=http://blogs.valvesoftware.com/abrash/latency-the-sine-qua-non-of-ar-and-vr/ >AR/VR latency</a> (by Michael Abrash)</li> <li><a href=//danluu.com/latency-mitigation/ >Latency mitigation strategies</a> (by John Carmack)</li> </ul> <h3 id=appendix-why-measure-latency>Appendix: why measure latency?</h3> <p>Latency matters! For very simple tasks, <a href=https://pdfs.semanticscholar.org/386a/15fd85c162b8e4ebb6023acdce9df2bd43ee.pdf>people can perceive latencies down to <code>2 ms</code> or less</a>. Moreover, increasing latency is not only noticeable to users, <a href=http://www.tactuallabs.com/papers/howMuchFasterIsFastEnoughCHI15.pdf>it causes users to execute simple tasks less accurately</a>. If you want a visual demonstration of what latency looks like and you don’t have a super-fast old computer lying around, <a href="https://www.youtube.com/watch?v=vOvQCPLkPt4">check out this MSR demo on touchscreen latency</a>.</p> <p>The most commonly cited document on response time is the nielsen group article on response times, which claims that latncies below <code>100ms</code> feel equivalent and perceived as instantaneous. One easy way to see that this is false is to go into your terminal and try <code>sleep 0; echo "pong"</code> vs. <code>sleep 0.1; echo "test"</code> (or for that matter, try playing an old game that doesn't have latency compensation, like quake 1, with <code>100 ms</code> ping, or even <code>30 ms</code> ping, or try typing in a terminal with <code>30 ms</code> ping). For more info on this and other latency fallacies, <a href=//danluu.com/keyboard-latency/#appendix-counter-arguments-to-common-arguments-that-latency-doesn-t-matter>see this document on common misconceptions about latency</a>.</p> <p><a href=https://stackoverflow.com/a/39187441/334816>Throughput</a> also matters, but this is widely understood and measured. If you go to pretty much any mainstream review or benchmarking site, you can find a wide variety of throughput measurements, so there’s less value in writing up additional throughput measurements.</p> <h3 id=appendix-apple-2-keyboard>Appendix: apple 2 keyboard</h3> <p>The <code>apple 2e</code>, instead of using a programmed microcontroller to read the keyboard, uses a much simpler custom chip designed for reading keyboard input, the AY 3600. If we look at <a href=//danluu.com/AY3600.pdf>the AY 3600 datasheet</a>,we can see that the scan time is <code>(90 * 1/f)</code> and the debounce time is listed as <code>strobe_delay</code>. These quantities are determined by some capacitors and a resistor, which appear to be <code>47pf</code>, <code>100k ohms</code>, and <code>0.022uf</code> for the Apple 2e. Plugging these numbers into <a href=//danluu.com/AY3600.pdf>the AY3600 datasheet</a>, we can see that <code>f = 50 kHz</code>, giving us a <code>1.8 ms</code> scan delay and a <code>6.8 ms</code> debounce delay (assuming the values are accurate -- <a href=http://www.kemet.com/Lists/TechnicalArticles/Attachments/191/Why%2047%20uF%20capacitor%20drops%20to%2037%20uF-%2030%20uF-%20or%20lower.pdf>capacitors can degrade over time</a>, so we should expect the real delays to be shorter on our old Apple 2e), giving us less than <code>8.6 ms</code> for the internal keyboard logic.</p> <p>Comparing to a keyboard with a <code>167 Hz</code> scan rate that <a href=https://www.arduino.cc/en/Tutorial/Debounce>scans two extra times to debounce</a>, the equivalent figure is <code>3 * 6 ms = 18 ms</code>. With a <code>100Hz</code> scan rate, that becomes <code>3 * 10 ms = 30 ms</code>. <code>18 ms</code> to <code>30 ms</code> of keyboard scan plus debounce latency is in line with <a href=//danluu.com/keyboard-latency/ >what we saw when we did some preliminary keyboard latency measurements</a>.</p> <p>For reference, the ergodox uses a <code>16 MHz</code> microcontroller with ~80k transistors and the <code>apple 2e</code> CPU is a <code>1 MHz</code> chip with 3.5k transistors.</p> <h3 id=appendix-why-should-android-phones-have-higher-latency-than-old-apple-phones>Appendix: why should android phones have higher latency than old apple phones?</h3> <p>As we've seen, raw processing power doesn't help much with many of the causes of latency in the pipeline, like handoffs between different processes, so phones that an android phone with a 10x more powerful processor than an ancient iphone isn't guaranteed to be quicker to respond, even if it can render javascript heavy pages faster.</p> <p>If you talk to people who work on non-Apple mobile CPUs, you'll find that they run benchmarks like dhrystone (a synthetic benchmark that was irrelevant even when it was created, in 1984) and SPEC2006 (an updated version of a workstation benchmark that was relevant in the 90s and perhaps even as late as the early 2000s if you care about workstation workloads, which are completely different from mobile workloads). This problem where the vendor who makes the component has <a href=//danluu.com/percentile-latency/ >an intermediate target</a> that's only weakly correlated to the actual user experience. I've heard that there are people working on the pixel phones who care about end-to-end latency, but it's difficult to get good latency when you have to use components that are optimized for things like dhrystone and SPEC2006.</p> <p>If you talk to people at Apple, you'll find that they're quite cagey, but that they've been targeting the end-to-end user experience for quite a long time and they they can do "full stack" optimizations that are difficult for android vendors to pull of. They're not literally impossible, but making a change to a chip that has to be threaded up through the OS is something you're very unlikely to see unless google is doing the optimization, and google hasn't really been serious about the end-to-end experience until recently.</p> <p>Having relatively poor performance in aspects that aren't measured is a common theme and one we saw when we looked at <a href=//danluu.com/term-latency/ >terminal latency</a>. Prior to examining temrinal latency, public benchmarks were all throughput oriented and the terminals that priortized performance worked on increasing throughput, even though increasing terminal throughput isn't really useful. After those terminal latency benchmarks, some terminal authors looked into their latency and found places they could trim down buffering and remove latency. You get what you measure.</p> <h3 id=appendix-experimental-setup>Appendix: experimental setup</h3> <p>Most measurements were taken with the 240fps camera (<code>4.167 ms</code> resolution) in <a href="https://www.amazon.com/gp/product/B071W3DDM7/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B071W3DDM7&linkId=fde44f1346bdf4bc60896580c2f3dffa">the iPhone SE</a>. Devices with response times below <code>40 ms</code> were re-measured with a 1000fps camera (<code>1 ms</code> resolution), the <a href="https://www.amazon.com/gp/product/B01M62I8Q7/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01M62I8Q7&linkId=d5f90ebe0b220a8c6e550761f663fb19">Sony RX100 V</a> in PAL mode. Results in the tables are the results of multiple runs and are rounded to the nearest <code>10 ms</code> to avoid the impression of false precision. For desktop results, results are measured from when the key started moving until the screen finished updating. Note that this is different from most key-to-screen-update measurements you can find online, which typically use a setup that effectively removes much or all of the keyboard latency, which, as an end-to-end measurement, is only realistic if you have a psychic link to your computer (this isn't to say the measurements aren't useful -- if, as a programmer, you want a reproducible benchmark, it's nice to reduce measurement noise from sources that are beyond your control, but that's not relevant to end users). People often advocate measuring from one of: {the key bottoming out, the tactile feel of the switch}. Other than for measurement convenience, there appears to be no reason to do any of these, but people often claim that's when the user expects the keyboard to "really" work. But these are independent of when the switch actually fires. Both the distance between the key bottoming out and activiation as well as the distance between feeling feedback and activation are arbitrary and can be tuned. See <a href=//danluu.com/keyboard-latency/ >this post on keyboard latency measurements for more info on keyboard fallacies</a>.</p> <p>Another significant difference is that measurements were done with settings as close to the default OS settings as possible since approximately 0% of users will futz around with display settings to reduce buffering, disable the compositor, etc. Waiting until the screen has finished updating is also different from most end-to-end measurements do -- most consider the update "done" when any movement has been detected on the screen. Waiting until the screen is finished changing is analogous to webpagetest's "visually complete" time.</p> <p>Computer results were taken using the “default” terminal for the system (e.g., powershell on windows, lxterminal on lubuntu), <a href=//danluu.com/term-latency/ >which could easily cause <code>20 ms</code> to <code>30 ms</code> difference between a fast terminal and a slow terminal</a>. Between measuring time in a terminal and measuring the full end-to-end time, measurements in this article should be slower than measurements in other, similar, articles (which tend to measure time to first change in games).</p> <p>The <code>powerspec g405</code> baseline result is using integrated graphics (the machine doesn’t come with a graphics card) and the <code>60 Hz</code> result is with a cheap video card. The baseline was result was at <code>30 Hz</code> because the integrated graphics only supports <code>hdmi</code> output and the display it was attached to only runs at <code>30 Hz</code> over <code>hdmi</code>.</p> <p>Mobile results were done by using the default browser, browsing to <a href=https://danluu.com>https://danluu.com</a>, and measuring the latency from finger movement until the screen first updates to indicate that scrolling has occurred. In the cases where this didn’t make sense, (kindles, gameboy color, etc.), some action that makes sense for the platform was taken (changing pages on the kindle, pressing the joypad on the gameboy color in a game, etc.). Unlike with the desktop/laptop measurements, this end-time for the measurement was on the first visual change to avoid including many frames of scrolling. To make the measurement easy, the measurement was taken with a finger on the touchscreen and the timer was started when the finger started moving (to avoid having to determine when the finger first contacted the screen).</p> <p>In the case of “ties”, results are ordered by the unrounded latency as a tiebreaker, but this shouldn’t be considered significant. Differences of <code>10 ms</code> should probably also not be considered significant.</p> <p>The <code>custom haswell-e</code> was tested with <code>gsync</code> on and there was no observable difference. The year for that box is somewhat arbitrary, since the CPU is from <code>2014</code>, but the display is newer (I believe you couldn’t get a <code>165 Hz</code> display until <code>2015</code>.</p> <p>The number of transistors for some modern machines is a rough estimate because exact numbers aren’t public. Feel free to ping me if you have a better estimate!</p> <p>The color scales for latency and year are linear and the color scales for clock speed and number of transistors are log scale.</p> <p>All Linux results were done with a <a href=https://lwn.net/SubscriberLink/741878/eb6c9d3913d7cb2b/ >pre-KPTI</a> kernel. It's possible that KPTI will impact user perceivable latency.</p> <p>Measurements were done as cleanly as possible (without other things running on the machine/device when possible, with a device that was nearly full on battery for devices with batteries). Latencies when other software is running on the device or when devices are low on battery might be much higher.</p> <p>If you want a reference to compare the kindle against, a moderately quick page turn in a physical book appears to be about <code>200 ms</code>.</p> <p><i>This is a work in progress. I expect to get benchmarks from a lot more old computers the next time I visit Seattle. If you know of old computers I can test in the NYC area (that have their original displays or something like them), let me know! If you have a device you’d like to donate for testing, feel free to mail it to</i></p> <p>Dan Luu<br> Recurse Center<br> 455 Broadway, 2nd Floor<br> New York, NY 10013</p> <p><i>Thanks to <a href="https://www.recurse.com/scout/click?t=b504af89e87b77920c9b60b2a1f6d5e8">RC</a>, David Albert, Bert Muthalaly, Christian Ternus, Kate Murphy, Ikhwan Lee, Peter Bhat Harkins, Leah Hanson, Alicia Thilani Singham Goodwin, Amy Huang, Dan Bentley, Jacquin Mininger, Rob, Susan Steinman, Raph Levien, Max McCrea, Peter Town, Jon Cinque, Anonymous, and Jonathan Dahan for donating devices to test and thanks to Leah Hanson, Andy Matuschak, Milosz Danczak, amos (@fasterthanlime), @emitter_coupled, Josh Jordan, mrob, and David Albert for comments/corrections/discussion.</i></p> </main><nav><div class=np> <a href=https://danluu.com/fsyncgate/ >← Fsyncgate: errors on fsync are unrecovarable</a> <a href=https://danluu.com/bad-decisions/ >How good are decisions? →</a> </div> <div class=np> <a href=https://danluu.com/ >Archive</a> <a href=https://www.patreon.com/danluu>Patreon</a> <a href=https://mastodon.social/@danluu>Mastodon</a> <a href=https://threads.net/@danluu.danluu>Threads</a> </div></nav> | Computer latency: 1977-2017img{max-width:100%;height:auto}pre{max-width:100%;height:auto;white-space:pre-wrap}.np{display:flex;flex-direction:row;justify-content:space-between;padding-bottom:.5em;font-style:italic} **Computer latency: 1977-2017** | ***[I'm trying some experimental tiers on Patreon](https://patreon.com/danluu)** to see if I can get to [substack-like levels of financial support for this blog without moving to substack](https://twitter.com/danluu/status/1456346963691991041)!*
---
I've had this nagging feeling that the computers I use today feel slower than the computers I used as a kid. As a rule, I don’t trust this kind of feeling because human perception has been shown to be unreliable in empirical studies, so I carried around a high-speed camera and measured the response latency of devices I’ve run into in the past few months. Here are the results:
table{border-collapse:collapse;margin:0 auto}table,td,th{border:1px solid #000}td{text-align:center}td.l{text-align:left}
| computer latency(ms) year clock # T | | | | |
| --- | --- | --- | --- | --- |
| [apple 2e](https://en.wikipedia.org/wiki/Apple_IIe) 30 1983 1 MHz 3.5k | | | | |
| [ti 99/4a](https://www.amazon.com/gp/product/B004GYBZBE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B004GYBZBE&linkId=123a7b9e283914f633fbdc9b001f255b) 40 1981 3 MHz 8k | | | | |
| [custom haswell-e *165Hz*](https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314) 50 2014 3.5 GHz 2G | | | | |
| [commodore pet 4016](https://en.wikipedia.org/wiki/Commodore_PET) 60 1977 1 MHz 3.5k | | | | |
| [sgi indy](https://en.wikipedia.org/wiki/SGI_Indy) 60 1993 .1 GHz 1.2M | | | | |
| [custom haswell-e *120Hz*](https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314) 60 2014 3.5 GHz 2G | | | | |
| [thinkpad 13 **chromeos**](https://www.amazon.com/gp/product/B01LWNVFIM/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LWNVFIM&linkId=d4f3e06001021e2bfc95eb2c8c3a9805) 70 2017 2.3 GHz 1G | | | | |
| [imac g4 **os 9**](https://www.amazon.com/gp/product/B007O35FI8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B007O35FI8&linkId=dc8b3670da16e98e718b157661037e4b) 70 2002 .8 GHz 11M | | | | |
| [custom haswell-e *60Hz*](https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314) 80 2014 3.5 GHz 2G | | | | |
| [mac color classic](https://en.wikipedia.org/wiki/Macintosh_Color_Classic) 90 1993 16 MHz 273k | | | | |
| [powerspec g405 **linux** *60Hz*](http://www.powerspec.com/systems/system_specs.phtml?selection=G405) 90 2017 4.2 GHz 2G | | | | |
| [macbook pro 2014](https://www.amazon.com/gp/product/B0096VDM8G/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0096VDM8G&linkId=d134e4e812fd9e68ddb6191e03f78a72) 100 2014 2.6 GHz 700M | | | | |
| [thinkpad 13 **linux chroot**](https://www.amazon.com/gp/product/B01LWNVFIM/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LWNVFIM&linkId=d4f3e06001021e2bfc95eb2c8c3a9805) 100 2017 2.3 GHz 1G | | | | |
| [lenovo x1 carbon 4g **linux**](https://www.amazon.com/gp/product/B072BDGLBC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072BDGLBC&linkId=b316192e2edacb439be22ef01a6bb779) 110 2016 2.6 GHz 1G | | | | |
| [imac g4 **os x**](https://www.amazon.com/gp/product/B007O35FI8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B007O35FI8&linkId=dc8b3670da16e98e718b157661037e4b) 120 2002 .8 GHz 11M | | | | |
| [custom haswell-e *24Hz*](https://www.amazon.com/gp/product/B01FJLAITC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01FJLAITC&linkId=8ffc49fdd6c38da2429e5f3ab5527314) 140 2014 3.5 GHz 2G | | | | |
| [lenovo x1 carbon 4g **win**](https://www.amazon.com/gp/product/B072BDGLBC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072BDGLBC&linkId=b316192e2edacb439be22ef01a6bb779) 150 2016 2.6 GHz 1G | | | | |
| [next cube](https://en.wikipedia.org/wiki/NeXTcube) 150 1988 25 MHz 1.2M | | | | |
| [powerspec g405 **linux**](http://www.powerspec.com/systems/system_specs.phtml?selection=G405) 170 2017 4.2 GHz 2G | | | | |
| packet around the world 190 | |
| [powerspec g405 **win**](http://www.powerspec.com/systems/system_specs.phtml?selection=G405) 200 2017 4.2 GHz 2G | | | | |
| [symbolics 3620](https://en.wikipedia.org/wiki/Symbolics) 300 1986 5 MHz 390k | | | | |
These are tests of the latency between a keypress and the display of a character in a terminal (see appendix for more details). The results are sorted from quickest to slowest. In the latency column, the background goes from green to yellow to red to black as devices get slower and the background gets darker as devices get slower. No devices are green. When multiple OSes were tested on the same machine, the os is **in bold**. When multiple refresh rates were tested on the same machine, the refresh rate is *in italics*.
In the year column, the background gets darker and purple-er as devices get older. If older devices were slower, we’d see the year column get darker as we read down the chart.
The next two columns show the clock speed and number of transistors in the processor. Smaller numbers are darker and blue-er. As above, if slower clocked and smaller chips correlated with longer latency, the columns would get darker as we go down the table, but it, if anything, seems to be the other way around.
For reference, the latency of a packet going around the world through fiber from NYC back to NYC via [Tokyo and London](https://www.extremetech.com/extreme/122989-1-5-billion-the-cost-of-cutting-london-toyko-latency-by-60ms) is inserted in the table.
If we look at overall results, the fastest machines are ancient. Newer machines are all over the place. Fancy gaming rigs with unusually high refresh-rate displays are almost competitive with machines from the late 70s and early 80s, but “normal” modern computers can’t compete with thirty to forty year old machines.
We can also look at mobile devices. In this case, we’ll look at scroll latency in the browser:
| device latency(ms) year | | |
| --- | --- | --- |
| [ipad pro 10.5" pencil](https://www.amazon.com/gp/product/B072V4HK9F/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072V4HK9F&linkId=5679f47f9a699d00e721eff9592bed11) 30 2017 | | |
| [ipad pro 10.5"](https://www.amazon.com/gp/product/B072V4HK9F/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072V4HK9F&linkId=5679f47f9a699d00e721eff9592bed11) 70 2017 | | |
| [iphone 4s](https://www.amazon.com/gp/product/B006FMDVDK/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B006FMDVDK&linkId=9ad1ee1c78ed24a00d7aeaa7acba466b) 70 2011 | | |
| [iphone 6s](https://www.amazon.com/gp/product/B00YD547Q6/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00YD547Q6&linkId=8760bcadabac2a1a34059f5695523d18) 70 2015 | | |
| [iphone 3gs](https://www.amazon.com/gp/product/B008VUNRZQ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B008VUNRZQ&linkId=f9f973947891d7eb01a251146c8a17ed) 70 2009 | | |
| [iphone x](https://www.amazon.com/gp/product/B075QN8NDJ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QN8NDJ&linkId=17f3a63a6d672e453c1bb28c26f1e680) 80 2017 | | |
| [iphone 8](https://www.amazon.com/gp/product/B075QJSQLT/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QJSQLT&linkId=0e9df41aaed6dc80988793dcbc08a175) 80 2017 | | |
| [iphone 7](https://www.amazon.com/gp/product/B0743HK992/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0743HK992&linkId=ad1f03111643f0e52f245f120f8efb2b) 80 2016 | | |
| [iphone 6](https://www.amazon.com/gp/product/B00YD545CC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00YD545CC&linkId=cc899d2e45b87f032042af8eb666cef1) 80 2014 | | |
| [gameboy color](https://www.amazon.com/gp/product/B077629NJ2/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B077629NJ2&linkId=cadd23b2ef84a2b9c6abe268754e6cb4) 80 1998 | | |
| [iphone 5](https://www.amazon.com/gp/product/B00WZR5URO/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00WZR5URO&linkId=f781b3a6200f81f6a0137a69ab1b4c0f) 90 2012 | | |
| [blackberry q10](https://www.amazon.com/gp/product/B00CES5B96/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00CES5B96&linkId=fab4357d277c9716f691d15431aace90) 100 2013 | | |
| [huawei honor 8](https://www.amazon.com/gp/product/B01IVV7W8M/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01IVV7W8M&linkId=be83bfddcd1ff8029f548810b405a281) 110 2016 | | |
| [google pixel 2 xl](https://www.amazon.com/gp/product/B0766TPHSH/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0766TPHSH&linkId=774b61b9fe3692df21821844dfedc18b) 110 2017 | | |
| [galaxy s7](https://www.amazon.com/gp/product/B01F48QLFA/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01F48QLFA&linkId=00e8a7505d84e546c50e3d8761944d05) 120 2016 | | |
| [galaxy note 3](https://www.amazon.com/gp/product/B00TJ4FFHQ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00TJ4FFHQ&linkId=f74214ac520214bcb199ce2710ed470f) 120 2016 | | |
| [moto x](https://www.amazon.com/gp/product/B00EP2CLII/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00EP2CLII&linkId=f3ad24ebb82fb4b8282ae94deede1319) 120 2013 | | |
| [nexus 5x](https://www.amazon.com/gp/product/B076KTGJPG/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B076KTGJPG&linkId=9164d7895c51ee31fd8db00c3d1597e7) 120 2015 | | |
| [oneplus 3t](https://www.amazon.com/gp/product/B01MXR13TZ/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01MXR13TZ&linkId=924c9f9d8f2413c64f0f295d505f09da) 130 2016 | | |
| [blackberry key one](https://www.amazon.com/gp/product/B075QBLBN8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B075QBLBN8&linkId=439fabf5b71beb2b4820618432366e72) 130 2017 | | |
| [moto e (2g)](https://www.amazon.com/gp/product/B016QP7SKC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B016QP7SKC&linkId=207d8847bf6e6740694ea85cc97a8363) 140 2015 | | |
| [moto g4 play](https://www.amazon.com/gp/product/B071YC3G5V/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B071YC3G5V&linkId=d5c16509db8a503bfd0e9fa4480bd92f) 140 2017 | | |
| [moto g4 plus](https://www.amazon.com/gp/product/B01DZJFYLC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01DZJFYLC&linkId=d173832b8e78e184d0ec5f801c582403) 140 2016 | | |
| [google pixel](https://www.amazon.com/gp/product/B0731KJVGG/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0731KJVGG&linkId=a52d46d36b6136641937b82c5f99fa1d) 140 2016 | | |
| [samsung galaxy avant](https://www.amazon.com/gp/product/B00N3FSWG8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00N3FSWG8&linkId=a4df2be4f14002eed6fdbd267b8dca91) 150 2014 | | |
| [asus zenfone3 max](https://www.amazon.com/gp/product/B01LZ8516T/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LZ8516T&linkId=16070e26fe5b1eee184b3fcfa6a7f373) 150 2016 | | |
| [sony xperia z5 compact](https://www.amazon.com/gp/product/B01LACBMV2/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LACBMV2&linkId=6a38fa7701b76f17fc1ba183e2bac551) 150 2015 | | |
| [htc one m4](https://www.amazon.com/gp/product/B00F618DXE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00F618DXE&linkId=481f35c95f57b730ab417f680ff1cdf3) 160 2013 | | |
| [galaxy s4 mini](https://www.amazon.com/gp/product/B00UZ7QJ6W/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B00UZ7QJ6W&linkId=a37479092aca4085fc7bee582232fbfe) 170 2013 | | |
| [lg k4](https://www.amazon.com/gp/product/B072K1BY62/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B072K1BY62&linkId=7a9dc6d3a3400a24cba9141b09d85f32) 180 2016 | | |
| packet 190 | |
| [htc rezound](https://www.amazon.com/gp/product/B0073YBGCC/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B0073YBGCC&linkId=75785e57c1c5a2318dcd95a6178af60c) 240 2011 | | |
| [palm pilot 1000](https://en.wikipedia.org/wiki/Pilot_1000) 490 1996 | | |
| [kindle oasis 2](https://en.wikipedia.org/wiki/Amazon_Kindle) 570 2017 | | |
| [kindle paperwhite 3](https://en.wikipedia.org/wiki/Amazon_Kindle) 630 2015 | | |
| [kindle 4](https://en.wikipedia.org/wiki/Amazon_Kindle) 860 2011 | | |
As above, the results are sorted by latency and color-coded from green to yellow to red to black as devices get slower. Also as above, the year gets purple-er (and darker) as the device gets older.
If we exclude the `game boy color`, which is a different class of device than the rest, all of the quickest devices are Apple phones or tablets. The next quickest device is the `blackberry q10`. Although we don’t have enough data to really tell why the `blackberry q10` is unusually quick for a non-Apple device, one plausible guess is that it’s helped by having actual buttons, which are easier to implement with low latency than a touchscreen. The other two devices with actual buttons are the `gameboy color` and the `kindle 4`.
After that `iphones` and non-kindle button devices, we have a variety of Android devices of various ages. At the bottom, we have the ancient `palm pilot 1000` followed by the kindles. The `palm` is hamstrung by a touchscreen and display created in an era with much slower touchscreen technology and the `kindles` use [e-ink](https://en.wikipedia.org/wiki/E_Ink) displays, which are much slower than the displays used on modern phones, so it’s not surprising to see those devices at the bottom.
### Why is the `apple 2e` so fast?
Compared to a modern computer that’s not the latest `ipad pro`, the `apple 2` has significant advantages on both the input and the output, and it also has an advantage between the input and the output for all but the most carefully written code since the `apple 2` doesn’t have to deal with context switches, buffers involved in handoffs between different processes, etc.
On the input, if we look at modern keyboards, it’s common to see them scan their inputs at `100 Hz` to `200 Hz` (e.g., [the ergodox claims to scan at `167 Hz`](https://github.com/benblazak/ergodox-firmware)). By comparison, the `apple 2e` effectively scans at `556 Hz`. See appendix for details.
If we look at the other end of the pipeline, the display, we can also find latency bloat there. I have a display that advertises `1 ms` switching on the box, but if we look at how long it takes for the display to actually show a character from when you can first see the trace of it on the screen until the character is solid, it can easily be `10 ms`. You can even see this effect with some high-refresh-rate displays that are sold on their allegedly good latency.
At `144 Hz`, each frame takes `7 ms`. A change to the screen will have `0 ms` to `7 ms` of extra latency as it waits for the next frame boundary before getting rendered (on average,we expect half of the maximum latency, or `3.5 ms`). On top of that, even though my display at home advertises a `1 ms` switching time, it actually appears to take `10 ms` to fully change color once the display has started changing color. When we add up the latency from waiting for the next frame to the latency of an actual color change, we get an expected latency of `7/2 + 10 = 13.5ms`
With the old CRT in the `apple 2e`, we’d expect half of a `60 Hz` refresh (`16.7 ms / 2`) plus a negligible delay, or `8.3 ms`. That’s hard to beat today: a state of the art “gaming monitor” can get the total display latency down into the same range, but in terms of marketshare, very few people have such displays, and even displays that are advertised as being fast aren’t always actually fast.
### iOS rendering pipeline
If we look at what’s happening between the input and the output, the differences between a modern system and an `apple 2e` are too many to describe without writing an entire book. To get a sense of the situation in modern machines, here’s former iOS/UIKit engineer [Andy Matuschak](https://andymatuschak.org/)’s high-level sketch of what happens on iOS, which he says should be presented with the disclaimer that “this is my out of date memory of out of date information”:
* hardware has its own scanrate (e.g. `120 Hz` for recent touch panels), so that can introduce up to `8 ms` latency
* events are delivered to the kernel through firmware; this is relatively quick but system scheduling concerns may introduce a couple `ms` here
* the kernel delivers those events to privileged subscribers (here, `backboardd`) over a mach port; more scheduling loss possible
* `backboardd` must determine which process should receive the event; this requires taking a lock against the window server, which shares that information (a trip back into the kernel, more scheduling delay)
* `backboardd` sends that event to the process in question; more scheduling delay possible before it is processed
* those events are only dequeued on the main thread; something else may be happening on the main thread (e.g. as result of a timer or network activity), so some more latency may result, depending on that work
* UIKit introduced `1-2 ms` event processing overhead, CPU-bound
* application decides what to do with the event; apps are poorly written, so usually this takes many `ms`. the consequences are batched up in a data-driven update which is sent to the render server over IPC
+ If the app needs a new shared-memory video buffer as a consequence of the event, which will happen anytime something non-trivial is happening, that will require round-trip IPC to the render server; more scheduling delays
+ (trivial changes are things which the render server can incorporate itself, like affine transformation changes or color changes to layers; non-trivial changes include anything that has to do with text, most raster and vector operations)
+ These kinds of updates often end up being triple-buffered: the GPU might be using one buffer to render right now; the render server might have another buffer queued up for its next frame; and you want to draw into another. More (cross-process) locking here; more trips into kernel-land.
* the render server applies those updates to its render tree (a few `ms`)
* every `N Hz`, the render tree is flushed to the GPU, which is asked to fill a video buffer
+ Actually, though, there’s often triple-buffering for the screen buffer, for the same reason I described above: the GPU’s drawing into one now; another might be being read from in preparation for another frame
* every `N Hz`, that video buffer is swapped with another video buffer, and the display is driven directly from that memory
+ (this `N Hz` isn’t necessarily ideally aligned with the preceding step’s `N Hz`)
Andy says “the actual amount of *work* happening here is typically quite small. A few `ms` of CPU time. Key overhead comes from:”
* periodic scanrates (input device, render server, display) imperfectly aligned
* many handoffs across process boundaries, each an opportunity for something else to get scheduled instead of the consequences of the input event
* lots of locking, especially across process boundaries, necessitating trips into kernel-land
By comparison, on the Apple 2e, there basically aren’t handoffs, locks, or process boundaries. Some very simple code runs and writes the result to the display memory, which causes the display to get updated on the next scan.
### Refresh rate vs. latency
One thing that’s curious about the computer results is the impact of refresh rate. We get a `90 ms` improvement from going from `24 Hz` to `165 Hz`. At `24 Hz` each frame takes `41.67 ms` and at `165 Hz` each frame takes `6.061 ms`. As we saw above, if there weren’t any buffering, we’d expect the average latency added by frame refreshes to be `20.8ms` in the former case and `3.03 ms` in the latter case (because we’d expect to arrive at a uniform random point in the frame and have to wait between `0ms` and the full frame time), which is a difference of about `18ms`. But the difference is actually `90 ms`, implying we have latency equivalent to `(90 - 18) / (41.67 - 6.061) = 2` buffered frames.
If we plot the results from the other refresh rates on the same machine (not shown), we can see that they’re roughly in line with a “best fit” curve that we get if we assume that, for that machine running powershell, we get 2.5 frames worth of latency regardless of refresh rate. This lets us estimate what the latency would be if we equipped this low latency gaming machine with an `infinity Hz` display -- we’d expect latency to be `140 - 2.5 * 41.67 = 36 ms`, almost as fast as quick but standard machines from the 70s and 80s.
### Complexity
Almost every computer and mobile device that people buy today is slower than common models of computers from the 70s and 80s. Low-latency gaming desktops and the `ipad pro` can get into the same range as quick machines from thirty to forty years ago, but most off-the-shelf devices aren’t even close.
If we had to pick one root cause of latency bloat, we might say that it’s because of “complexity”. Of course, we all know that complexity is bad. If you’ve been to a non-academic non-enterprise tech conference in the past decade, there’s a good chance that there was at least one talk on how complexity is the root of all evil and we should aspire to reduce complexity.
Unfortunately, it's a lot harder to remove complexity than to give a talk saying that we should remove complexity. A lot of the complexity buys us something, either directly or indirectly. When we looked at the input of a fancy modern keyboard vs. the `apple 2` keyboard, we saw that using a relatively powerful and expensive general purpose processor to handle keyboard inputs can be slower than dedicated logic for the keyboard, which would both be simpler and cheaper. However, using the processor gives people the ability to easily customize the keyboard, and also pushes the problem of “programming” the keyboard from hardware into software, which reduces the cost of making the keyboard. The more expensive chip increases the manufacturing cost, but considering how much of the cost of these small-batch artisanal keyboards is the design cost, it seems like a net win to trade manufacturing cost for ease of programming.
We see this kind of tradeoff in every part of the pipeline. One of the biggest examples of this is the OS you might run on a modern desktop vs. the loop that’s running on the `apple 2`. Modern OSes let programmers write generic code that can deal with having other programs simultaneously running on the same machine, and do so with pretty reasonable general performance, but we pay a huge complexity cost for this and the handoffs involved in making this easy result in a significant latency penalty.
A lot of the complexity might be called [accidental complexity](http://wiki.c2.com/?AccidentalComplexity), but most of that accidental complexity is there because it’s so convenient. At every level from the hardware architecture to the syscall interface to the I/O framework we use, we take on complexity, much of which could be eliminated if we could sit down and re-write all of the systems and their interfaces today, but it’s too inconvenient to re-invent the universe to reduce complexity and we get benefits from economies of scale, so we live with what we have.
For those reasons and more, in practice, the solution to poor performance caused by “excess” complexity is often to add more complexity. In particular, the gains we’ve seen that get us back to the quickness of the quickest machines from thirty to forty years ago have come not from listening to exhortations to reduce complexity, but from piling on more complexity.
The `ipad pro` is a feat of modern engineering; the engineering that went into increasing the refresh rate on both the input and the output as well as making sure the software pipeline doesn’t have unnecessary buffering is complex! The design and manufacture of high-refresh-rate displays that can push system latency down is also non-trivially complex in ways that aren’t necessary for bog standard `60 Hz` displays.
This is actually a common theme when working on latency reduction. A common trick to reduce latency is to add a cache, but adding a cache to a system makes it more complex. For systems that generate new data and can’t tolerate a cache, the solutions are often even more complex. An example of this might be [large scale RoCE deployments](https://en.wikipedia.org/wiki/RDMA_over_Converged_Ethernet). These can push remote data access latency from from the millisecond range down to the microsecond range, [which enables new classes of applications](//danluu.com/infinite-disk/). However, this has come at a large cost in complexity. Early large-scale RoCE deployments easily took tens of person years of effort to get right and also came with a tremendous operational burden.
### Conclusion
It’s a bit absurd that a modern gaming machine running at `4,000x` the speed of an `apple 2`, with a CPU that has `500,000x` as many transistors (with a GPU that has `2,000,000x` as many transistors) can maybe manage the same latency as an `apple 2` in very carefully coded applications if we have a monitor with nearly `3x` the refresh rate. It’s perhaps even more absurd that the default configuration of the `powerspec g405`, which had the fastest single-threaded performance you could get until October 2017, had more latency from keyboard-to-screen (approximately `3 feet`, maybe `10 feet` of actual cabling) than sending a packet around the world (`16187 mi` from NYC to Tokyo to London back to NYC, more due to the cost of running the shortest possible length of fiber).
On the bright side, we’re arguably emerging from the latency dark ages and it’s now possible to assemble a computer or buy a tablet with latency that’s in the same range as you could get off-the-shelf in the 70s and 80s. This reminds me a bit of the screen resolution & density dark ages, where CRTs from the 90s offered better resolution and higher pixel density than affordable non-laptop LCDs until relatively recently. 4k displays have now become normal and affordable 8k displays are on the horizon, blowing past anything we saw on consumer CRTs. I don’t know that we’ll see the same kind improvement with respect to latency, but one can hope. There are individual developers improving the experience for people who use certain, very carefully coded, applications, but it's not clear what force could cause a significant improvement in the default experience most users see.
### Other posts on latency measurement
* [Terminal latency](//danluu.com/term-latency/)
* [Keyboard latency](//danluu.com/keyboard-latency/)
* [Mouse vs. keyboard latency](//danluu.com/keyboard-v-mouse/) (human factors, not device latency)
* [Editor latency](https://pavelfatin.com/typing-with-pleasure/) (by Pavel Fatin)
* [Windows 10 compositing latency](http://www.lofibucket.com/articles/dwm_latency.html) (by Pekka Vaananen)
* [AR/VR latency](http://blogs.valvesoftware.com/abrash/latency-the-sine-qua-non-of-ar-and-vr/) (by Michael Abrash)
* [Latency mitigation strategies](//danluu.com/latency-mitigation/) (by John Carmack)
### Appendix: why measure latency?
Latency matters! For very simple tasks, [people can perceive latencies down to `2 ms` or less](https://pdfs.semanticscholar.org/386a/15fd85c162b8e4ebb6023acdce9df2bd43ee.pdf). Moreover, increasing latency is not only noticeable to users, [it causes users to execute simple tasks less accurately](http://www.tactuallabs.com/papers/howMuchFasterIsFastEnoughCHI15.pdf). If you want a visual demonstration of what latency looks like and you don’t have a super-fast old computer lying around, [check out this MSR demo on touchscreen latency](https://www.youtube.com/watch?v=vOvQCPLkPt4).
The most commonly cited document on response time is the nielsen group article on response times, which claims that latncies below `100ms` feel equivalent and perceived as instantaneous. One easy way to see that this is false is to go into your terminal and try `sleep 0; echo "pong"` vs. `sleep 0.1; echo "test"` (or for that matter, try playing an old game that doesn't have latency compensation, like quake 1, with `100 ms` ping, or even `30 ms` ping, or try typing in a terminal with `30 ms` ping). For more info on this and other latency fallacies, [see this document on common misconceptions about latency](//danluu.com/keyboard-latency/#appendix-counter-arguments-to-common-arguments-that-latency-doesn-t-matter).
[Throughput](https://stackoverflow.com/a/39187441/334816) also matters, but this is widely understood and measured. If you go to pretty much any mainstream review or benchmarking site, you can find a wide variety of throughput measurements, so there’s less value in writing up additional throughput measurements.
### Appendix: apple 2 keyboard
The `apple 2e`, instead of using a programmed microcontroller to read the keyboard, uses a much simpler custom chip designed for reading keyboard input, the AY 3600. If we look at [the AY 3600 datasheet](//danluu.com/AY3600.pdf),we can see that the scan time is `(90 * 1/f)` and the debounce time is listed as `strobe_delay`. These quantities are determined by some capacitors and a resistor, which appear to be `47pf`, `100k ohms`, and `0.022uf` for the Apple 2e. Plugging these numbers into [the AY3600 datasheet](//danluu.com/AY3600.pdf), we can see that `f = 50 kHz`, giving us a `1.8 ms` scan delay and a `6.8 ms` debounce delay (assuming the values are accurate -- [capacitors can degrade over time](http://www.kemet.com/Lists/TechnicalArticles/Attachments/191/Why%2047%20uF%20capacitor%20drops%20to%2037%20uF-%2030%20uF-%20or%20lower.pdf), so we should expect the real delays to be shorter on our old Apple 2e), giving us less than `8.6 ms` for the internal keyboard logic.
Comparing to a keyboard with a `167 Hz` scan rate that [scans two extra times to debounce](https://www.arduino.cc/en/Tutorial/Debounce), the equivalent figure is `3 * 6 ms = 18 ms`. With a `100Hz` scan rate, that becomes `3 * 10 ms = 30 ms`. `18 ms` to `30 ms` of keyboard scan plus debounce latency is in line with [what we saw when we did some preliminary keyboard latency measurements](//danluu.com/keyboard-latency/).
For reference, the ergodox uses a `16 MHz` microcontroller with ~80k transistors and the `apple 2e` CPU is a `1 MHz` chip with 3.5k transistors.
### Appendix: why should android phones have higher latency than old apple phones?
As we've seen, raw processing power doesn't help much with many of the causes of latency in the pipeline, like handoffs between different processes, so phones that an android phone with a 10x more powerful processor than an ancient iphone isn't guaranteed to be quicker to respond, even if it can render javascript heavy pages faster.
If you talk to people who work on non-Apple mobile CPUs, you'll find that they run benchmarks like dhrystone (a synthetic benchmark that was irrelevant even when it was created, in 1984) and SPEC2006 (an updated version of a workstation benchmark that was relevant in the 90s and perhaps even as late as the early 2000s if you care about workstation workloads, which are completely different from mobile workloads). This problem where the vendor who makes the component has [an intermediate target](//danluu.com/percentile-latency/) that's only weakly correlated to the actual user experience. I've heard that there are people working on the pixel phones who care about end-to-end latency, but it's difficult to get good latency when you have to use components that are optimized for things like dhrystone and SPEC2006.
If you talk to people at Apple, you'll find that they're quite cagey, but that they've been targeting the end-to-end user experience for quite a long time and they they can do "full stack" optimizations that are difficult for android vendors to pull of. They're not literally impossible, but making a change to a chip that has to be threaded up through the OS is something you're very unlikely to see unless google is doing the optimization, and google hasn't really been serious about the end-to-end experience until recently.
Having relatively poor performance in aspects that aren't measured is a common theme and one we saw when we looked at [terminal latency](//danluu.com/term-latency/). Prior to examining temrinal latency, public benchmarks were all throughput oriented and the terminals that priortized performance worked on increasing throughput, even though increasing terminal throughput isn't really useful. After those terminal latency benchmarks, some terminal authors looked into their latency and found places they could trim down buffering and remove latency. You get what you measure.
### Appendix: experimental setup
Most measurements were taken with the 240fps camera (`4.167 ms` resolution) in [the iPhone SE](https://www.amazon.com/gp/product/B071W3DDM7/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B071W3DDM7&linkId=fde44f1346bdf4bc60896580c2f3dffa). Devices with response times below `40 ms` were re-measured with a 1000fps camera (`1 ms` resolution), the [Sony RX100 V](https://www.amazon.com/gp/product/B01M62I8Q7/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=abroaview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01M62I8Q7&linkId=d5f90ebe0b220a8c6e550761f663fb19) in PAL mode. Results in the tables are the results of multiple runs and are rounded to the nearest `10 ms` to avoid the impression of false precision. For desktop results, results are measured from when the key started moving until the screen finished updating. Note that this is different from most key-to-screen-update measurements you can find online, which typically use a setup that effectively removes much or all of the keyboard latency, which, as an end-to-end measurement, is only realistic if you have a psychic link to your computer (this isn't to say the measurements aren't useful -- if, as a programmer, you want a reproducible benchmark, it's nice to reduce measurement noise from sources that are beyond your control, but that's not relevant to end users). People often advocate measuring from one of: {the key bottoming out, the tactile feel of the switch}. Other than for measurement convenience, there appears to be no reason to do any of these, but people often claim that's when the user expects the keyboard to "really" work. But these are independent of when the switch actually fires. Both the distance between the key bottoming out and activiation as well as the distance between feeling feedback and activation are arbitrary and can be tuned. See [this post on keyboard latency measurements for more info on keyboard fallacies](//danluu.com/keyboard-latency/).
Another significant difference is that measurements were done with settings as close to the default OS settings as possible since approximately 0% of users will futz around with display settings to reduce buffering, disable the compositor, etc. Waiting until the screen has finished updating is also different from most end-to-end measurements do -- most consider the update "done" when any movement has been detected on the screen. Waiting until the screen is finished changing is analogous to webpagetest's "visually complete" time.
Computer results were taken using the “default” terminal for the system (e.g., powershell on windows, lxterminal on lubuntu), [which could easily cause `20 ms` to `30 ms` difference between a fast terminal and a slow terminal](//danluu.com/term-latency/). Between measuring time in a terminal and measuring the full end-to-end time, measurements in this article should be slower than measurements in other, similar, articles (which tend to measure time to first change in games).
The `powerspec g405` baseline result is using integrated graphics (the machine doesn’t come with a graphics card) and the `60 Hz` result is with a cheap video card. The baseline was result was at `30 Hz` because the integrated graphics only supports `hdmi` output and the display it was attached to only runs at `30 Hz` over `hdmi`.
Mobile results were done by using the default browser, browsing to <https://danluu.com>, and measuring the latency from finger movement until the screen first updates to indicate that scrolling has occurred. In the cases where this didn’t make sense, (kindles, gameboy color, etc.), some action that makes sense for the platform was taken (changing pages on the kindle, pressing the joypad on the gameboy color in a game, etc.). Unlike with the desktop/laptop measurements, this end-time for the measurement was on the first visual change to avoid including many frames of scrolling. To make the measurement easy, the measurement was taken with a finger on the touchscreen and the timer was started when the finger started moving (to avoid having to determine when the finger first contacted the screen).
In the case of “ties”, results are ordered by the unrounded latency as a tiebreaker, but this shouldn’t be considered significant. Differences of `10 ms` should probably also not be considered significant.
The `custom haswell-e` was tested with `gsync` on and there was no observable difference. The year for that box is somewhat arbitrary, since the CPU is from `2014`, but the display is newer (I believe you couldn’t get a `165 Hz` display until `2015`.
The number of transistors for some modern machines is a rough estimate because exact numbers aren’t public. Feel free to ping me if you have a better estimate!
The color scales for latency and year are linear and the color scales for clock speed and number of transistors are log scale.
All Linux results were done with a [pre-KPTI](https://lwn.net/SubscriberLink/741878/eb6c9d3913d7cb2b/) kernel. It's possible that KPTI will impact user perceivable latency.
Measurements were done as cleanly as possible (without other things running on the machine/device when possible, with a device that was nearly full on battery for devices with batteries). Latencies when other software is running on the device or when devices are low on battery might be much higher.
If you want a reference to compare the kindle against, a moderately quick page turn in a physical book appears to be about `200 ms`.
*This is a work in progress. I expect to get benchmarks from a lot more old computers the next time I visit Seattle. If you know of old computers I can test in the NYC area (that have their original displays or something like them), let me know! If you have a device you’d like to donate for testing, feel free to mail it to*
Dan Luu
Recurse Center
455 Broadway, 2nd Floor
New York, NY 10013
*Thanks to [RC](https://www.recurse.com/scout/click?t=b504af89e87b77920c9b60b2a1f6d5e8), David Albert, Bert Muthalaly, Christian Ternus, Kate Murphy, Ikhwan Lee, Peter Bhat Harkins, Leah Hanson, Alicia Thilani Singham Goodwin, Amy Huang, Dan Bentley, Jacquin Mininger, Rob, Susan Steinman, Raph Levien, Max McCrea, Peter Town, Jon Cinque, Anonymous, and Jonathan Dahan for donating devices to test and thanks to Leah Hanson, Andy Matuschak, Milosz Danczak, amos (@fasterthanlime), @emitter\_coupled, Josh Jordan, mrob, and David Albert for comments/corrections/discussion.*
[← Fsyncgate: errors on fsync are unrecovarable](https://danluu.com/fsyncgate/) [How good are decisions? →](https://danluu.com/bad-decisions/) [Archive](https://danluu.com/) [Patreon](https://www.patreon.com/danluu) [Mastodon](https://mastodon.social/@danluu) [Threads](https://threads.net/@danluu.danluu) | http://danluu.com/input-lag/ |
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<h4 align=center style='text-align:center'><span style='font-size:18.0pt; font-family:"Arial Narrow";color:white'>Paranormal Research and Investigation</span></h4>
<h4 align=center style='text-align:center'><span style='font-family:Arial;color:white'><img src="images/grove1s.jpg"></span></h4>
<p align=center style='text-align:center'><a href="mission.htm"><img border=0 src="images/mission.gif" alt="Our Mission"></a></p>
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<p align=center style='text-align:center'><b><span style='font-size:13.5pt; font-family:Arial;color:white'>H.C.P.R.I. Departments</span></b></p>
<p><a href="investig.htm"><img border=0 src="images/investig.gif" alt=Investigations></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Click here to learn more about our no-charge paranormal investigative services</span></p>
<p><a href="pictures.htm"><img border=0 src="images/pics.gif" alt=Pictures></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Anomalous photos from our investigations, picture taking tips, examples of hoax images</span></p>
<p><a href="experimn.htm"><img border=0 src="images/experimn.gif" alt=Experiments></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Information on experiments that we have conducted during our investigations, new experiment development</span></p>
<p><a href="location.htm"><img border=0 src="images/location.gif" alt=Locations></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Photo documentary of some of the sites that we have investigated, mostly daytime pictures, no anomalies</span></p>
<p><a href="equipmnt.htm"><img border=0 src="images/equipmnt.gif" alt=Equipment></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>List of equipment used on paranormal investigations, how it works, things to watch for, how to get the best results</span></p>
<p><a href="research.htm"><img border=0 src="images/research.gif" alt=Research></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Research on paranormal hypothesis, debunking the myths</span></p>
<p><a href="faqs.htm"><img border=0 src="images/faqs.gif" alt=FAQs></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Frequently asked questions about paranormal phenomenon, our investigations and this website</span></p>
<p><a href="reports.htm"><img border=0 src="images/reports.gif" alt=Reports></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Reports from our investigations</span></p>
<p><a href="news.htm"><img border=0 src="images/news.gif" alt=News></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Information about upcoming investigations, recent findings, etc.</span></p>
<p><a href="stories.htm"><img border=0 src="images/stories.gif" alt=Stories></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Personal accounts of paranormal activity, law enforcement interest in our quests, your submissions</span></p>
<p><a href="members.htm"><img border=0 src="images/members.gif" alt=Members></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Information on the members of Haunted Chicago</span></p>
<p><a href="links.htm"><img border=0 src="images/links.gif" alt=Links></a>
<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Internet links to reputable paranormal investigators and link sites</span></p>
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<span style='font-size:13.5pt;font-family:"Arial Narrow";color:silver'>Text view of the website</span></p>
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information from this website, including but not limited to images and written information, is expressly forbidden
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the sole purpose of our viewers' enjoyment and do not encourage or endorse illegal or dangerous activity. Do not
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Haunted Chicago Paranormal Research and Investigation
#### Haunted Chicago
#### Paranormal Research and Investigation
####
[](mission.htm)
####
---
**H.C.P.R.I. Departments**
[](investig.htm)
Click here to learn more about our no-charge paranormal investigative services
[](pictures.htm)
Anomalous photos from our investigations, picture taking tips, examples of hoax images
[](experimn.htm)
Information on experiments that we have conducted during our investigations, new experiment development
[](location.htm)
Photo documentary of some of the sites that we have investigated, mostly daytime pictures, no anomalies
[](equipmnt.htm)
List of equipment used on paranormal investigations, how it works, things to watch for, how to get the best results
[](research.htm)
Research on paranormal hypothesis, debunking the myths
[](faqs.htm)
Frequently asked questions about paranormal phenomenon, our investigations and this website
[](reports.htm)
Reports from our investigations
[](news.htm)
Information about upcoming investigations, recent findings, etc.
[](stories.htm)
Personal accounts of paranormal activity, law enforcement interest in our quests, your submissions
[](members.htm)
Information on the members of Haunted Chicago
[](links.htm)
Internet links to reputable paranormal investigators and link sites
[](sitemap.htm)
Text view of the website
---
[](mailto:mike@hauntedchicago.com)
?1998-2014 Hauntedchicago.com - All rights reserved
Attention: All material on this website is copyrighted by the respective owner. Unauthorized use of any material or
information from this website, including but not limited to images and written information, is expressly forbidden
without prior written permission of the copyright owner. Use this site at your own risk. We present our findings for
the sole purpose of our viewers' enjoyment and do not encourage or endorse illegal or dangerous activity. Do not
trespass on private property or where posted. You are responsible for your own actions, we can not be responsible
for the actions of visitors to our website. By using our website, you agree to be bound by our [acceptable use policy](accept.htm). If you do not agree with our
policy, you may not use our site. For questions or concerns, please contact the [webmaster.](mailto:webmaster@hauntedchicago.com)
| http://www.hauntedchicago.com/ |
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<a href="mailto:indiefx@gmail.com">mail</a>
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unomoralez :: loops
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|
[img](img.html)
[loops](loops.html)
[stuff](stuff.html)
[mail](mailto:indiefx@gmail.com) |
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| http://unomoralez.com/loops.html |
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<p style="margin-top:2em;">
Phil Wherry <a href="https://www.wherry.com/obituary.html">passed away on March 10th, 2015</a>. He had made quite a number of techincal contributions
and commentaries, and the hope is to preserve them <a href="https://blog.wherry.com/">here in his blog</a>.
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Phil Wherry [passed away on March 10th, 2015](https://www.wherry.com/obituary.html). He had made quite a number of techincal contributions
and commentaries, and the hope is to preserve them [here in his blog](https://blog.wherry.com/).
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[](https://www.wherry.com/thematicfull.php) [indolent](https://www.wherry.com/thematicfull.php) [indolent](https://www.wherry.com/thematicfull.php) [indolent](https://www.wherry.com/thematicfull.php) [indolent](https://www.wherry.com/thematicfull.php)
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<meta name="description" content="Japanese elementary and middle school kids are going wild over video-game characters called Pocket Monsters ("Pokemon" for short, pronounced "PO-KAY-MON"). Pokemon is a simple role-playing video game played on a Nintendo GameBoy machine. There are 151 kinds of monsters hidden in various places, and your job is to hunt for them, using a map that guides you on an adventurous journey through towns and forests and over oceans.">
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<TR><TD ALIGN=left><FONT color="#CC0099" font size=3><br><b>WHAT'S COOL IN JAPAN<br>October-December 1997</b><p></font><TR>
<TD align=center><FONT SIZE=4>
<FONT SIZE=5 color="#330033"><b>Pokemon (Pocket Monster)</b></FONT>
<HR></font></TABLE><P>
<table border=0 width=490><tr><td><FONT SIZE=4>
<IMG Align=right SRC="pikachu.gif">
<FONT SIZE=5 color="#660000">J</FONT>apanese elementary and middle school kids are going wild over video-game characters called Pocket Monsters ("Pokemon" for short, pronounced "PO-KAY-MON"). Pokemon is a simple role-playing video game played on a Nintendo GameBoy machine. There are 151 kinds of monsters hidden in various places, and your job is to hunt for them, using a map that guides you on an adventurous journey through towns and forests and over oceans. When you find one, you capture and take care of it. Pokemon went on the market in February 1996, and over 6 million copies were sold in just 18 months.
<BR><BR>
<FONT SIZE=5 color="#660000">P</FONT>art of what makes this game so fun is the many different kinds of cute and weird monsters modeled from animals, bugs, and mythical beasts. But what kids really like about Pokemon is that you can connect several GameBoy machines with a cable and compete with your friends. You can even trade the monsters you've captured. Another attraction is the fun of watching the monsters "grow up." For example, you can watch an insect character go through the pupa stage and turn into a butterfly.
<BR><BR>
<FONT SIZE=5 color="#660000">P</FONT>okemon strategy handbooks, which appeared along with the game software, are another popular item. A Pokemon comic strip followed soon after, and in April 1997 the animated version went on the air, attracting a large audience. Broadcasts of this program have been temporarily discontinued since December 1997, when several hundred Japanese children experienced convulsions and dizziness after watching the bright flashing lights on the program. Although the TV program is not currently being broadcast, a radio show called Pokemon Hour has been on the air since December. And this summer, the Pokemon characters will appear in their own movie.
<BR><BR></font></TABLE>
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<IMG Align=left SRC="gameboy.gif" width=99 height=150>
<FONT SIZE=5 color="#660000">T</FONT>he Pokemon characters have inspired many other products as well. Fans can now buy toys and stuffed animals, as well as stationery, based on the popular Pikachu and other characters. Pokemon characters can even be found on several kinds of food packages. As you might imagine, all of these products have become very popular.
<br><br>
<FONT SIZE=5 color="#660000">I</FONT>n August 1997 East Japan Railway Co., one of Japan's major private railway companies, held a "Pokemon stamp rally" at 30 of its major train stations. At a stamp rally, people try to fill a booklet with stamped images of a certain theme by going through a series of checkpoints. Over 100,000 fans showed up at the Pokemon stamp rally to collect images of the video-game characters.
<p>
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<font size=3>Photos: (Top) Pikachu, the most popular Pokemon character; (above) a GameBoy machine. (Nintendo) </FONT><br clear=all><HR>
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Pokemon - What's Cool in Japan - Archives - Kids Web Japan - Web Japan
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| [Web Japan](../../../../index.html) > [Kids
Web Japan](../../../index.html) > [Archives](../../index.html) > [What's Cool](../index2.html)
> Pokemon |
| |
| | |
| --- | --- |
| **WHAT'S COOL IN JAPANOctober-December 1997**|
**Pokemon (Pocket Monster)**
---
|
|
| |
| --- |
|
Japanese elementary and middle school kids are going wild over video-game characters called Pocket Monsters ("Pokemon" for short, pronounced "PO-KAY-MON"). Pokemon is a simple role-playing video game played on a Nintendo GameBoy machine. There are 151 kinds of monsters hidden in various places, and your job is to hunt for them, using a map that guides you on an adventurous journey through towns and forests and over oceans. When you find one, you capture and take care of it. Pokemon went on the market in February 1996, and over 6 million copies were sold in just 18 months.
Part of what makes this game so fun is the many different kinds of cute and weird monsters modeled from animals, bugs, and mythical beasts. But what kids really like about Pokemon is that you can connect several GameBoy machines with a cable and compete with your friends. You can even trade the monsters you've captured. Another attraction is the fun of watching the monsters "grow up." For example, you can watch an insect character go through the pupa stage and turn into a butterfly.
Pokemon strategy handbooks, which appeared along with the game software, are another popular item. A Pokemon comic strip followed soon after, and in April 1997 the animated version went on the air, attracting a large audience. Broadcasts of this program have been temporarily discontinued since December 1997, when several hundred Japanese children experienced convulsions and dizziness after watching the bright flashing lights on the program. Although the TV program is not currently being broadcast, a radio show called Pokemon Hour has been on the air since December. And this summer, the Pokemon characters will appear in their own movie.
|
| |
| --- |
|
The Pokemon characters have inspired many other products as well. Fans can now buy toys and stuffed animals, as well as stationery, based on the popular Pikachu and other characters. Pokemon characters can even be found on several kinds of food packages. As you might imagine, all of these products have become very popular.
In August 1997 East Japan Railway Co., one of Japan's major private railway companies, held a "Pokemon stamp rally" at 30 of its major train stations. At a stamp rally, people try to fill a booklet with stamped images of a certain theme by going through a series of checkpoints. Over 100,000 fans showed up at the Pokemon stamp rally to collect images of the video-game characters.
Photos: (Top) Pikachu, the most popular Pokemon character; (above) a GameBoy machine. (Nintendo)
---
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<font face="Kabel Bk BT"><b><font size="4">A site dedicated to the volcanoes
of Italy, their geology, activity and hazards<br>
On-line since 8 May
1995</font></b></font></p>
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<hr width="95%" size=5>
<p align=center><font face="HELVETICA, ARIAL, SANS-SERIF" size=4>Last modified
on <b>21 November 2012</b></font></p>
<p align=justify><font size="3" face="HELVETICA, ARIAL, SANS-SERIF">Italy's Volcanoes is back !!! Well, you will not find any new updates on volcanic activity here (for this you have to visit the
web
site of the <a href="http://www.ct.ingv.it/">Osservatorio Etneo (Catania section) of the
Istituto Nazionale di Geofisica e Vulcanologia</a>), but you will find the site very much as it was since I put it into a state of hibernation in the spring of 2005. This includes a lot of information on all major Italian volcanoes and volcanic areas, (old) updates on the activity, especially of Etna, up to 2004, and photographs, though these are also a bit obsolete for today's standards. I will update just a few bits - like the current summit height of Etna, which we know to be currently 3329.6 m, and update the list of Etna's eruptions. All the rest is the original version of this site, unmanicured, without any make-up, plastic surgery and fakes. Enjoy!</font></p>
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<p align=center><font face="HELVETICA, ARIAL, SANS-SERIF" color="#ff0000" size="4">[</font>
<font size="4"><a
onMouseOver="window.status='Why are there volcanoes in Italy?'; return true;"
onMouseOut="window.status='';return true"
href="Italiahome.html"><font face="HELVETICA, ARIAL, SANS-SERIF">EXPLORE
ITALY'S VOLCANOES</font></a><font
face="HELVETICA, ARIAL, SANS-SERIF" color=#ff0000>]</font></font></p>
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<center>
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<td colspan="3"><font face="Times New Roman, Times, serif" size="3"><b><font color="#990066" size="4"><a onMouseOver="window.status='Introduction to the Etna pages'; return true;"
onMouseOut="window.status='';return true" href="ETNA_intro.html">Mount
Etna volcano</a></font></b></font></td>
</tr>
<tr>
<td width="120"><a onMouseOver="window.status='Birth and growth of Mount Etna'; return true;"
onMouseOut="window.status='';return true" href="ETNA_evolution.html"><font color="FF0000" size="4" face="Times New Roman, Times, serif"><b><font size="2">Geology</font></b></font></a></td>
<td width="120"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Geological evolution of Mount Etna'; return true;"
onMouseOut="window.status='';return true" href="ETNA_evol2.html"><font color="FF0000"><b><font size="2">Geological history
</font></b></font></a></font></td>
<td width="120"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Craters, and more craters'; return true;"
onMouseOut="window.status='';return true" href="ETNA_ConesCraters.html"><font color="FF0000" size="2"><b>Cones
and craters</b></font></a></font></td>
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<tr>
<td width="36%"><a onMouseOver="window.status='The eruptions of Mount Etna'; return true;"
onMouseOut="window.status='';return true" href=ETNA_erupt.html><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>From
magma storage to eruptions</b></font></a></td>
<td width="33%"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Eruptions of Etna before 1971'; return true;"
onMouseOut="window.status='';return true" href="ETNA_erupt1.html"><font
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since 1971</b> </font></font></a></font></td>
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and Man</b></font></font></a></font></td>
<td width="33%"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Books and scientific articles about Mount Etna'; return true;"
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</b></font></font></a></font></td>
<td width="31%"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The gateway to internet resources about Mount Etna'; return true;"
onMouseOut="window.status='';return true" href="ETNA_links.html"><font color="FF0000"><font size="2"><b>Web
sites </b></font></font></a></font></td>
</tr>
<tr>
<td width="36%" height="17"><font size="4" face="Times New Roman, Times, serif"><font size="2"><b><a onMouseOver="window.status='How is the weather like at Mount Etna?'; return true;"
onMouseOut="window.status='';return true" href="ETNA_weather.html"><font color="FF0000">Weather
forecasts</font></a> </b></font></font></td>
<td width="33%" height="17"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The Etna FAQ'; return true;"
onMouseOut="window.status='';return true" href="ETNA_FAQ.html"><font color="FF0000"><font size="2"><b>FAQ</b></font></font></a></font></td>
<td width="31%" height="17"><font size="4" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Latest news from Mount Etna'; return true;"
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news</b></font></font></a></font></td>
</tr>
</table>
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<table cellspacing=1 cellpadding=5 width="100%" align=center
border=0>
<tbody>
<tr align=middle>
<td valign=top width="450"> <table width="450" border="0" align="left">
<tr>
<td colspan="3"><font face="Times New Roman, Times, serif" size="4"><b><font color="#990066"><a onMouseOver="window.status='Stromboli, light house of the Mediterranean'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_intro.html">Stromboli
volcano</a></font></b></font></td>
</tr>
<tr>
<td width="36%"><a onMouseOver="window.status='Geography of Stromboli'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_geogr.html"><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Geography</b></font></a></td>
<td width="33%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Birth and growth of Stromboli'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_geol.html"><font color="FF0000"><b>Geological Evolution </b></font></a></font></td>
<td width="31%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Eruptions of Stromboli'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_erupt.html"><font color="FF0000"><b>Eruptive
history </b></font></a></font></td>
</tr>
<tr>
<td width="36%"><a onMouseOver="window.status='Stromboli is more dangerous than you would have believed'; return true;"
onMouseOut="window.status='';return true" href=STROMBOLI_hazards.html><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Volcanic
Hazards</b></font></a></td>
<td width="33%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='References about Stromboli'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_references.html"><font
color="FF0000"><b>References</b></font></a></font></td>
<td width="31%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The gateway to internet resources about Stromboli'; return true;"
onMouseOut="window.status='';return true" href="STROMBOLI_othersites.html"><font color="FF0000"><b>Web
sites</b> </font></a></font></td>
</tr>
</table></td>
</tr>
</tbody>
</table>
<table cellspacing=1 cellpadding=5 width="100%" align=center
border=0>
<tbody>
<tr align=middle>
<td valign=top width="450"> <table width="450" border="0" align="left">
<tr>
<td colspan="3"><font face="Times New Roman, Times, serif" size="3"><b><font color="#990066" size="4"><a onMouseOver="window.status='Most dangerous volcano on Earth'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO.html">Vesuvio
(Vesuvius) volcano</a></font></b></font></td>
</tr>
<tr>
<td width="36%"><a onMouseOver="window.status='Eruptive history of Vesuvius'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO_erupthist.html"><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Eruptive
history</b></font></a></td>
<td width="33%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The enormous threat of Vesuvius'; return true;"
onMouseOut="window.status='';return true"
href="VESUVIO_hazards.html"><font color="FF0000"><b>Volcanic hazards</b></font></a></font></td>
<td width="31%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='References about Vesuvius'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO_references.html"><font color="FF0000"><b>References</b></font></a></font></td>
</tr>
<tr>
<td width="36%"><a onMouseOver="window.status='Vesuvius erupts in many ways'; return true;"
onMouseOut="window.status='';return true" href=#char><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Eruptive
characteristics</b></font></a></td>
<td width="33%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='How Vesuvius was monitored in the 1990s'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO_monitor.html"><font
color="FF0000"><b>Geophysical monitoring</b></font></a></font></td>
<td width="31%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The gateway to internet resources on Vesuvius'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO_othersites.html"><font color="FF0000"><b>Web
sites</b> </font></a></font></td>
</tr>
<tr>
<td width="36%"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Latest news from Vesuvius'; return true;"
onMouseOut="window.status='';return true" href="VESUVIO_news.html"><font color="FF0000"><b>Latest
news</b></font></a></font></td>
<td width="33%"><font face="Times New Roman, Times, serif" size="2"> </font></td>
<td width="31%"><font face="Times New Roman, Times, serif" size="2"> </font></td>
</tr>
</table></td>
</tr>
</tbody>
</table>
</center>
</div></td>
<td valign=top align=middle width=250 bgcolor=#ffcccc> <div align=right>
<table cellspacing=1 width=230 border=0>
<tbody>
<tr align=right>
<td valign=top width=230 bgcolor=#ffcc33> <div align=right><font face="HELVETICA, ARIAL, SANS_SERIF"
size=1><img src="gifs/image/Italvolcmap_sml.jpg"
usemap="#ItalyclickMap" border=0 width="230" height="289"></font></div>
</td>
</tr>
</tbody>
</table>
</div></td>
</tr>
</tbody>
</table>
<div align="center"></div>
<div align="center"></div>
<table cellspacing=1 cellpadding=5 width="700" align=center
border=0>
<tbody>
<tr align=middle>
<td valign=top> <table width="100%" border="0" align="left">
<tr>
<td colspan="5"><font face="Times New Roman, Times, serif" size="3"><b><font color="#000066" size="4"><u>Other
Italian volcanoes</u></font></b></font></td>
</tr>
<tr>
<td width="156"><a onMouseOver="window.status='Second tallest volcano of Italy'; return true;"
onMouseOut="window.status='';return true" href="AMIATA.html"><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Monte
Amiata volcano</b></font></a></td>
<td width="147"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Vulsini, a volcano hidden below a huge lake'; return true;"
onMouseOut="window.status='';return true"
href="VULSINI.html"><font color="FF0000"><b>Vulsini volcanic field</b></font></a></font></td>
<td width="136"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Forest-clad lava domes and ignimbrites'; return true;"
onMouseOut="window.status='';return true"
href="CIMINO.html"><font color="FF0000"><b>Monte Cimino volcano</b></font></a></font></td>
<td width="141"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Venus Mountain and a shimmering crater lake'; return true;"
onMouseOut="window.status='';return true"
href="VICO.html"><font color="FF0000"><b>Vico volcano</b></font></a></font></td>
<td width="149"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Yet another crater lake and numerous cones and explosion craters'; return true;"
onMouseOut="window.status='';return true" href="SABATINI.html"><font color="FF0000"><b>Sabatini
volcanic field</b></font></a></font></td>
</tr>
<tr>
<td width="156"><a onMouseOver="window.status='Volcanoes near Rome that might still erupt'; return true;"
onMouseOut="window.status='';return true" href=ALBANI.html><font color="FF0000" size="2" face="Times New Roman, Times, serif"><b>Colli
Albani volcano</b></font></a></td>
<td width="147"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Site of the oldest human footprints on Earth'; return true;"
onMouseOut="window.status='';return true" href="ROCCAMONFINA.html"><font
color="FF0000"><b>Roccamonfina volcano</b></font></a></font></td>
<td width="136"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='A poorly known volcano behind the Apenninic chain'; return true;"
onMouseOut="window.status='';return true"
href="VULTURE.html"><font color="FF0000"><b>Monte Vulture volcano</b></font></a></font></td>
<td width="141"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='A volcano that hosts an entire city'; return true;"
onMouseOut="window.status='';return true"
href="CAMPIFLEGREI.html"><font color="FF0000"><b>Campi Flegrei caldera</b></font></a></font></td>
<td width="149"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Another potentially dangerous volcano'; return true;"
onMouseOut="window.status='';return true" href="ISCHIA.html"><font color="FF0000"><b>Ischia
volcano </b> </font></a></font></td>
</tr>
<tr>
<td width="156"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='The seven sisters of marvels'; return true;"
onMouseOut="window.status='';return true" href="EOLIE.html"><font color="FF0000"><b>The
Aeolian islands</b></font></a></font></td>
<td width="147"><font face="Times New Roman, Times, serif" size="2"><a onMouseOver="window.status='Paradise for divers'; return true;"
onMouseOut="window.status='';return true"
href="USTICA.html"><font color="FF0000"><b>Ustica island</b></font></a></font></td>
<td width="136"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='One of the most peculiar volcanoes of Italy'; return true;"
onMouseOut="window.status='';return true"
href="PANTELLERIA.html"><font color="FF0000"><b>Pantelleria island</b></font></a></font></td>
<td width="141"><font size="2" face="Times New Roman, Times, serif"><a onMouseOver="window.status='Closer to Africa than to Italy'; return true;"
onMouseOut="window.status='';return true"
href="LINOSA.html"><font color="FF0000"><b>Linosa island</b></font></a></font></td>
<td width="149"><font face="Times New Roman, Times, serif" size="2"><a onMouseOver="window.status='Where volcanic islands rose out of the sea'; return true;"
onMouseOut="window.status='';return true"
href="IBLEI.html"><font color="FF0000"><b>Monti Iblei</b></font></a></font></td>
</tr>
</table></td>
</tr>
</tbody>
</table>
<br>
<hr>
<div align=center>
<center>
<br>
<table width="80%" border="0">
<tr>
<td><img photo/2012/Boris_20121018.jpg" alt="Boris Behncke, October 2012 (courtesy of Erin Peterson)"></td>
<td><div align="center">
<p><font face="HELVETICA, ARIAL, SANS-SERIF" size=3>This site was
created and is maintained by Boris Behncke, Istituto Nazionale di Geofisica e Vulcanologia, Osservatorio Etneo (Sezione di Catania), Piazza Roma, 2; 95125 Catania, Italy.<br>
<br>
</font><font
face="Comic Sans MS, Arial" size=5><font color="#000000" size="3" face="Arial, Helvetica, sans-serif">E-mail: <a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="284a475a415b064a4d40464b434d684b5c0641464f5e06415c">[email protected]</a><br>
Alternative e-mails:</font> <font color="#000000" size="3" face="Arial, Helvetica, sans-serif"><a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="ff9d908d968cd19d9a97919c949abf93969d9a8d90d1968b">[email protected]</a> - <a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="3d5f524f544e135f5855535e56587d5a505c5451135e5250">[email protected]</a></font></font><br>
<font color="#FF0000">(photo at left: Boris Behncke on Etna, 19 October 2012, courtesy of Erin Peterson)</font></p>
</div></td>
</tr>
</table>
<p><font face="arial, helvetica, sans serif" size=1><b>Copyright ©
Boris Behncke, "Italy's Volcanoes: The Cradle of Volcanology"</b></font></p>
</center>
</div>
</DIV>
<center><FONT SIZE=2>Hosted by <a href="http://www.volcanodiscovery.com">VolcanoDiscovery</a></FONT></center><script data-cfasync="false" src="/cdn-cgi/scripts/5c5dd728/cloudflare-static/email-decode.min.js"></script></BODY></HTML>
|
ITALY'S VOLCANOES: THE CRADLE OF VOLCANOLOGY
**A site dedicated to the volcanoes
of Italy, their geology, activity and hazards
On-line since 8 May
1995**
---
Last modified
on **21 November 2012**
Italy's Volcanoes is back !!! Well, you will not find any new updates on volcanic activity here (for this you have to visit the
web
site of the [Osservatorio Etneo (Catania section) of the
Istituto Nazionale di Geofisica e Vulcanologia](http://www.ct.ingv.it/)), but you will find the site very much as it was since I put it into a state of hibernation in the spring of 2005. This includes a lot of information on all major Italian volcanoes and volcanic areas, (old) updates on the activity, especially of Etna, up to 2004, and photographs, though these are also a bit obsolete for today's standards. I will update just a few bits - like the current summit height of Etna, which we know to be currently 3329.6 m, and update the list of Etna's eruptions. All the rest is the original version of this site, unmanicured, without any make-up, plastic surgery and fakes. Enjoy!
[ [Introduction to this site](Intro.html) + ["Thank You's" page](thanks.html)
+ [Site map](Conts.html) +
[What's
new on this site?](whatsnew.html) + [About
Boris Behncke](Boris.html) ]
[
[EXPLORE
ITALY'S VOLCANOES](Italiahome.html)]
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| **[Mount
Etna volcano](ETNA_intro.html)** |
| [**Geology**](ETNA_evolution.html) | [**Geological history**](ETNA_evol2.html) | [**Cones
and craters**](ETNA_ConesCraters.html) |
| [**From
magma storage to eruptions**](ETNA_erupt.html) | [**Eruptions before 1971**](ETNA_erupt1.html) | [**Eruptions
since 1971**](ETNA_erupt2.html) |
| [**Etna
and Man**](ETNA_andman.html) | [**References**](ETNA_references.html) | [**Web
sites**](ETNA_links.html) |
| **[Weather
forecasts](ETNA_weather.html)** | [**FAQ**](ETNA_FAQ.html) | [**Latest
news**](ETNA_news.html) |
|
| | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| **[Stromboli
volcano](STROMBOLI_intro.html)** |
| [**Geography**](STROMBOLI_geogr.html) | [**Geological Evolution**](STROMBOLI_geol.html) | [**Eruptive
history**](STROMBOLI_erupt.html) |
| [**Volcanic
Hazards**](STROMBOLI_hazards.html) | [**References**](STROMBOLI_references.html) | [**Web
sites**](STROMBOLI_othersites.html) |
|
| | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| **[Vesuvio
(Vesuvius) volcano](VESUVIO.html)** |
| [**Eruptive
history**](VESUVIO_erupthist.html) | [**Volcanic hazards**](VESUVIO_hazards.html) | [**References**](VESUVIO_references.html) |
| [**Eruptive
characteristics**](#char) | [**Geophysical monitoring**](VESUVIO_monitor.html) | [**Web
sites**](VESUVIO_othersites.html) |
| [**Latest
news**](VESUVIO_news.html) | | |
|
|
| |
| --- |
| |
|
| | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| **Other
Italian volcanoes** |
| [**Monte
Amiata volcano**](AMIATA.html) | [**Vulsini volcanic field**](VULSINI.html) | [**Monte Cimino volcano**](CIMINO.html) | [**Vico volcano**](VICO.html) | [**Sabatini
volcanic field**](SABATINI.html) |
| [**Colli
Albani volcano**](ALBANI.html) | [**Roccamonfina volcano**](ROCCAMONFINA.html) | [**Monte Vulture volcano**](VULTURE.html) | [**Campi Flegrei caldera**](CAMPIFLEGREI.html) | [**Ischia
volcano**](ISCHIA.html) |
| [**The
Aeolian islands**](EOLIE.html) | [**Ustica island**](USTICA.html) | [**Pantelleria island**](PANTELLERIA.html) | [**Linosa island**](LINOSA.html) | [**Monti Iblei**](IBLEI.html) |
|
---
| | |
| --- | --- |
| Boris Behncke, October 2012 (courtesy of Erin Peterson) |
This site was
created and is maintained by Boris Behncke, Istituto Nazionale di Geofisica e Vulcanologia, Osservatorio Etneo (Sezione di Catania), Piazza Roma, 2; 95125 Catania, Italy.
E-mail: [[email protected]](/cdn-cgi/l/email-protection)
Alternative e-mails: [[email protected]](/cdn-cgi/l/email-protection) - [[email protected]](/cdn-cgi/l/email-protection)
(photo at left: Boris Behncke on Etna, 19 October 2012, courtesy of Erin Peterson)
|
**Copyright ©
Boris Behncke, "Italy's Volcanoes: The Cradle of Volcanology"**
Hosted by [VolcanoDiscovery](http://www.volcanodiscovery.com)
| http://www.italysvolcanoes.com/ |
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<p>I was chief nerd for several projects in the fifteen years I was with U Michigan, first in electrical engineering and then in computer science. This is one of them.</p>
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<p>In the late 60s IBM was the crushing giant, while Digital Equipment Corporation (DEC) was yet a pipsqueak. The U Michigan Computing Center had a giant - a two-processor System 360 Model 67 processor with a dazzling one megabyte of core memory. This machine could support only dumb user terminals made by IBM and Teletype Corporation. I managed to get my hands on a pipsqueak - a DEC PDP8 - to serve as the nucleus for a controller to support other fancier user terminals and remote data communications. I was chief designer for a team that built the thing, which we called the Data Concentrator [5]. It was hardly a paragon of miniaturization, as evident in the photo below. It consisted of four six-foot racks populated with DEC Flip-Chip modules. We were lucky to get three NAND gates or two flipflops on one 5.25" plug-in card.</p>
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<p>On the far left is a Teletype Model 35 with paper tape reader/punch. It made a sturdy operator console, but topped out at 10 char/sec. The leftmost rack contains the PDP8, 8192 words of 12-bit core memory and power supplies. The machine had eight instructions and no multiply/divide hardware. We used to say it was the smallest machine just larger than a Turing machine that was potentially useful. The next rack to the right contains an awesomely fast and noisy paper tape punch at the top. Just below that are control panels for the two IBM multiplexor channel interfaces. More about that later. Below that is a high speed (1000 byte/sec) paper tape reader.</p>
<p>Paper tape was then the modern way to load programs and data. We had to find some way to signal the machine operators, who were normally at the other end of the rather large machine room, to replenish the paper tape. We had two programmable noisemakers, a obnoxiously loud siren and a Ford Model-T ooga horn. We got to use the piercing siren only once.</p>
<p>The next rack to the right contains the two IBM multiplexor channel interfaces and multiplexor gear for 24 asynchronous serial interfaces for dial-in modems used by various terminals on campus. Its equivalent today is a handful of IC chips. The next and last rack on the right contains the multiplexor gear for four synchronous serial interfaces for dial-in modems used by other machines on campus.</p>
<p>The teddy bear perched above the rack has a little story of its own. DEC at that time was emphasizing how cute their products were (relative to IBM mainframes) in an ad campaign featuring a toy stuffed bear. So, we placed an order for one Ursus Theodorus, part number and price to be determined. The local DEC office thought this was pretty funny, so they forwarded a formal purchase order for one stuffed bear as per advertised to Maynard. Well, the rest is history and the bear in the photo has a DEC part number and identification tag.</p>
<p>Some idea of the scale of integration is evident in the photo below. Here DEC technicians are working on the PDP8 CPU. The black box near the top contains the core memory. The green cards contain the core memory select and sense amplifiers. The red ones implement a handful of 12-bit data registers, an arithmetic/logic unit and the input/output bus interface. Much later, the entire PDP8 was implemented on a single IC chip.</p>
<p>The PDP8 instruction set had only seven instructions, a single accumulator and no index registers. Nevertheless, the homegrown operating system called RAMP [7] ran the show with a few cycles left over. Later, RAMP was used in real-time systems for audio switching [4] and automotive test cell control.</p>
<div align="center">
<p><img src="pic/dataconcb.jpg" alt="jpg"></p>
</div>
<p>Just about the only terminal type the Data Concentrator didn't deal with was the IBM 1050 Data Terminal shown below circa 1970. This one had a keyboard, printer and punched card reader. It used the six-bit Binary Coded Decimal (BCD) code at 134.5 bps. A bunch of these shared the same telephone line with each one selected by a special prefix code. It had no internal memory, so the operator had to retype a line of data if the checksum failed. The last one I saw was buried in the Negev Desert in 1971.</p>
<div align="center">
<p><img src="pic/1052.jpg" alt="jpg"></p>
</div>
<p>As it happened, the IBM multiplexor channel interface was the first such interface not designed by IBM, so it caused a fair amount of interest [6]. There were actually two of them, one for each Model 67 processor. It was carefully designed to emulate either of two IBM communications controllers used to connect remote terminals and remote jobstations, but could also emulate the operator console. It could and sometimes did switch in when the operator console broke. The control panels for the two interfaces are shown in the photo below.</p>
<div align="center">
<p><img src="pic/dataconcc.jpg" alt="jpg"></p>
</div>
<p>The Data Concentrator shown here operated for some years through the early and middle '70s. It was eventually replaced by a more modern PDP11 and microprogrammed interfaces. One of the technicians bought the PDP8 and so far as I know has it still running in his basement. I expect the only extant copies of the 30-year old reports are in my office, but the lessons learned were later bottled in journal and symposium papers [1, 2, 3].</p>
<h4>References</h4>
<ol>
<li>Mills, D.L. Communications software. <i>Proc. IEEE 60, 11</i> (November 1972), 1333-1341. Also in: Green, P.E., and R.W. Lucky, (Eds.). <i>Computer Communications</i>. IEEE Press, New York, New York, 1975. Also in: Abrams, M., R.P. Blanc, and I.W. Cotton, (Eds.). <i>Computer Networks: a Tutorial</i> (Revised 1975). IEEE Press, New York, New York, 1975.
<li>Mills, D.L. Preprocessors in a data communication computer environment. <i>Proc. ACM Symposium on the Optimization of Data Communications Systems</i> (Pine Mountain, Georgia, October 1969), 112-109.
<li>Mills, D.L. Multiprogramming in a small-systems environment. <i>Proc. ACM Second Symposium on Operating Systems Principles</i> (Princeton, New Jersey, October 1969), 286-310.
<li>Mills, D.L. A random-access multiple-program system for the University of Michigan Language Laboratory. <i>Foreign Language Courier</i>, University of Michigan Press, June 1969.
<li>Mills, D.L. The Data Concentrator. CONCOMP Project Technical Report 8, University of Michigan, May 1968.
<li>Mills, D.L. System/360 interface engineering report. CONCOMP Project Memorandum 13, University of Michigan, March 1968.
<li>Mills, D.L. RAMP: a multiprogramming system for real-time device control. CONCOMP Project Memorandum 5, University of Michigan, May 1967.
</ol>
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Data Concentrator Project
# Data Concentrator Project
[Home](../index.html) | [Credentials](../bio.html) | [Publications](../papers.html) | [Projects](../status.html) | [Teaching](../teach.html) | [Resources](../resource.html) | [Contact Me](../spam.html) | [Site Map](../sitemap.html)
I was chief nerd for several projects in the fifteen years I was with U Michigan, first in electrical engineering and then in computer science. This is one of them.
In the late 60s IBM was the crushing giant, while Digital Equipment Corporation (DEC) was yet a pipsqueak. The U Michigan Computing Center had a giant - a two-processor System 360 Model 67 processor with a dazzling one megabyte of core memory. This machine could support only dumb user terminals made by IBM and Teletype Corporation. I managed to get my hands on a pipsqueak - a DEC PDP8 - to serve as the nucleus for a controller to support other fancier user terminals and remote data communications. I was chief designer for a team that built the thing, which we called the Data Concentrator [5]. It was hardly a paragon of miniaturization, as evident in the photo below. It consisted of four six-foot racks populated with DEC Flip-Chip modules. We were lucky to get three NAND gates or two flipflops on one 5.25" plug-in card.
On the far left is a Teletype Model 35 with paper tape reader/punch. It made a sturdy operator console, but topped out at 10 char/sec. The leftmost rack contains the PDP8, 8192 words of 12-bit core memory and power supplies. The machine had eight instructions and no multiply/divide hardware. We used to say it was the smallest machine just larger than a Turing machine that was potentially useful. The next rack to the right contains an awesomely fast and noisy paper tape punch at the top. Just below that are control panels for the two IBM multiplexor channel interfaces. More about that later. Below that is a high speed (1000 byte/sec) paper tape reader.
Paper tape was then the modern way to load programs and data. We had to find some way to signal the machine operators, who were normally at the other end of the rather large machine room, to replenish the paper tape. We had two programmable noisemakers, a obnoxiously loud siren and a Ford Model-T ooga horn. We got to use the piercing siren only once.
The next rack to the right contains the two IBM multiplexor channel interfaces and multiplexor gear for 24 asynchronous serial interfaces for dial-in modems used by various terminals on campus. Its equivalent today is a handful of IC chips. The next and last rack on the right contains the multiplexor gear for four synchronous serial interfaces for dial-in modems used by other machines on campus.
The teddy bear perched above the rack has a little story of its own. DEC at that time was emphasizing how cute their products were (relative to IBM mainframes) in an ad campaign featuring a toy stuffed bear. So, we placed an order for one Ursus Theodorus, part number and price to be determined. The local DEC office thought this was pretty funny, so they forwarded a formal purchase order for one stuffed bear as per advertised to Maynard. Well, the rest is history and the bear in the photo has a DEC part number and identification tag.
Some idea of the scale of integration is evident in the photo below. Here DEC technicians are working on the PDP8 CPU. The black box near the top contains the core memory. The green cards contain the core memory select and sense amplifiers. The red ones implement a handful of 12-bit data registers, an arithmetic/logic unit and the input/output bus interface. Much later, the entire PDP8 was implemented on a single IC chip.
The PDP8 instruction set had only seven instructions, a single accumulator and no index registers. Nevertheless, the homegrown operating system called RAMP [7] ran the show with a few cycles left over. Later, RAMP was used in real-time systems for audio switching [4] and automotive test cell control.
Just about the only terminal type the Data Concentrator didn't deal with was the IBM 1050 Data Terminal shown below circa 1970. This one had a keyboard, printer and punched card reader. It used the six-bit Binary Coded Decimal (BCD) code at 134.5 bps. A bunch of these shared the same telephone line with each one selected by a special prefix code. It had no internal memory, so the operator had to retype a line of data if the checksum failed. The last one I saw was buried in the Negev Desert in 1971.
As it happened, the IBM multiplexor channel interface was the first such interface not designed by IBM, so it caused a fair amount of interest [6]. There were actually two of them, one for each Model 67 processor. It was carefully designed to emulate either of two IBM communications controllers used to connect remote terminals and remote jobstations, but could also emulate the operator console. It could and sometimes did switch in when the operator console broke. The control panels for the two interfaces are shown in the photo below.
The Data Concentrator shown here operated for some years through the early and middle '70s. It was eventually replaced by a more modern PDP11 and microprogrammed interfaces. One of the technicians bought the PDP8 and so far as I know has it still running in his basement. I expect the only extant copies of the 30-year old reports are in my office, but the lessons learned were later bottled in journal and symposium papers [1, 2, 3].
#### References
1. Mills, D.L. Communications software. *Proc. IEEE 60, 11* (November 1972), 1333-1341. Also in: Green, P.E., and R.W. Lucky, (Eds.). *Computer Communications*. IEEE Press, New York, New York, 1975. Also in: Abrams, M., R.P. Blanc, and I.W. Cotton, (Eds.). *Computer Networks: a Tutorial* (Revised 1975). IEEE Press, New York, New York, 1975.
- Mills, D.L. Preprocessors in a data communication computer environment. *Proc. ACM Symposium on the Optimization of Data Communications Systems* (Pine Mountain, Georgia, October 1969), 112-109.
- Mills, D.L. Multiprogramming in a small-systems environment. *Proc. ACM Second Symposium on Operating Systems Principles* (Princeton, New Jersey, October 1969), 286-310.
- Mills, D.L. A random-access multiple-program system for the University of Michigan Language Laboratory. *Foreign Language Courier*, University of Michigan Press, June 1969.
- Mills, D.L. The Data Concentrator. CONCOMP Project Technical Report 8, University of Michigan, May 1968.
- Mills, D.L. System/360 interface engineering report. CONCOMP Project Memorandum 13, University of Michigan, March 1968.
- Mills, D.L. RAMP: a multiprogramming system for real-time device control. CONCOMP Project Memorandum 5, University of Michigan, May 1967.
| https://www.eecis.udel.edu/~mills/gallery/gallery7.html |
<html><head>
<title>robotfindskitten... helping robots find kittens since 1997</title>
</head>
<body bgcolor="#000000" text="#aaaaaa" link="#ffdd00" alink="#fff7c9" vlink="#a38f10">
<pre>+-----------------------------------------------------+
| robotfindskitten.org v1600005.334b |
| Yet another zen simulation. |
| |
+-----------------------------------------------------+
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| <font color='#dddddd'> <font color="#0000ff">V</font> <font color="#ff00ff">4</font> <font color="#00ffff">;</font> </font> |<font color="#008800">:-[</font><a href="http://robotfindskitten.org/aw.cgi?main=software.rfk">software</a><font color="#008800">)</font>
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| <font color='#dddddd'> <font color="#ffff00">.</font> <font color="#ffaaff">m</font> </font> |<font color="#008800">:-[</font><a href="http://robotfindskitten.org/download/">download</a><font color="#008800">)</font>
| <font color='#dddddd'> <font color="#ffaa00">7</font> </font> |<font color="#008800">:-[</font><a href="http://robotfindskitten.org/aw.cgi?main=source.rfk">the source</a><font color="#008800">)</font>
| <font color='#dddddd'> <font color="#ff00aa">H</font> </font> |<font color="#008800">:-[</font><a href="http://robotfindskitten.org/aw.cgi?main=lists.rfk">lists</a><font color="#008800">)</font>
| <font color='#dddddd'> </font> |<font color="#008800">:-[</font><a href="http://robotfindskitten.org/aw.cgi?main=devteam.rfk">devteam</a><font color="#008800">)</font>
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| <font color='#dddddd'> <font color="#ffff00">N</font> </font> |<font color="#008800">`-[</font><a href="http://robotfindskitten.org/aw.cgi?main=thought.rfk">afterword</a><font color="#008800">)</font>
| <font color='#dddddd'> <font color="#aaffff">S</font> <font color="#0000ff">!</font> <font color="#ff0000">-</font> </font> |<font color="#008800">`-[</font><a href="http://robotfindskitten.org/play/robotfindskitten">PLAY</a><font color="#008800">)</font>
| <font color='#dddddd'> <font color="#00ffff">.</font> </font> |
| <font color='#dddddd'> </font> |
| <font color='#dddddd'> <font color="#880088">3</font> <font color="#aaff00">x</font> <font color="#ff0000">]</font> </font> |
| <font color='#dddddd'> </font> |
| <font color='#dddddd'> <font color="#ff0000">o</font> <font color="#00ff00">&</font> <font color="#00aaaa">u</font> </font> |
+-----------------------------------------------------+
r o b o t f i n d s k i t t e n . o r g
+-----------------------------------------------------+
| <font color="#5555ff">[</font><font color="#008800">-</font><font color="#5555ff">]</font> <font color="#ee0000">.::. .</font><font color="#aa4444">:</font><font color="#ee0000">:.</font> <font color="#cc7733">|\_/|</font> |
| <font color="#5555ff">(</font><font color="#880000">+</font><font color="#5555ff">)</font><font color="#008888">=C</font> <font color="#ee0000">:::::::</font><font color="#aa4444">:</font><font color="#ee0000">:</font> <font color="#cc7733">|</font><font color="#00ee00">o o</font><font color="#cc7733">|__</font> |
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| <font color="#777777">OOO</font> <font color="#ee0000">'::</font><font color="#aa4444">:</font><font color="#ee0000">'</font> <font color="#cc7733">c_c__(___)</font> |
+-----------------------------------------------------+
-- finding kitten since 1997 --
</pre>
</body>
</html> |
robotfindskitten... helping robots find kittens since 1997
```
+-----------------------------------------------------+
| robotfindskitten.org v1600005.334b |
| Yet another zen simulation. |
| |
+-----------------------------------------------------+
| | .[rfk)
| 3 k Y |:-[[home](http://robotfindskitten.org/aw.cgi?main=home.rfk))
| |:-[[rfk news](http://robotfindskitten.org/aw.cgi?main=news.rfk))
| V 4 ; |:-[[software](http://robotfindskitten.org/aw.cgi?main=software.rfk))
| |:-[[submit a port](http://robotfindskitten.org/aw.cgi?main=submit.rfk))
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| H |:-[[lists](http://robotfindskitten.org/aw.cgi?main=lists.rfk))
| |:-[[devteam](http://robotfindskitten.org/aw.cgi?main=devteam.rfk))
| \* # / e |:-[[sponsors](http://robotfindskitten.org/aw.cgi?main=sponsors.rfk))
| |:-[[contact info](http://robotfindskitten.org/aw.cgi?main=contact.rfk))
| N |`-[[afterword](http://robotfindskitten.org/aw.cgi?main=thought.rfk))
| S ! - |`-[[PLAY](http://robotfindskitten.org/play/robotfindskitten))
| . |
| |
| 3 x ] |
| |
| o & u |
+-----------------------------------------------------+
r o b o t f i n d s k i t t e n . o r g
+-----------------------------------------------------+
| [-] .::. .::. |\\_/| |
| (+)=C ::::::::: |o o|\_\_ |
| | | ':::::::' =-\*-=\_\_\ |
| OOO ':::' c\_c\_\_(\_\_\_) |
+-----------------------------------------------------+
-- finding kitten since 1997 --
```
| http://robotfindskitten.org/ |
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<h1>Clean Bible jokes, puns, and trivia</h1>
<p style="background-color: #FFFF00">Like most college professors, I've seen hilarious errors
in student-written papers. Here are two recent ones:</p>
<ul style="background-color: #FFFF00"><li><cite>"There were a lot of times where Jesus
would speak to huge crows such as at the Sermon on the Mount."</cite></li>
<li><cite>"What struck me most was they way they embarrassed
the gospel"</cite></li></ul>
<p><b>"Our mouths were filled with laughter" -- Psalm 126:2</b></p>
<h2>Bible humor</h2>
<p>Because so much of Holy Scripture is in story form, it lends itself to amusing twists of little
details that can be funny. This collection doesn't purport to be the best assortment of
Bible jokes and puns. Nevertheless, at least some of them will evoke chuckles from your friends.
Many of these humorous sayings, jokes and trivia from the Bible were collected from messages
floating around social media. Some appear to have come from Richard Lederer's
<cite>Anguished English</cite> (or else he got them from the same place I saw them).</p>
<p>The phrasing of several jokes and puns depends on the wording used in a specific English
translation of the Bible. In most cases, it's the classic King James Version.</p>
<p>Presenting this compilation doesn't mean I'm making fun of the Bible itself. Rather, it
indicates how much I treasure this "love letter from God." There are things in Scripture that I do
not take lightly and I will not trivialize them by turning them into jokes. Christ's suffering and
death by crucifixion is one of them.</p>
<p> -- compiled by Howard Culbertson</p>
<p><mark>"Sarah said, 'God has brought me laughter, and everyone who hears about this will
laugh with me.'" -- Genesis 21:5</mark></p>
<h3>Funny Bible questions</h3>
<dl><dt>Question: Who was the greatest financier in the Bible?
<dd>Answer: Noah -- he was floating his stock while everyone else was in liquidation.</dd>
<dt>Question: What did God say after He created Adam?
<dd>"I can do better than that." And so, He created woman.</dd>
<dt>Question: Who was the greatest female financier in the Bible?
<dd>Answer: Pharaoh's daughter -- she went down to the bank of the Nile and drew out a little
profit. <cite>Oops. That should read "prophet".</cite></dd>
<dt>Question: What kind of man was Boaz before he got married?
<dd>Answer: Ruth-less.</dd>
<dt>Question: Who was the first drug addict in the Bible?
<dd>Answer: Nebuchadnezzar -- he was on grass for seven years. (Daniel 4:23-
33)</dd>
<dt>Question: What kind of motor vehicles are in the Bible?
<dd>Answer: Yahweh drove Adam and Eve out of the Garden in a Fury, an automobile produced
by Plymouth from 1955 to 1989.</dd>
<dd>Israel's Triumph (a British automobile produced from 1921 to 1984) could be heard after
the death of Goliath (2 Samuel 17:52, <em>New Living Translation</em>.</dd>
<dd>Honda... because Acts 2:12 says Jesus' followers "were all in one Accord," an
automobile<img src="accord2.jpg" width="148" height="72" alt="photo of white automobile"
style="float: right;"></dd>
<dd>In Psalm 83, the Almighty clearly owns both a Pontiac and a Geo. The passage urges the
Lord to "pursue your enemies with your Tempest and terrify them with your Storm." -- Psalm
83:15</dd>
<dd> God may favor Dodge pickup trucks since the Israelites were warned not to follow Moses
up on the mountain "until the Ram's horn sounds a long blast." -- Exodus 19:13</dd>
<dd>2 Corinthians 4:8 describes a group traveling in a Volkswagen Bug: <i>"We are hard
pressed on every side."</i></dd>
<dt>Question: Where is the first baseball game in the Bible?
<dd>Answer: In the big inning. Eve stole first, Adam stole second.</dd>
<dt>Question: How did Adam and Eve feel when expelled from the Garden of Eden (Genesis
3:23-24)?
<dd>Answer: They were really put out.</dd>
<dt>Question: What is one of the things that Adam and Eve did after they were kicked out?
<dd>Answer: They raised Cain.</dd>
<dt>Question: What excuse did Adam give to his children as to why he no longer lived in Eden?
<dd>Answer: "Your mother ate us out of house and home" (Genesis 3:6).</dd>
<dt>Question: The ark was built in three stories. The top one had a window to let in light. How
did the bottom two stories get light?
<dd>Answer: They used floodlights.</dd>
<dt>How do we know Peter was a rich fisherman?
<dd>Answer: By his net income.</dd>
<dt>Question: Why was Goliath so surprised when David hit him with a slingshot?
<dd>Answer: The thought had never entered his head before.</dd>
<dt>What animal did Noah find it difficult to trust?
<dd>Answer: The cheetah</dd>
<dt>Question: What is the best way to get to Paradise?
<dd>Answer: Turn right and go straight.</dd>
<dt>Question: According to the Bible, which one of Yahweh's servants was the most flagrant
lawbreaker?
<dd>Answer: <a href="moses.htm">Moses</a>, because he broke all <a
href="command.htm">10 commandments</a> at once.</dd>
<dt>Question: Which area of the <a href="bridge.htm">Promised Land</a> was especially
wealthy?
<dd>Answer: The area near the Jordan River where the banks kept overflowing.</dd>
<dt>Question: Who was the first person to download something from a cloud to two tablets?
<dd>Answer: Moses</dd>
<dt>Question: How do we know that Job went to a chiropractor?
<dd>Answer: Because Job 16:12 says: <i>"All was well with me, but . . . he seized me by the
neck"</i></dd>
<dt>Question: Where is the first tennis match mentioned in the Bible?
<dd>Answer: When Joseph served in Pharaoh's court.</dd>
<dt>Question: Which Bible character had no parents?
<dd>Answer: Joshua, son of Nun (Joshua 1:1).</dd>
<dt>Question: Why didn't Noah go fishing?
<dd>Answer: He only had two worms.</dd>
<dt>Question: How do we know the people on the ark with Noah did not play card games?
<dd>Answer: Because Noah sat on the deck</dd>
<dt>Question: Who was the first person to throw down a tablet and break it because he was
angry?
<dd>Answer: Moses</dd>
<dt>Question: Where is a square dance class mentioned in the Bible?
<dd>Jonah 4:11 -- "There are more than a hundred and twenty thousand people who
cannot tell their right hand from their left."</dd>
<dt>Question: Who may have been the shortest man in the Bible?
<dd>Answer: There are three possibilities --
1. Zacchaeus, so short he had to climb a tree to see Jesus. Luke 19:2-4<br />
2. Bildad the Shuhite ("shoe height"), one of Job's three friends. Job 2:11<br />
3. Nehemiah ("Knee High Miah"), the central figure of a book that bears his name.</dd>
<dt>Question: Question: How long did Cain hate his brother?
<dd>Answer: As long as he was able! (Abel)</dd>
</dl>
<h4>Bloopers by students writing about the Bible</h4>
<ul><li>Second of <a href="command.htm">10 Commandments</a>: Thou shall cast no
idles.</li>
<li>In the first book of the bible, Guinness, God got tired of creating the world, so He took the
Sabbath off.</li>
<li>Adam and Eve were created from an apple tree. One of their children, Cain, asked: "Am I
my brother's son?"</li>
<li>Noah's wife was called Joan of Ark. Noah built an ark, which the animals came on to in
pears.</li>
<li>God asked Abraham to sacrifice Isaac on Mount Montezuma. Jacob, son of Isaac, stole his
brother's birthmark. One of Jacob's sons, Joseph, gave refuse to the Israelites.</li>
<li>Pharaoh forced the Hebrew slaves to make bread without straw. <a
href="kids.htm">Moses</a> led the Hebrews to the Red Sea, where they made unleavened bread
which is bread without any ingredients.</li>
<li>The Egyptians were all drowned in the dessert. Afterward, Moses went up on Mount Cyanide
to get the ten amendments.</li>
<li>The seventh commandment is: Thou shalt not admit adultery.</li>
<li>Moses died before he ever reached Canada. Then Joshua led the Hebrews in the battle of
Geritol.</li>
<li>The greatest miracle in the Bible is when Joshua told his son to stand still, and he obeyed
him.</li>
<li>David was a Hebrew king skilled at playing the liar. He fought with the Finklesteins, a race
of people who lived in Biblical times.</li>
<li>Solomon, one of David's sons, had 300 wives and 700 porcupines.</li>
<li>When Mary heard that she was the mother of Jesus, she sang the Magna Carta.</li>
<li>When the three wise guys from the east side arrived, they found Jesus in the manager.</li>
<li>Jesus enunciated the Golden Rule, which says to do one to others before they do one to you.
He also explained, "a man doth not live by sweat alone."</li>
<li>It was a miracle when Jesus rose from the dead and managed to get the tombstone off the
entrance.</li>
<li>The people who followed the Lord were called the 12 decibels. The epistles were the wives
of the apostles.</li>
<li>One of the opossums was St. Matthew who was a taximan.</li>
<li>Christians have only one spouse. This is called monotony.</li></ul>
<p><b>"There's an opportune time to do things, a right time for everything on the earth . . .
<br />A right time to cry and another to laugh" -- Ecclesiastes 3:1, 4 (The Message)</b></p>
<h4><img alt="drawing of a pistol" src="pistol.gif" width="39"
height="28">Bible humor</h4>
<hr>
<p>An elderly woman had just returned home from an evening church service when she realized
there was an intruder in her home. Seeing that he was in the act of robbing her home of its
valuables, the lady yelled "Stop! Acts 2:38!"<sup>1</sup></p>
<p>Hearing her, the burglar stopped dead in his tracks and stood motionless. The woman calmly
called the police and explained what was going on.</p>
<p>As the officer cuffed the man to take him in, he asked the burglar, "Why did you just stand
there? All the lady did was yell a Bible verse at you."</p>
<p>"Bible verse?" said the burglar, "She said she had an ax and two 38's!"</p>
<hr />
<blockquote><sup>1</sup><cite>"Repent and be baptized, in the name of Jesus Christ so that
your sins may be forgiven. And you will receive the gift of the Holy Spirit."</cite> -- (Acts
2:38)</blockquote>
<h4>Ten ways the Bible would be different had it been written by college students</h4>
<ol reversed><li>The Last Supper would have been eaten the next morning -- cold.</li>
<li>The <a href="command.htm">Ten Commandments</a> would have been only five. They
would have been double-spaced and written in a large font.</li>
<li>The Bible would have come out in a new edition every two years in order to limit
re-selling.</li>
<li>The reason the forbidden fruit would have been eaten was that it wasn't cafeteria
food.</li>
<li>Paul's letter to the Romans would become Paul's e-mail to abuse@romans.gov.</li>
<li>The reason Cain would have killed Abel: They were roommates.</li>
<li>The place where the end of the world occurs: Finals, not Armageddon.</li>
<li>Out go the mules, in come the mountain bikes.</li>
<li>Reason why Moses and those following him would have wandered in the desert for 40 years:
They didn't want to ask directions and look like freshmen.</li>
<li>Instead of God creating everything in six days and resting on the seventh, He would have put
it off until the night before it was due and then pulled an all-nighter.</li></ol>
<h4>If Moses had received the <a href="command.htm">10 Commandments</a> via text
message:</h4>
<p>no1 b4 me. srsly.<br />
dnt wrshp pix/idols<br />
no omg's<br />
no wrk on w/end (sat 4 now; sun l8r)<br />
pos ok ur m&d r cool<br />
dnt kill ppl<br />
:-X only w/ m8<br />
dnt steal<br />
dnt lie re: bf<br />
dnt ogle ur bf's m8. or ox. or dnkey. myob.<br />
<br />
ttyl, JHWH.<br /><br />
ps. wwjd?</p>
<h3>Do the names of Old Testament peoples and tribes confuse you?</h3>
<p>Here's a cartoon spoof on those names.</p>
<p><img src="ottribes.gif" width="400" height="207" alt="Cartoon: Nomadic
Tribes of the Old Testament: Amorites, Midianites and Samsonites"><p>
<h3>Help me find the origin of this cartoon!</h3>
<p>I've had this in my files for several years but have lost track of where it was from or who the
cartoonist was. Do you know who the artist is? If so, e-mail me. I'd like to get in contact and get
permission to use it.</p>
<p>The Amorites and the Midianites were, of course, tribes with whom the Israelites had some
not-so-friendly encounters. The Amorites, mentioned in the Bible more than 70 times,
are described as "tall." The Midianites are mentioned in the Old Testament about 20
times.</p>
<p>The Samsoites? Well . . . . that name doesn't quite go back to Old Tetamet times although
Jesse Shwayder (1882 1970), founder of the Shwayder Trunk Manufacturing Company, did
name one of his initial cases after the Biblical strongman Samson, and began using the trademark
Samsonite in 1941.</p>
<p><b>Sarah said, "God has brought me laughter, and everyone who hears about this will
laugh with me." -- Genesis 21:6</b></p>
<hr />
<h3 id="bible">Bible trivia tidbits</h3>
<dl><dt>Question: How many total words are there in the Bible?
<dd>In terms of the English Bible, this varies from translation to translation. The range is from
just over 715,00 words to almost 785,000 words. This doesn't mean things have been left out or
added. It just means that some translations are more wordy than others in rendering the meaning
of the Hebrew and Greek originals. As for the number of letter characters, the total count in the
KJV is a staggering 3,116,480. That count would also vary from translation to translation.</dd>
<dt>Question: How long did it take for the Bible to be written?
<dd>Scholars say about 1,500 years went by from the time the first Bible book was written until
the last one was completed.</dd>
<dt>Question: How many different authors were involved in writing the Bible?
<dd>About 40</dd>
</dl>
<h3>Some facts about the Psalms</h3>
<dl><dt>Question: Which Old Testament book is quoted most often in the New Testament?
<dd>Psalms</dd>
<dt>Question: What Bible chapter is the shortest?
<dd>Answer: Psalm 117 with only 2 verses</dd>
<dt>Question: What is the longest chapter in the Bible?
<dd>Answer: Psalm 119 with 176 verses</dd>
<dt>Question: As far as chapter count goes, which chapter is in the center of the Protestant
Bible?
<dd>Answer: Psalm 118 </dd>
<dt>Question: Which verse is at the exact center verse of the Bible?
<dd>Answer: Psalm 118:8</dd>
<dt>Question: What is the longest book in the Bible?
<dd>Answer: In terms of the number of chapters, it's the book of Psalms. However, in terms of
the number of words in the Hebrew language, it's Jeremiah. [ see <a href="chapters.htm">the
lists</a> of longest by chapter and longest in terms of word count ]</dd>
<dt>Question: What is the shortest book in the Bible?
<dd>Answer: In terms of the number of chapters, there are five with only one chapter: Second
John, Third John, Jude, Obadiah, and Philemon. In terms of number of words, Third John is the
shortest with 219 words in the original Greek.</dd>
<dt><style="font-weight: normal;"><a href="chapters.htm">More Bible numbers</a></style>
<dt>Question: Which of these men was not an author of at least one psalm? Moses, David,
Joshua, or Solomon
<dd>Answer: Joshua
<dt>Which of the Psalms is the only one that ends without some sense of praise to or hope in
God?
<dd>Psalm 88 is the only psalm that ends without some sense of praise or hope in God.</dd>
<dt>Over what period of time were the Psalms composed?
<dd>David is, of course, considered the author of many of the Psalms. He lived from about 1035
BC to 970 BC. However, the poerty of the book of Psalms was composed over a period of
approximately 1000 years. Psalm 90 may be the oldest psalm, probably written by Moses around
1450 B.C. before his encounter with God at the burning bush where <a href="moses.htm">God
called him</a> to liberate the Hebrew people from Egyptian slavery. </dd>
<dt>The key word in the Psalms is "praise." It is pused more than 200 times in Psalms compared
with about 120 occurrences in all the rest of Holy Scripture combined.
<dt>Which of the Psalms are acrostics?
<dd>Psalms 25, 34, 37, 111, 112, 119, and 145 are examples of acrostic Hebrew poetry. In these
seven psalms, the first letter of each line, verse or stanza begins with a successive letter of the
Hebrew alphabet. The acrostic aspect isn't, of course, readily apparent in versions of the Bible in
languages other than Hebrew. A good hint in looking for psalms that are acrostics is to look for
psalms with 22 verses since there are 22 letters in the Hebrew alphabet. Psalm 119 is an
expanded acrostic in which the sections begin with succeeding Hebrew alphabet letters.</dd>
</dl>
<h3>Is "BIBLE" an acronym?</h3>
<p>Fact-check: The word "Bible" itself is not an acronym. It comes from the Latin word "biblia",
which simply means "book." The Latin word comes from a Greek word that is best rendered as
"scroll."</p>
<p>However, some have jokingly said that the letters of the English word Bible could stand for
"<b>B</b>est <b>I</b>nstructions <b>B</b>efore <b>L</b>eaving <b>E</b>arth." </p>
<p>So, no, the word Bible is not an acronym. The individual letters do not stand for other
words.</p>
<h3 id="gonave">Reading the Bible aloud: Confirmation of a bit of trivia</h3>
<p>I read somewhere that it would take about 75 hours to read the Bible aloud at a normal rate.
A little over 50 hours of that will be spent reading the Old Testament.</p>
<p>I mentioned this bit of trivia to a group of Haitian pastors on the island of La Gonave. The
pastor of the Church of the Nazarene in the mountain town of Grand Source challenged his youth
group to see how long it would take them to read the Bible aloud in Haitian Creole. He said if
they would do it, he would invite the people in their mountain village to come and listen
whenever they had time.</p>
<p id="sayings">On a Monday, the young people started reading the Bible aloud from the
platform of their church building. Reading in 15-minute shifts for about 15 hours a day, those
young people in Haiti read the Bible aloud all the way through in a little over 79 hours.</p>
<h3>Common sayings from the bible</h3>
<h4>Ask your friends: In which book of the Bible can each of these famous sayings be
found?</h4>
<p>Do you sometimes quote the Bible without being aware of it? The English language is salted,
as are other languages, with biblical phrases and proverbs. Listed below are more than four dozen
of them.</p>
<p>To be sure, "cleanliness is next to godliness" is <i>no</i>t one of biblical origin. Neither is
"God helps those who help themselves." That particular one is from <cite>Poor Richard's
Almanac</cite> produced by the American political figure Benjamin Franklin.<br /></p>
<p>Here is a listing of oft-used English phrases with the scripture reference from which they
come given.</p>
<ul><li>"A law unto themselves" -- Romans 2:14</li>
<li>"A house divided" -- Matthew 12:25, Luke 11:17 (quoted by Abraham link in an 1858
speech on the eve of the American Civil War)</li>
<li>"A man after his own heart" -- 1 Samuel 13:14</li>
<li>"Apple of my eye" Deuteronomy 2:10, Zechariah 2:8</li>
<li>"At my wit's end" Psalm 107:27</li>
<li>"Blind leading the blind" Matthew 15:14, Luke 6:39</li>
<li>"By the skin of our teeth" Job 19:20</li>
<li>"Can a leopard change his spots?" Jeremiah 13:23</li>
<li>"Don't cast your pearls before swine" -- Matthew 7:6</li>
<li>"Drop in the bucket" -- Isaiah 40:15</li>
<li>"Dust of the earth" -- Genesis 13:16</li>
<li>"Eat, drink, and be merry" -- Ecclesiastes 8:15</li>
<li>"Eye for an eye" -- Exodus 21:24, Leviticus 24:20, Deuteronomy 19:21 Matthew
5:38</li>
<li>"False prophets, which come to you in sheep's clothing" -- Matthew 24:24, Mark
13:22</li>
<li>"Fell on rocky ground" -- Matthew 13:5</li>
<li>"Fight the good faith" -- 1 Timothy 6:12</li>
<li>"Golden calf" -- Exodus 32</li>
<li>"Good Samaritan" -- Luke 10:25-37</li>
<li>"Hammer swords into plowshares" -- Isaiah 2:4</li>
<li>"He gave up the ghost" -- Luke 23:46</li>
<li>"He that is without <a href="sin.htm">sin</a> among you, let him cast the first stone" --
John 8:7</li>
<li>"Handwriting on the wall" -- Daniel 5:5</li>
<li>"How are the mighty fallen" -- 1 Samuel 1:19-27</li>
<li>"Labor of love" -- 1 Thessalonians 1:3</li>
<li>"Letter of the law" -- 2 Corinthians 3:6</li>
<li>"Many are called, but few are chosen" -- Matthew 22:14</li>
<li>"Man shall not live by bread alone" -- Deuteronomy 8:3, Matthew 4:4</li>
<li>"More blessed to give than to receive" -- Acts 20:35</li>
<li>"My brother's keeper" -- Genesis 4:9</li>
<li>"No peace for the wicked" -- Isaiah 48:22, Isaiah 57:21</li>
<li>"Noting new under the sun" -- Ecclesiastes 1:9</li>
<li>"One dead fly makes the perfumer's ointment give off a rancid stench" -- Ecclesiastes
10:1</li>
<li>"Out of the mouths of babes" -- Psalm 8:2</li>
<li>"Powers that be" -- Romans 13:1</li>
<li>"Pride goes before a fall" -- Proverbs 16:19</li>
<li>"Put the words in her mouth" -- 2 Samuel 14:3</li>
<li>"Put your house in order" -- 2 Kings 20:1, Isaiah 38:1</li>
<li>"Red sky at morning" -- Matthew 16:3</li>
<li>"Rise up and shine" -- Isaiah 60:1</li>
<li>"Salt of the earth" -- Matthew 5:13</li>
<li>"See eye to eye" -- Isaiah 52:8</li>
<li>"Signs of the times" -- Matthew 16:3</li>
<li>"Soft answer turns away wrath" -- Proverbs 15:1</li>
<li> "Stood by the stuff" (a reference to troops that guarded supplies) -- 1 Samuel 25:13,
30:24)</li>
<li>"Strait and narrow" -- Matthew 7:14</li>
<li>"Suffer fools gladly" -- 2 Corinthians 11:19</li>
<li>"Sweat of your brow" -- Genesis 3:19</li>
<li>"The love of money is the root of all evil" (frequently misquoted as "money is the root of all
evil") -- 1 Timothy 6:10 </li>
<li>"The truth shall make you free" -- John 8:32 (engraved on the wall of the original CIA
headquarters building in Washington, DC)</li>
<li>"There's nothing new under the sun" -- Ecclesiastes 1:9</li>
<li>"Thorn in the flesh" -- 2 Corinthians 12:7</li>
<li>"To everything, there is a season" Ecclesiastes 3:1</li>
<li>"Twinkling of an eye" -- 1 Corinthians 15:52</li>
<li>"Wars and rumors of wars" -- Matthew 24:26, Mark 13:7</li>
<li>"Weighed in the balances and found wanting" -- Daniel 5:5</li>
<li>"What is truth?" -- John 18:38</li>
<li>"Where there is no vision, the people perish" -- Proverbs 29:18</li>
</ul>
<p><mark>Can you think of other things that could or should be on this page? If so, drop me
an email and I'll add them.</mark></p>
<p> -- compiled by Howard Culbertson, <script
src="mysite.js"></script></p>
<h3>You might also like these</h3>
<ul style="line-height: 2;"><li>The entire Bible in <a href="50words.htm">50 words</a></li>
<li><a href="wordsr.htm">People mentioned most often in the Bible</a></li>
<li><a href="moses.htm#names">600 names, titles and descriptions of God </a></li>
<li>Bible <a href="puzzles.htm#bibpuz">word puzzles -- crosswords, word searches and word
scrambles</a></li>
</ul>
<h4>Find the hidden Bible book names</h4>
<table><tr><td><a href="hidden.htm"><img alt="arrow pointing right"
src="next.gif" width="24" height="24"></a></td><td class="sticky">Can you find Bible book
names in a paragraph of text that seems to have little or nothing to do with the names of the 66
documents of the Holy Scriptures? Here are two paragraphs, one with 16 Bible book names
hidden in it and another paragraph with 30 hidden Bible book names names. [
<a href="hidden.htm">more</a> ]</td></tr></table>
<h4>What was Adam's last name?</h4>
<table><tr><td><a href="tate.htm"><img src="next.gif" width="24" height="24"
alt="arrow pointring right"></a></td><td class="sticky">Was Adam's last name Tate? It may
have been. Churches are full of people named Tate. [ <a href="tate.htm">more</a>
]</td></tr></table>
<h3>Bible content on a serious note</h3>
<ul>
<li style="padding-bottom: 18px;"><a href="memory.htm">Bible memory passages</a></li>
<li style="padding-bottom: 18px;"><a href="bridge.htm">Canaan's strategic location as a
land bridge</a></li>
<li style="padding-bottom: 18px;"><a href="keychap.htm">15 key Bible chapters</a></li>
<li style="padding-bottom: 18px;"><a href="command.htm">Brief form of the Ten
Commandments</a></li>
<li style="padding-bottom: 18px;"><a href="question.htm">Questions answered by the Old
Testament (a.k.a. the Hebrew Bible)</a></li>
<li style="padding-bottom: 18px;">PowerPoint presentations
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<li style="padding-bottom: 18px;"><a href="ntbooks.pdf">New Testament</a></li></ul></li>
<li style="padding-bottom: 18px;"><a href="whyp.pdf">Why I believe the Bible is
authoritative</a></li></ul></li>
<li style="padding-bottom: 18px;">Audio -- <a href="biblerap.mp3">Bible book names
rap</a></li>
<li style="padding-bottom: 18px;"><a href="keychap.htm">Big
events for a brief storyline of the entire Bible</a></li>
<li style="padding-bottom: 18px;"><a href="story.pdf">Bible stsoryline in pictures or
drawings</a></li>
<li style="padding-bottom: 18px;"><a href="harmony.pdf">Condensed "harmony" of the
gospels</a></li>
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Bible</a></li>
<li style="padding-bottom: 18px;"><a href="chapters.htm">Bible chapters at a glance</a></li>
<li style="padding-bottom: 18px;"><a href="study.htm">How to study the Bible</a></li>
<li style="padding-bottom: 18px;"><a href="keychap.htm">Biblical illiteracy: Why Johnny can't
read the Bible</a></li>
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# Clean Bible jokes, puns, and trivia
Like most college professors, I've seen hilarious errors
in student-written papers. Here are two recent ones:
* "There were a lot of times where Jesus
would speak to huge crows such as at the Sermon on the Mount."
* "What struck me most was they way they embarrassed
the gospel"
**"Our mouths were filled with laughter" -- Psalm 126:2**
## Bible humor
Because so much of Holy Scripture is in story form, it lends itself to amusing twists of little
details that can be funny. This collection doesn't purport to be the best assortment of
Bible jokes and puns. Nevertheless, at least some of them will evoke chuckles from your friends.
Many of these humorous sayings, jokes and trivia from the Bible were collected from messages
floating around social media. Some appear to have come from Richard Lederer's
Anguished English (or else he got them from the same place I saw them).
The phrasing of several jokes and puns depends on the wording used in a specific English
translation of the Bible. In most cases, it's the classic King James Version.
Presenting this compilation doesn't mean I'm making fun of the Bible itself. Rather, it
indicates how much I treasure this "love letter from God." There are things in Scripture that I do
not take lightly and I will not trivialize them by turning them into jokes. Christ's suffering and
death by crucifixion is one of them.
-- compiled by Howard Culbertson
"Sarah said, 'God has brought me laughter, and everyone who hears about this will
laugh with me.'" -- Genesis 21:5
### Funny Bible questions
Question: Who was the greatest financier in the Bible?
Answer: Noah -- he was floating his stock while everyone else was in liquidation.
Question: What did God say after He created Adam?
"I can do better than that." And so, He created woman.
Question: Who was the greatest female financier in the Bible?
Answer: Pharaoh's daughter -- she went down to the bank of the Nile and drew out a little
profit. Oops. That should read "prophet".
Question: What kind of man was Boaz before he got married?
Answer: Ruth-less.
Question: Who was the first drug addict in the Bible?
Answer: Nebuchadnezzar -- he was on grass for seven years. (Daniel 4:23-
33)
Question: What kind of motor vehicles are in the Bible?
Answer: Yahweh drove Adam and Eve out of the Garden in a Fury, an automobile produced
by Plymouth from 1955 to 1989.
Israel's Triumph (a British automobile produced from 1921 to 1984) could be heard after
the death of Goliath (2 Samuel 17:52, *New Living Translation*.
Honda... because Acts 2:12 says Jesus' followers "were all in one Accord," an
automobile
In Psalm 83, the Almighty clearly owns both a Pontiac and a Geo. The passage urges the
Lord to "pursue your enemies with your Tempest and terrify them with your Storm." -- Psalm
83:15
God may favor Dodge pickup trucks since the Israelites were warned not to follow Moses
up on the mountain "until the Ram's horn sounds a long blast." -- Exodus 19:13
2 Corinthians 4:8 describes a group traveling in a Volkswagen Bug: *"We are hard
pressed on every side."*
Question: Where is the first baseball game in the Bible?
Answer: In the big inning. Eve stole first, Adam stole second.
Question: How did Adam and Eve feel when expelled from the Garden of Eden (Genesis
3:23-24)?
Answer: They were really put out.
Question: What is one of the things that Adam and Eve did after they were kicked out?
Answer: They raised Cain.
Question: What excuse did Adam give to his children as to why he no longer lived in Eden?
Answer: "Your mother ate us out of house and home" (Genesis 3:6).
Question: The ark was built in three stories. The top one had a window to let in light. How
did the bottom two stories get light?
Answer: They used floodlights.
How do we know Peter was a rich fisherman?
Answer: By his net income.
Question: Why was Goliath so surprised when David hit him with a slingshot?
Answer: The thought had never entered his head before.
What animal did Noah find it difficult to trust?
Answer: The cheetah
Question: What is the best way to get to Paradise?
Answer: Turn right and go straight.
Question: According to the Bible, which one of Yahweh's servants was the most flagrant
lawbreaker?
Answer: [Moses](moses.htm), because he broke all [10 commandments](command.htm) at once.
Question: Which area of the [Promised Land](bridge.htm) was especially
wealthy?
Answer: The area near the Jordan River where the banks kept overflowing.
Question: Who was the first person to download something from a cloud to two tablets?
Answer: Moses
Question: How do we know that Job went to a chiropractor?
Answer: Because Job 16:12 says: *"All was well with me, but . . . he seized me by the
neck"*
Question: Where is the first tennis match mentioned in the Bible?
Answer: When Joseph served in Pharaoh's court.
Question: Which Bible character had no parents?
Answer: Joshua, son of Nun (Joshua 1:1).
Question: Why didn't Noah go fishing?
Answer: He only had two worms.
Question: How do we know the people on the ark with Noah did not play card games?
Answer: Because Noah sat on the deck
Question: Who was the first person to throw down a tablet and break it because he was
angry?
Answer: Moses
Question: Where is a square dance class mentioned in the Bible?
Jonah 4:11 -- "There are more than a hundred and twenty thousand people who
cannot tell their right hand from their left."
Question: Who may have been the shortest man in the Bible?
Answer: There are three possibilities --
1. Zacchaeus, so short he had to climb a tree to see Jesus. Luke 19:2-4
2. Bildad the Shuhite ("shoe height"), one of Job's three friends. Job 2:11
3. Nehemiah ("Knee High Miah"), the central figure of a book that bears his name.
Question: Question: How long did Cain hate his brother?
Answer: As long as he was able! (Abel)
#### Bloopers by students writing about the Bible
* Second of [10 Commandments](command.htm): Thou shall cast no
idles.
* In the first book of the bible, Guinness, God got tired of creating the world, so He took the
Sabbath off.
* Adam and Eve were created from an apple tree. One of their children, Cain, asked: "Am I
my brother's son?"
* Noah's wife was called Joan of Ark. Noah built an ark, which the animals came on to in
pears.
* God asked Abraham to sacrifice Isaac on Mount Montezuma. Jacob, son of Isaac, stole his
brother's birthmark. One of Jacob's sons, Joseph, gave refuse to the Israelites.
* Pharaoh forced the Hebrew slaves to make bread without straw. [Moses](kids.htm) led the Hebrews to the Red Sea, where they made unleavened bread
which is bread without any ingredients.
* The Egyptians were all drowned in the dessert. Afterward, Moses went up on Mount Cyanide
to get the ten amendments.
* The seventh commandment is: Thou shalt not admit adultery.
* Moses died before he ever reached Canada. Then Joshua led the Hebrews in the battle of
Geritol.
* The greatest miracle in the Bible is when Joshua told his son to stand still, and he obeyed
him.
* David was a Hebrew king skilled at playing the liar. He fought with the Finklesteins, a race
of people who lived in Biblical times.
* Solomon, one of David's sons, had 300 wives and 700 porcupines.
* When Mary heard that she was the mother of Jesus, she sang the Magna Carta.
* When the three wise guys from the east side arrived, they found Jesus in the manager.
* Jesus enunciated the Golden Rule, which says to do one to others before they do one to you.
He also explained, "a man doth not live by sweat alone."
* It was a miracle when Jesus rose from the dead and managed to get the tombstone off the
entrance.
* The people who followed the Lord were called the 12 decibels. The epistles were the wives
of the apostles.
* One of the opossums was St. Matthew who was a taximan.
* Christians have only one spouse. This is called monotony.
**"There's an opportune time to do things, a right time for everything on the earth . . .
A right time to cry and another to laugh" -- Ecclesiastes 3:1, 4 (The Message)**
#### drawing of a pistolBible humor
---
An elderly woman had just returned home from an evening church service when she realized
there was an intruder in her home. Seeing that he was in the act of robbing her home of its
valuables, the lady yelled "Stop! Acts 2:38!"1
Hearing her, the burglar stopped dead in his tracks and stood motionless. The woman calmly
called the police and explained what was going on.
As the officer cuffed the man to take him in, he asked the burglar, "Why did you just stand
there? All the lady did was yell a Bible verse at you."
"Bible verse?" said the burglar, "She said she had an ax and two 38's!"
---
| http://home.snu.edu/~hculbert/trivia.htm |
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<CENTER><FONT COLOR="#207030" SIZE="7"> Computerizing your old Land Rover </FONT></CENTER>
<BR><BR><P><FONT COLOR="#207030" SIZE="4">
If you take your modern car to the garage, they probably just plug it into their computer, and get a complete report on its condition.<P> Have you ever wished you could plug your old Land Rover into one of those diagnostic computers that modern garages use?
<BR>We have discovered that "WINDOWS 98" comes complete with a set of diagnostic software to analyse problems with old Land Rovers. And due to incredible advances in technology we can now connect your old Land Rover to your computer <B><I>without</I></B> using a direct cable link. <P>Using a combination of BLUETOOTH, INFRARED, W.I.F.I. ...... STRING, and SUPERGLUE, <B>WINDOWS</B> New Hardware Wizard can now make your Land Rover appear as another "Drive" on your computer. All you need to do is tell your computer where to search to find your Land Rover and let WINDOWS do the rest.<BR><SMALL>This system works quite happily on more modern operating systems like WIN ME, XP etc. but the interface may just resemble WIN 98.</SMALL><BR><BR>
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<TABLE width="80%" ><TR><TD>
<P><FONT COLOR="#206920" SIZE="4"> First, tell WINDOWS what kind<BR> of Old Land Rover to search for ? </TD><TD>
<INPUT TYPE="radio" NAME="none" VALUE="1"><BIG> Series 1 </BIG><BR>
<INPUT TYPE="radio" NAME="none" VALUE="2"><BIG> Series 2 and 2a</BIG>
</TD><TD>
<INPUT TYPE="radio" NAME="none" VALUE="3"><BIG> Series 3</BIG> <BR>
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</TD></TR></FONT></TABLE>
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<P> <SELECT>
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</BODY></HTML> | Virtual Land Rover
Computerizing your old Land Rover
If you take your modern car to the garage, they probably just plug it into their computer, and get a complete report on its condition. Have you ever wished you could plug your old Land Rover into one of those diagnostic computers that modern garages use?
We have discovered that "WINDOWS 98" comes complete with a set of diagnostic software to analyse problems with old Land Rovers. And due to incredible advances in technology we can now connect your old Land Rover to your computer ***without*** using a direct cable link. Using a combination of BLUETOOTH, INFRARED, W.I.F.I. ...... STRING, and SUPERGLUE, **WINDOWS** New Hardware Wizard can now make your Land Rover appear as another "Drive" on your computer. All you need to do is tell your computer where to search to find your Land Rover and let WINDOWS do the rest.
This system works quite happily on more modern operating systems like WIN ME, XP etc. but the interface may just resemble WIN 98.
| | | |
| --- | --- | --- |
| First, tell WINDOWS what kind of Old Land Rover to search for ? | Series 1
Series 2 and 2a | Series 3
Other |
Next, Please tell WINDOWS,
the direction in which to search
North
South
East
West
Don't know
Of this computer.
Is the vehicle parked in the
Garage
Road Outside
Back Garden
Upside down in a ditch
None of the above
Registration or Chassis Number
optional
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<DT><CENTER><B><FONT COLOR="#E8CD5F" SIZE=+1>1938</FONT><FONT COLOR="#FF9202"><BR>
Orson Welles' Mercury Theatre Broadcast of H.G. Wells'</FONT></B><BR>
<HR WIDTH="70%" SIZE="3"><B><FONT COLOR="#30FF00" SIZE=+4>The War of the
Worlds<BR>
</FONT></B><HR WIDTH="70%" SIZE="3"><BR>
<BR>
<BR>
<A HREF="http://www.earthstation1.com/pgs/radio/dos-War_of_the_Worlds.ram.html">Listen
to the original "The War of the Worlds" broadcast in RealAudio<BR>
</A><I><FONT COLOR="#CDCFCF">from earthstation1.simplenet.com</FONT></I><BR>
<BR>
<BR>
<BR>
<IMG SRC="../1.imagesB/welles.jpg" WIDTH="210" HEIGHT="246" ALIGN="BOTTOM"
NATURALSIZEFLAG="3"></CENTER>
<DT><CENTER><BR>
<FONT COLOR="#708C9E">Author H.G. Wells with Orson Welles<BR>
<BR>
</FONT></CENTER>
<DT><CENTER><FONT COLOR="#708C9E"></FONT> </CENTER>
<DT><CENTER><IMG SRC="../1.imagesB/radioA.gif" WIDTH="120" HEIGHT="138"
ALIGN="BOTTOM" NATURALSIZEFLAG="3"></CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER><TABLE WIDTH="519" HEIGHT="15" BORDER="0" CELLSPACING="0"
CELLPADDING="0">
<TR>
<TD WIDTH="449%"> <P><FONT COLOR="#DCB86B" SIZE=+1>In the fall of 1938, genius extraordinaire
Orson Welles, then master of broadcast theatre production for the Columbia
Broadcasting System, produced and starred in an exciting on-air dramatization
by Howard Koch, based on author H.G. Wells' classic science-fiction "The
War of the Worlds" as part of the Mercury Theatre's Halloween offering.
<BR>
<BR>
The play was aired on the 30th, the day <I>before</I> Halloween.<BR>
<BR>
Big mistake.<BR>
</FONT></P>
<P> </P>
<P><CENTER><FONT COLOR="#DCB86B"><IMG SRC="../1.imagesB/paper.gif" WIDTH=
"405" HEIGHT="176" ALIGN="BOTTOM" NATURALSIZEFLAG="3"><BR>
<BR>
</FONT><A HREF="hgnyt.htm">Read the original <B>New York Times</B> Article
regarding the broadcast</A></CENTER></P>
<P><FONT COLOR="#DCB86B" SIZE=+1><BR>
<BR>
</FONT><FONT COLOR="#DCB86B"><IMG SRC="../1.imagesB/wellessaa.jpg" WIDTH=
"110" HEIGHT="123" ALIGN="LEFT" NATURALSIZEFLAG="3"></FONT><FONT COLOR="#DCB86B"
SIZE=+1>Welles had no idea of the consequences of this seemingly innocuous
choice of entertainment. The play used the names of actual places well
known to most, especially those on the east cost, and was set in current
time with its use of apparent live and remote announcers in the field,;
tales of fiery meteors falling to the earth... of strange metallic cylinders
embedded in the ground emitting unearthly noises and the subsequent uprising
of monstrous, mechanized Martian war machines bent on world conquest. The
play became all too real for hundreds of thousands of Americans who were
apparently glued to their radios aghast. Whether they missed the introduction
<I>and</I> the intermission, both of which stated plainly that what was
being broadcast was merely a radio-play, or whether holiday spirits enhanced
the naturally alarming elements of something dreadful and terrifying coming
from another world... we'll never really know. But it became known as the
night that panicked America.<BR>
<BR>
It seems the greater part of an entire nation was fully convinced that,
as it was stated by believable authorities on the air, "both the observations
of science and the evidence of our eyes lead to the inescapable assumption
that those strange beings who landed in the Jersey farmlands tonight are
the vanguard of an invading army from the planet Mars." <BR>
<BR>
The end of the world was upon them, and the play-by-play, blow-by-blow
was coming to them live, via radio. The modern age had brought Armageddon
into the living room.<BR>
<BR>
</FONT><FONT COLOR="#DCB86B"><IMG SRC="../1.imagesB/wellessa.jpg" WIDTH=
"200" HEIGHT="223" ALIGN="RIGHT" NATURALSIZEFLAG="3"></FONT><FONT COLOR="#DCB86B"
SIZE=+1>Welles had made a tragic error. The press and the nation was considerably
unforgiving for a very long time to come. What was intended as a pre-Halloween
spook-story became a nightmare resulting in several actual deaths by suicide
(though to this day many claim such never took place) and countless other
repercussions which Mr. Welles could never have foreseen. One of the more
oft-told accounts was of a particular farmer who, when hearing about the
menacing Martian war machines with their tenticular arms and great stilt-like
metallic legs bounding across the countryside, went out into his field
armed to the teeth, ready to do battle with the coming metal-monster. In
the darkness the poor man mistook his neighbors watertower for one of the
towering martian invaders, blowing several large holes in it with his shotgun.
Other stories circulated that people had taken poison rather than to endure
the coming Martian holocaust brought by the mysterious black, toxic smoke
given off by the relentless, trodding war machines. One fact is certain,
many people near and about the real-life geographical locations mentioned
in the play packed bags in a panic and hit the highways trying to flee
the cosmic cataclysm.<BR>
<BR>
Orson Welles' career was severely effected for many years to come. It was
not until the broadcast was well underway that reports began to float into
Columbia center according to some accounts; the speculation being that
Welles knew what was happening in the streets and continued with the broadcast
nonetheless. Takes of panic in the streets might have easily been met with
absolute skepticism on the part of Welles and company. Others contend to
this day that Welles was oblivious to such information being fully involved
in the radio play itself, and was deeply sorry for the outcome. Either
way, Orson Welles ended much of his broadcasting career and Mercury Theatre's
rendition of "The War of the Worlds" with these now famous words:</FONT></P>
<P><FONT COLOR="#D9C0A9" SIZE=+1>"This is Orson Welles, ladies and
gentlemen, out of character to assure you that The War of The Worlds has
no further significance than as the holiday offering it was intended to
be. The Mercury Theatre's own radio version of dressing up in a sheet and
jumping out of a bush and saying Boo! Starting now, we couldn't soap all
your windows and steal all your garden gates by tomorrow night. . . so
we did the best next thing. We annihilated the world before your very ears,
and utterly destroyed the C. B. S. You will be relieved, I hope, to learn
that we didn't mean it, and that both institutions are still open for business.
So goodbye everybody, and remember the terrible lesson you learned tonight.
That grinning, glowing, globular invader of your living room is an inhabitant
of the pumpkin patch, and if your doorbell rings and nobody's there, that
was no Martian.... it's Hallowe'en."</FONT></TD></TR>
</TABLE>
</CENTER>
<DT><CENTER><BR>
<BR>
</CENTER>
<DT><CENTER><B><I><FONT COLOR="#30FF00" SIZE=+1>From the Broadcast....</FONT></I></B></CENTER>
<DT><CENTER><BR>
<TABLE WIDTH="534" HEIGHT="15" BORDER="0" CELLSPACING="0" CELLPADDING=
"0">
<TR>
<TD WIDTH="100%"> <IMG SRC="../1.imagesB/wellesmach2.jpg" WIDTH="328" HEIGHT="209" ALIGN=
"RIGHT" NATURALSIZEFLAG="3"><FONT SIZE=+1>"Now wait a minute! I see
something on top of the cylinder. No, it's nothing but a shadow. Now the
troops are on the edge of the Wilmuth farm. Seven thousand armed men closing
in on an old metal tube. Wait, that wasn't a shadow! It's something moving
. . . solid metal . . . kind of shieldlike affair rising up out of the
cylinder . . . It's going higher and higher. Why, it's standing on legs
. . . actually rearing up on a sort of metal framework. Now it's reaching
above the trees and the searchlights are on it. Hold on!"</FONT></TD></TR>
</TABLE>
</CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER><TABLE WIDTH="515" HEIGHT="15" BORDER="0" CELLSPACING="0"
CELLPADDING="0">
<TR>
<TD WIDTH="100%"> <IMG SRC="../1.imagesB/martian.jpg" WIDTH="329" HEIGHT="290" ALIGN="LEFT"
NATURALSIZEFLAG="3"><FONT SIZE=+1>"Good heavens, something's wriggling
out of the shadow like a gray snake. Now it's another one, and another.
They look like tentacles to me. There, I can see the thing's body. It's
large, large as a bear and it glistens like wet leather. </FONT><B><FONT
COLOR="#CDCFCF" SIZE=+1>But that face</FONT></B><FONT SIZE=+1>, it . .
. Ladies and gentlemen, it's indescribable. I can hardly force myself to
keep looking at it. The eyes are black and gleam like a serpent. The mouth
is V-shaped with saliva dripping from its rimless lips that seem to quiver
and pulsate. The monster or whatever it is can hardly move. It seems weighed
down by . . . possibly gravity or something. The thing's raising up. The
crowd falls back now. They've seen plenty. This is the most extraordinary
experience. I can't find words . . . I'll pull this microphone with me
as I talk. I'll have to stop the description until I can take a new position.
Hold on, will you please, I'll be right back in a minute."</FONT></TD></TR>
</TABLE>
<BR>
<BR>
<A HREF="http://earthstation1.simplenet.com/WarOfTheWorldsFiles/ww20.wav">Listen
to WAV file of this moment from "War of the Worlds"</A> (450k)<BR>
<I>from earthstation1.simplenet.com</I><BR>
</CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER> </CENTER>
<DT><CENTER><TABLE WIDTH="537" BORDER="0" CELLSPACING="0" CELLPADDING=
"0" HEIGHT="285">
<TR>
<TD WIDTH="100%" HEIGHT="284"> <IMG SRC="../1.imagesB/martians1.jpg" WIDTH="320" HEIGHT="158" ALIGN="RIGHT"
NATURALSIZEFLAG="3"><FONT SIZE=+1>"Streets are all jammed. Noise in
crowds like New Year's Eve in city. Wait a minute . . . Enemy now in sight
above the Palisades. Five -- five great machines. First one is crossing
river. I can see it from here, wading the Hudson like a man wading through
a brook . . . A bulletin's handed me . . . Martian cylinders are falling
all over the country. One outside Buffalo, one in Chicago, St. Louis .
. . seem to be timed and spaced . . . Now the first machine reaches the
shore. He stands watching, looking over the city. His steel, cowlish head
is even with the skyscrapers. He waits for the others. They rise like a
line of new towers on the city's west side . . . Now they're lifting their
metal hands. This is the end now. Smoke comes out . . . black smoke, drifting
over the city. People in the streets see it now. They're running towards
the East River . . . thousands of them, dropping in like rats. Now the
smoke's spreading faster. It's reached Times Square. People trying to run
away from it, but it's no use. They're falling like flies. Now the smoke's
crossing Sixth Avenue . . . Fifth Avenue . . . one hundred yards away .
. . it's fifty feet . . ."</FONT></TD></TR>
</TABLE>
</CENTER>
<DT><CENTER> </CENTER>
</DL>
<P><CENTER><IMG SRC="../1.imagesB/wellesmach.jpg" ALIGN="BOTTOM"><BR>
<BR>
<FONT COLOR="#B1B3B3" SIZE=-1>All Artwork Copyright © 2000, James Neff.
Reproduction prohibited. All Rights Reserved.</FONT> <BR>
<BR>
<BR>
<BR>
</FONT><A HREF="http://www.rense.com/">Back to Rense.com Main Page</A></CENTER>
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WOW
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**1938
Orson Welles' Mercury Theatre Broadcast of H.G. Wells'**
---
**The War of the
Worlds**
---
[Listen
to the original "The War of the Worlds" broadcast in RealAudio](http://www.earthstation1.com/pgs/radio/dos-War_of_the_Worlds.ram.html)*from earthstation1.simplenet.com*
Author H.G. Wells with Orson Welles
| |
| --- |
| In the fall of 1938, genius extraordinaire
Orson Welles, then master of broadcast theatre production for the Columbia
Broadcasting System, produced and starred in an exciting on-air dramatization
by Howard Koch, based on author H.G. Wells' classic science-fiction "The
War of the Worlds" as part of the Mercury Theatre's Halloween offering.
The play was aired on the 30th, the day *before* Halloween.
Big mistake.
[Read the original **New York Times** Article
regarding the broadcast](hgnyt.htm)
Welles had no idea of the consequences of this seemingly innocuous
choice of entertainment. The play used the names of actual places well
known to most, especially those on the east cost, and was set in current
time with its use of apparent live and remote announcers in the field,;
tales of fiery meteors falling to the earth... of strange metallic cylinders
embedded in the ground emitting unearthly noises and the subsequent uprising
of monstrous, mechanized Martian war machines bent on world conquest. The
play became all too real for hundreds of thousands of Americans who were
apparently glued to their radios aghast. Whether they missed the introduction
*and* the intermission, both of which stated plainly that what was
being broadcast was merely a radio-play, or whether holiday spirits enhanced
the naturally alarming elements of something dreadful and terrifying coming
from another world... we'll never really know. But it became known as the
night that panicked America.
It seems the greater part of an entire nation was fully convinced that,
as it was stated by believable authorities on the air, "both the observations
of science and the evidence of our eyes lead to the inescapable assumption
that those strange beings who landed in the Jersey farmlands tonight are
the vanguard of an invading army from the planet Mars."
The end of the world was upon them, and the play-by-play, blow-by-blow
was coming to them live, via radio. The modern age had brought Armageddon
into the living room.
Welles had made a tragic error. The press and the nation was considerably
unforgiving for a very long time to come. What was intended as a pre-Halloween
spook-story became a nightmare resulting in several actual deaths by suicide
(though to this day many claim such never took place) and countless other
repercussions which Mr. Welles could never have foreseen. One of the more
oft-told accounts was of a particular farmer who, when hearing about the
menacing Martian war machines with their tenticular arms and great stilt-like
metallic legs bounding across the countryside, went out into his field
armed to the teeth, ready to do battle with the coming metal-monster. In
the darkness the poor man mistook his neighbors watertower for one of the
towering martian invaders, blowing several large holes in it with his shotgun.
Other stories circulated that people had taken poison rather than to endure
the coming Martian holocaust brought by the mysterious black, toxic smoke
given off by the relentless, trodding war machines. One fact is certain,
many people near and about the real-life geographical locations mentioned
in the play packed bags in a panic and hit the highways trying to flee
the cosmic cataclysm.
Orson Welles' career was severely effected for many years to come. It was
not until the broadcast was well underway that reports began to float into
Columbia center according to some accounts; the speculation being that
Welles knew what was happening in the streets and continued with the broadcast
nonetheless. Takes of panic in the streets might have easily been met with
absolute skepticism on the part of Welles and company. Others contend to
this day that Welles was oblivious to such information being fully involved
in the radio play itself, and was deeply sorry for the outcome. Either
way, Orson Welles ended much of his broadcasting career and Mercury Theatre's
rendition of "The War of the Worlds" with these now famous words:
"This is Orson Welles, ladies and
gentlemen, out of character to assure you that The War of The Worlds has
no further significance than as the holiday offering it was intended to
be. The Mercury Theatre's own radio version of dressing up in a sheet and
jumping out of a bush and saying Boo! Starting now, we couldn't soap all
your windows and steal all your garden gates by tomorrow night. . . so
we did the best next thing. We annihilated the world before your very ears,
and utterly destroyed the C. B. S. You will be relieved, I hope, to learn
that we didn't mean it, and that both institutions are still open for business.
So goodbye everybody, and remember the terrible lesson you learned tonight.
That grinning, glowing, globular invader of your living room is an inhabitant
of the pumpkin patch, and if your doorbell rings and nobody's there, that
was no Martian.... it's Hallowe'en." |
***From the Broadcast....***
| |
| --- |
| "Now wait a minute! I see
something on top of the cylinder. No, it's nothing but a shadow. Now the
troops are on the edge of the Wilmuth farm. Seven thousand armed men closing
in on an old metal tube. Wait, that wasn't a shadow! It's something moving
. . . solid metal . . . kind of shieldlike affair rising up out of the
cylinder . . . It's going higher and higher. Why, it's standing on legs
. . . actually rearing up on a sort of metal framework. Now it's reaching
above the trees and the searchlights are on it. Hold on!" |
| |
| --- |
| "Good heavens, something's wriggling
out of the shadow like a gray snake. Now it's another one, and another.
They look like tentacles to me. There, I can see the thing's body. It's
large, large as a bear and it glistens like wet leather. **But that face**, it . .
. Ladies and gentlemen, it's indescribable. I can hardly force myself to
keep looking at it. The eyes are black and gleam like a serpent. The mouth
is V-shaped with saliva dripping from its rimless lips that seem to quiver
and pulsate. The monster or whatever it is can hardly move. It seems weighed
down by . . . possibly gravity or something. The thing's raising up. The
crowd falls back now. They've seen plenty. This is the most extraordinary
experience. I can't find words . . . I'll pull this microphone with me
as I talk. I'll have to stop the description until I can take a new position.
Hold on, will you please, I'll be right back in a minute." |
[Listen
to WAV file of this moment from "War of the Worlds"](http://earthstation1.simplenet.com/WarOfTheWorldsFiles/ww20.wav) (450k)
*from earthstation1.simplenet.com*
| |
| --- |
| "Streets are all jammed. Noise in
crowds like New Year's Eve in city. Wait a minute . . . Enemy now in sight
above the Palisades. Five -- five great machines. First one is crossing
river. I can see it from here, wading the Hudson like a man wading through
a brook . . . A bulletin's handed me . . . Martian cylinders are falling
all over the country. One outside Buffalo, one in Chicago, St. Louis .
. . seem to be timed and spaced . . . Now the first machine reaches the
shore. He stands watching, looking over the city. His steel, cowlish head
is even with the skyscrapers. He waits for the others. They rise like a
line of new towers on the city's west side . . . Now they're lifting their
metal hands. This is the end now. Smoke comes out . . . black smoke, drifting
over the city. People in the streets see it now. They're running towards
the East River . . . thousands of them, dropping in like rats. Now the
smoke's spreading faster. It's reached Times Square. People trying to run
away from it, but it's no use. They're falling like flies. Now the smoke's
crossing Sixth Avenue . . . Fifth Avenue . . . one hundred yards away .
. . it's fifty feet . . ." |
All Artwork Copyright © 2000, James Neff.
Reproduction prohibited. All Rights Reserved.
[Back to Rense.com Main Page](http://www.rense.com/)
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<HTML><HEAD><TITLE>Nuance and Suggestion in the Tweety and Sylvester Series</TITLE>
<META content="MSHTML 6.00.6001.18294" name=GENERATOR></HEAD>
<BODY text=#000000 vLink=#551a8b aLink=#0000ff link=#ff0000 bgColor=#ffffff>
<CENTER><IMG src="birdsanonymouscela1.jpg" border=4><BR><BR>
<H1 align=center></A><FONT color=#000000>Nuance and Suggestion in the Tweety and
Sylvester Series</FONT></H1>
<P align=right><FONT color=#000000 size=+1>By Kevin McCorry</FONT></P></CENTER>
<P><IMG src="0074.jpg"><BR>
A series of Looney Tunes and Merrie Melodies released from 1947 to 1964.<BR>
Directed by I. (Friz) Freleng and Gerry Chiniquy.<BR>
Stories by Warren Foster, Tedd Pierce, Michael Maltese, Arthur Davis, John Dunn, Dave Detiege, Bill Daunch, and I. (Friz) Freleng.<BR>
Animation by Gerry Chiniquy, Virgil Ross, Ken Champin, Manuel Perez,
Arthur Davis, Emery Hawkins, Ted Bonnicksen, Tom Ray, Bob Matz, Art Leonardi,
and Lee Halpern.<BR>
Layouts by Hawley Pratt and Robert Gribbroek.<BR>
Backgrounds by Paul Julian, Phil DeLara, Carlos Manriquez, Irv Wyner, Boris Gorelick, and Tom O'Loughlin.<BR>
Voice Characterisation by Mel Blanc.<BR>
Music by Carl W. Stalling, Milt Franklyn, John Seely, Eugene Poddany, and William Lava.
<P>
An experimental pairing of two established cartoon characters in 1947 was so instantly successful that the duo's first film won an Academy Award.
<P>
<IMG src="giftwrappedgun3p.jpg" align=right>
Tweety and Sylvester are as enduring a twosome as any other that Warner Brothers' animation studios have created. Like Bugs Bunny and Elmer Fudd or the Road Runner and Wile E. Coyote, the Sylvester and Tweety team was the subject of a long-running classic cartoon series, along with vinyl records and print media- including illustrated magazines (i.e. comic books) distributed by Gold Key. Saturday morning U.S. television network compilations of Looney Tunes and Merrie Melodies featured Tweety and Sylvester as prominently as the other pairs above mentioned. More than 50 years after his birth, Tweety continues to adorn T-shirts of girls who may empathise with Tweety's wide-eyed innocence and petite but spunky nature, while Sylvester as a plush toy, or as "spokes-cat" for Nine Lives cat food, or as a T-shirt or wall-poster image still nets considerable merchandise revenue. And after over 30 years in cartoon limbo, the duo were back in action in a weekly television series, <B>The Sylvester and Tweety Mysteries</B> (1995-8), courtesy of a new generation of talented animators at the revived Warner Brothers cartoon shop.
<P>
<IMG src="puttyonfire.jpg" align=left>
The genesis of this funny cat-and-bird relationship was slow and haphazard. The two characters appeared solo in a number of films under the different styles of two directors. Tweety's first three appearances, devoid of feathers and baby-like in looks, were in Robert Clampett's "A Tale of Two Kitties" (1942), "Birdy and the Beast" (1944), and "A Gruesome Twosome" (1945), fighting other, rather dopey felines with typical Clampett wildness. Sylvester, meanwhile, starred in a series of Friz Freleng-directed cartoons as a loud-mouthed alley cat, fallible but not emphatically so, in his chasing of birds or his operatic tormenting of Elmer Fudd at all hours of the night.
<P>
In 1947, after Clampett had departed Warner Brothers with a fourth Tweety cartoon in early stages of production, Freleng was planning another Sylvester-vs.-bird film. In an earlier cartoon, Freleng had Sylvester chase a woodpecker, but now he saw Tweety as a likelier foe for the lisping cat. General producer Eddie Selzer, an appointee by the high echelons at Warner Brothers, knew little or nothing about cartoon production but nonetheless fancied himself to be an expert thereof, and he ordered Freleng not to pair Sylvester with Tweety, but to instead again use the woodpecker to contest Sylvester. In the ensuing argument, Freleng put his drafting pencil in Selzer's hand and said, "If you think you know so much, you should be doing it." He walked out of the studio, intending to quit Warner Brothers on the next day, but Selzer telephoned him at home in the evening and said, "Okay, do it your way." With that, Freleng directed the first film pitting Tweety against Sylvester.
<P>
<CENTER><IMG src="tweetiepie7p.jpg"> <IMG src="tweetiepie8p.jpg"> <IMG src="tweetiepie9p.jpg"></CENTER>
<P>
The completed cartoon short, "Tweetie Pie", featured Tweety as an orphaned bird adopted on a cold winter's day by Sylvester's mistress. The personalities of the two cartoon stars "played off" one another with charm. Audiences loved their hi-jinks, and so did the Motion Picture Academy judges. "Tweetie Pie" won an Oscar. After that came two more energetic cartoons with the feisty canary and the scheming but not very brilliant cat. By 1950, their career was in its prime, and an average of 3 Sylvester and Tweety cartoons per year were produced for the next decade and a half.
<P>
<CENTER><IMG src="tweetyspoon888p3.jpg"> <IMG src="tweetysandwich44p4.jpg"> <IMG src="lastcatguiltycon9p.jpg"></CENTER>
<P>
<P>Perhaps the reason for their appeal, along with that of all of the other animal stars of Warner Brothers' animated cartoons, is their human qualities. They may be animals with instincts and urges typical of their species, but they enact their impulses in a human manner. The endowing of animals with human thoughts and traits is common practice in animation, but the Warner Brothers studios elevated it to comic extremes. Tweety eats his bird seed with a spoon, gleefully bathes in a bathtub, sings lyrical songs, and, in a few of his early cartoons, attempts to woo "girl birds", while Sylvester salivates at the thought of a Tweety sandwich and employs human equipment and tactics to try to catch his prey. Both increasingly become "humanised", with complications for their original, animal nature, whose inclinations seem ignoble, a cause for guilt, in the human scheme of things.
<P>
<CENTER><IMG src="seasick9p.jpg"> <IMG src="canaryrow9p.jpg"> <IMG src="puttytwouble9p.jpg"> <IMG src="hatch9p.jpg"></CENTER>
<P>
A total of 42 cartoon shorts were made featuring this pair of characters, all of which were conceived and produced in one of the three main animation units at Warner Brothers, the unit of senior director Friz Freleng. And Freleng himself directed all but one of the films, the exception being Tweety and Sylvester's final appearance in theatrical cartoons, film number forty-two, which was directed by long-time Freleng animator Gerry Chiniquy.
<P>
<CENTER><IMG src="tweetysosdeckpic9p.jpg"> <IMG src="allabirdbcar5p.jpg"> <IMG src="tweetyrowttt80p.jpg"> <IMG src="hoodwinkeddis2p.jpg"></CENTER>
<P>
Despite the seeming limitation in the notion of cat-pursuing-bird, the Tweety and Sylvester series was possibly the most versatile and varied of all of those done at Warner Brothers studios. The format was constant, that of Sylvester eyeing Tweety for lunch and chasing him for the duration of a cartoon, but the situations were varied and hilarious each and every time. The chase was stretched to nearly every Earthly setting possible: an ocean liner, a train, a park, a circus, a zoo, a beach, a farm, a snowbound cabin, a department store, a gangster's hideout, and such far-flung locales as Hawaii, Italy, and Japan, in addition to the conventional forest or U.S. city. The duo were also written into fictional scenarios like Little Red Riding Hood, Jack and the Beanstalk, and Jekyll and Hyde. They appeared in history as combatants in the American Civil War. And their chase parodied television series like <B>Dragnet</B> and <B>Alfred Hitchcock Presents</B>.
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Various supporting characters were introduced to complicate Sylvester's chase so that it was less necessary for Tweety to act in his own defence and so seem more helpless. First, there was Granny, a gingerly matron with a preference for live, non-swallowed canaries and a thrash of her umbrella upon the head of any cat who would dare to "molest" her little birdie. Next was a bulldog by the name of Spike or Hector, who served, voluntarily or not, as Tweety's guardian and pummelled Sylvester any time that the cat came too close to the canary. Sylvester therefore sought to neutralise the canine and so had another cause for failed effort and disastrous consequences. Also a continuing character was a one-eyed, mute, orange tabby who fought Sylvester for culinary possession of Tweety, who had to run double-fast to escape both putty tats.
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Not only did the settings and supporting characters change, but personalities underwent a gradual "progression". Adaptive "domestication" to a human world and human values and the problematic denial or repression of instinct are recurrent themes in this 42-cartoon series. Both characters, while continuing to act on animal urges, must conform to increasingly pervasive human ways as they become domesticated under the care of Granny in the country, or, with her or not, in the city. Tweety becomes human-like in his movements, running on two feet away from Sylvester rather than flying. Sometimes, he is able to flit upward to a shelf or some other place of safety, but rarely is he shown to fly capably for any duration. And in most cases when he tries to fly like an ordinary bird in the wild, he only does so with difficulty and falls flat on his face if he tries to maintain aloft motion.
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For his first films in which he was separate from Sylvester and directed by Clampett, Tweety was portrayed as loud-mouthed and merciless. Like nearly all of the Warner Brothers cartoon characters in that time period, he delighted in juvenile deviltry, actively tormenting any cats who happen to be nearby. Even in his first pairings with Sylvester, Tweety retains his physically aggressive personality, pounding Sylvester with mallets or sticks. But Freleng and his story man, Warren Foster, decided to reduce Tweety's aggressiveness and emphasise his smallness and give to him a milder, charming personality. Henceforth, Tweety was rather like Bugs Bunny, a mind-his-own-business-unless-provoked cartoon protagonist. He allowed Sylvester to defeat himself and delighted in seeing his assuming devourer receive appropriate punishment. Tweety, over this "evolution", flies less and less, so that by the time of "Sandy Claws" (1955), in which Tweety is surrounded by water after a tidal wave, he needs to manually paddle himself in his cage to dry land. And in "Tree Cornered Tweety" (1956), rather than just fly above deep snow on the ground, he has to apply spoons to his feet to act as snowshoes.
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Over time, the Sylvester-Tweety conflict becomes less overtly physical and more psychological, especially for Sylvester, as more and more human adaptation requires him to quell his instincts. He must deny himself for his own sake, either because Granny has threatened to turn him into violin strings, or because he has lost some of his nine lives in his chase and is apt to lose them all if he persists, or because it has been explained to him that canary-craving is as self-destructive as human weakness for alcohol, and that abstinence is the best policy. Sylvester must restrain himself. Like man, Sylvester has become "domesticated", expected to live by thou-shall-not-kill. And he sometimes has to defend the canary that he craves.
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He is indoctrinated to the virtues of the human world yet cannot transcend his catly instinct to eat birds. With this comes guilt surrounding his Tweety-hunt. Whereas earlier, he was not able to snatch Tweety due to his overeager ineptitude, in later cases he is impeded because he has become increasingly civilised and forced either by Granny or by his own conscience to adhere to the killing-is-wrong code of conduct. Sylvester has become "human", resulting in complexes, contradictions between instinct and decency. His relationship to Tweety has become a combat between old ways, the ones that tie Sylvester to others of his feline "clan"- panthers, tigers, and lions- and the civil, sociable mores of the human world to which he has become adapted.
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The Oscar-winning "Birds Anonymous" is the most famous portrayal of this conflict in the psyche of Sylvester. Made in 1957, 10 years after their first cartoon together merited recognition by the Motion Picture Academy, this Sylvester-Tweety series entry his been noted in most serious studies on Warner Brothers animation as a parable for human weakness for food, liquor, or sex. Sylvester begins the cartoon with the dark, sinister intent of eating Tweety. He pulls down the window shades, closes curtains, shuts out all light, all possible observation of his nefarious deed. Before he can swallow the helpless canary, one of the window blinds is raised and a mannerly fellow cat warns Sylvester off of the self-destructive taste for birds. Sylvester is initiated into an Alcoholics Anonymous-like club for cats "swearing off" birds. For the rest of the cartoon, Sylvester struggles to maintain composure as he tries to live with Tweety in brotherly love. He eventually loses control and "makes a grab" for the bird. "Just one little bird. Just one! No one will know the difference... Just one! Then I'll quit. I'll quit after one. Just one. Just one little bird!" When the other cat intervenes and preaches to Sylvester again about control of bird-eating urges, that cat kisses Tweety and is overcome with the same carnivorous cravings, only worse so: "It's been so long!" The kinship of these two felines under the stress of "domestication" is portrayed in a most human way: two brothers urging to binge after being on "the wagon" for an extended time period!
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The psychological encounters are later in the cartoon series, culminating in "The Last Hungry Cat" (1961), an examination of human guilt in the mind of Sylvester, who thinks that he has swallowed and killed Tweety. In actuality, Tweety slipped out of Sylvester's mouth when Sylvester fell to the floor after seizing Tweety from a birdcage, leaving a few feathers in Sylvester's mouth. A Hitchcockian voice in the cartoon continually <IMG src="lastcat.jpg" align=left> chides Sylvester for his evil act and warns how Sylvester's conscience will induce mental collapse. Sylvester experiences exactly this, retreating to a decrepit hideout like a common criminal, pacing the floor to the point that it crumbles under him, chain-smoking and coffee-drinking in fear of going to sleep, and developing a red-eyed case of severe insomnia. He finally "cracks" and runs into the streets, confessing his crime, thankfully to find that he had not eaten the canary. But he resumes the chase anyhow, because he cannot help but enact his instincts released from the immediate strain of guilt.
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The problem for Tweety caused by "domestication" is different. He has lost the ability to fly with freedom and grace like other birds, the ones in the wilds. He now has to move on his feet like a human; the inherent capacity for flight that connects birds to their earliest ancestors has, for Tweety, been almost entirely divested. Only the untamed birds seem to have retained flight with mastery, because they have remained in their original state of nature. For a domesticated bird almost unable to fly to somehow regain flight capability, is to revert, to "go back" to a less "civilised" condition, like in "Hyde and Go Tweet" (1960), wherein Tweety is able to reacquire the power of flight when he is reverted by Hyde formula into a prehistoric bird of prey, his evolved characteristics ungracefully removed.
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<IMG src="jetcage.jpg" align=right>
Different but not contradictory is another case of Tweety regaining the ability to fly, by means of a jet-propelled cage, in "The Jet Cage" (1962). This clever modern contraption enables him to retain his evolved security and gentility and fly without reverting like he did in "Hyde and Go Tweet", by using technology to handle the mechanics of flight and to encase him in a protective, mobile "gilded cage". It seems that only by utilising modern instruments is he able to fly without reverting to a monstrous bird. But he is not really flying under his own wing-power, and his use of "The Jet Cage" likens him even more to humans, who need machines to fly.
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Both characters' urges for inherent behaviour are corrupted when civilised directives are imposed over instinct. For Tweety, flight is an originally graceful ability that he has lost with "domestication", and so it has, for him, become a regressive trait only physically re-acquirable to a degree of competence by regressing ungracefully to a savage bird of prey. For Sylvester, bird-stalking, once an innocently savage trait of his feline species, has become regressive and a source of shame. It ties him to his voracious ancestor as Tweety's clumsy efforts at flight allude to his. Original states of nature have become regressive for both of these humanised "animals".
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<IMG src="lion.jpg" align=left>
In "Tweety's Circus" (1955), Sylvester as a lark visits a closed-for-business big top and encounters the King of the Cats, a hot-tempered lion whose beastly character offends Sylvester's pride. Sylvester is not prepared to bow in the presence of such uncivilised "felineness", even though his own carnivorous instinct to hunt and eat Tweety is a descendant to the appetite of the beastly lion. What "paints" this cartoon as particularly fascinating is Sylvester's encounter with his ancestral "cousin" and his proud denial of its descendent traits in himself. But he reverts to the wildcat in himself every time that he acts on his urge to eat Tweety. In "Tweety's Circus", Sylvester confronts an external reminder of his wild, carnivorous species origins, and as a consequence, he projects his own self-loathing onto the lion by striking and angering the beast.
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<IMG src="hydetweet2.jpg" align=right>
In the sequence of original <B>Bugs Bunny/Road Runner Show</B>s first broadcast in 1968-9, instalment number 24 containing "Hyde and Go Tweet" directly followed instalment 23 with "Tweety's Circus". "Hyde and Go Tweet" concerns Tweety's ancestral beast, brought out of himself by way of the Hyde formula. Tweety becomes an avian version of Hyde, a cross between the modern vulture or falcon and a large, prehistoric bird. In becoming the flying carnivore, Tweety regains the ability to fly and loses it when he transforms back to his modern form. He regains his ancestral ability but not the grace that once accompanied it, because in his domestication he has lost its innocence. It has become regressive in character, re-acquirable only by a "throwing off" of his genteel nature in the transformation, as Jekyll loses his civilised traits when he transforms.
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Actually, Tweety's transformations in "Hyde and Go Tweet" are the lurid imaginings of Sylvester's tortured mind, and the monstrous changes of Tweety in Sylvester's dream seem quite apropos after the encounter with the lions in the circus, a projection of Sylvester's deep-rooted sense of inferiority. Again, Sylvester's mounting guilt or shame, as a result of his domestication to civil life and the problem of his continued desire to eat Tweety, is preying on his mind, and he projects his growing awareness of the darker self in him onto Tweety in the nightmare (or day-mare?), with Tweety undergoing beastly transformations.
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Certain parts of these cartoons are especially striking, for example the scene in "Tweety's Circus" wherein Sylvester pursues Tweety on the high wire, precariously moving forward with a balancing stick only to find Tweety on one of the edges of the stick. Sylvester attempts a grab for Tweety, loses his balance, and falls into the lion's mouth, devoured by the external representation of his monstrous feline self. Similarly, in "Hyde and Go Tweet", Sylvester is swallowed by the Tweety monster at the cartoon's climax. And in both cartoons, Sylvester locks himself inside either a cage or a room, thinking that he has secured himself from the ancestral beast symbolised either by the lion or by the vulture-like Tweety-Hyde, only to find that he has locked himself inside the cage or room with the beast which he is trying to escape.
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In the case of "Tweety's Circus", Sylvester, after swallowing the key to a cage with him on the inside and his lion foe presumably on the outside, thinks, "Well, I guess that solves my lion problem." But when he walks further into the cage, he is surrounded by ravenous lions poised to devour him. Correspondingly, in "Hyde and Go Tweet", Sylvester, still unaware of the Hyde formula's effect on Tweety, thinks after carrying Tweety into a room and locking the door, that he has locked out the monstrous bird and thus solved his (and Tweety's) prehistoric bird "problem", but Tweety undergoes his transformation and, breathing menacingly with evil eyes, ingests Sylvester as the lion had done in the other cartoon.
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<IMG src="tweetyhydeflies.jpg" align=left>
It may be said to be something of a stretch to advance an argument for correspondence between "Tweety's Circus" and "Hyde and Go Tweet" to this extent. Suffice it to say, then, that in the former cartoon, Sylvester meets his own savage ancestor, and in the latter cartoon, he meets Tweety's- and the circumstances of both, however different in setting and effect, suggest a recurring motif- the bestial ancestor of both characters lurking either externally in a menagerie or internally in the darker part of their psyches. What may clinch this intriguing correspondence is the running of these cartoon shorts in consecutive episodes of the original <B>Bugs Bunny/Road Runner Hour</B>.
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It is also noteworthy that instalment 23 of <B>The Bugs Bunny/Road Runner Hour</B>, which preceded instalment 24 with "Hyde and Go Tweet", also contained "Pre-Hysterical Hare" in which Bugs witnesses his ancestor, the Sabre-Toothed Rabbit, via a long-preserved film of Stone Age life recovered and viewed by Bugs. Moreover, on Canada's cross-country CBC Television network, in February, 1974, <B>It's a Mystery, Charlie Brown</B>, wherein Woodstock's twig-constructed home is confiscated for Sally's school science exhibit as a prehistoric bird's nest, was shown on the Monday evening between these instalments of <B>The Bugs Bunny/Road Runner Hour</B> broadcast on Saturday, February 16 and Saturday, February 23. A curious coincidence!
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Sylvester has become a humanised cat with a psychological "hang-ups" over his catly instinct to chase, catch, and eat birds. Each time that he succumbs to this urge, he reverts to the lion or wildcat within him. As the killing-is-wrong credo is "drilled" into his head by repetitious umbrella strikes by Granny or by the moralising of other cats, he increasingly finds himself in conflict with himself. Shame is what causes his "other self" to assume the menacing, Hyde-like monstrous aspect of the ravenous lion, something to be fled, or combated and vanquished. But Sylvester is unable to overcome his "lion problem", the shame persists, and in later cartoons, he becomes neurotic with guilt or self-doubt.
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"Tweet Dreams" (1959) has him in a psychologist's office, frustrated by his inability to catch Tweety, plagued by feelings of weakness or inferiority, which have him on the verge of total mental breakdown. Sylvester has been unable to assuage his craving for canary, has been told by humans and by fellow cats that he should not do so, and has reached the point of wanting to be rid of Tweety just for peace of mind, but Tweety- and the desire associated with the canary- keeps returning to Sylvester's life, prompting the cat to resume his chase and suffer further failures and continued culpability. As a humorous twist at this cartoon's closure, the doctor after listening to Sylvester suffers a neurosis. He flies away from his office like an undomesticated bird, with Sylvester doing the identical thing in pursuit of the psychiatrist. Sylvester becomes a bird, with the "beastly" ability to fly; he does what Tweety will do as the monster in his "Hyde and Go Tweet" nightmare (day-mare), an ungraceful regression of Tweety as imagined by Sylvester that follows from anguish suffered by Sylvester from his own reverting tendencies. It is intriguing foreshadowing, in that "Hyde and Go Tweet" in production order follows this cartoon short, and it strengthens the theory of connection between Tweety and Sylvester, between the problem posed by "domestication" to each of them.
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The Jekyll-Hyde story is a classic portrayal of release of human regressive urges. In a couple of Sylvester's cartoons without Tweety, also directed by Freleng, he is forced to do battle with two belligerent dogs, Spike and Chester. In one cartoon, he is assisted by a black panther escaped from the zoo; in the other, Sylvester himself becomes the wildcat, by mistaken consumption of Hyde formula, and rather gleefully claws bulldog Spike into little pieces. In different cartoons, both Sylvester and Tweety experience the potion-induced regression to the animal from which they have evolved, and the loss of their humanly evolved or "domesticated" traits being accompanied by a monstrous change of appearance and character.
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The cage, for Sylvester or for Tweety, seems to signify a dichotomy <IMG src="tweetcage.jpg" align=left> between safety and shame. It is a physical means of securing them from the outside world and its wildness, thereby permitting their domestication, while also leading to psychological problems concerning the lingering potential wildness within their instinctual minds. For Sylvester in "Tweety's Circus", a cage is a presumed way of escaping the lion(s). Yet, he finds that he has locked himself inside of it with them, which seems to symbolise that he is not safe from them in his own mind. The lion is with him there. Tweety has become "A Bird in a Guilty Cage", to quote the comical title of one of his 1952 cartoons. The cage shelters him from the wild outside but not inside of his mind. A physical reverting to the wild bird is accompanied by notions of fall from grace a la Jekyll and Hyde. The cage may thus represent human civilisation, the imposing of which over the two characters has robbed their state of nature of its innocence and rendered any return to it ignoble or shameful.
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In conclusion, there would seem to be depth to the cartoons featuring the duo of Tweety and Sylvester, because the idea of domestication creating "hang-ups" and complexes in the psyches of these two characters seems to carry rather interesting meaning in the way that it is portrayed in various of the 42 cartoons in the series.
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<B>Tweety and Sylvester Filmography</B><BR>
<UL>
"Tweetie Pie" (1947)<BR>
"I Taw a Putty Tat" (1948)<BR>
"Bad Ol' Putty Tat" (1949)<BR>
"Home, Tweet Home" (1950)<BR>
"All a Bir-r-r-d" (1950)<BR>
"Canary Row" (1950)<BR>
"Putty Tat Trouble" (1951)<BR>
"Room and Bird" (1951)<BR>
"Tweety's S.O.S." (1951)<BR>
"Tweet Tweet Tweety" (1951)<BR>
"Gift Wrapped" (1952)<BR>
"Ain't She Tweet" (1952)<BR>
"A Bird in a Guilty Cage" (1952)<BR>
"Snow Business" (1953)<BR>
"Fowl Weather" (1953)<BR>
"Tom Tom Tomcat" (1953)<BR>
"A Street Cat Named Sylvester" (1953)<BR>
"Catty Cornered" (1953)<BR>
"Dog Pounded" (1954)<BR>
"Muzzle Tough" (1954)<BR>
"Satan's Waitin'" (1954)<BR>
"Sandy Claws" (1955)<BR>
"Tweety's Circus" (1955)<BR>
"Red Riding Hoodwinked" (1955)<BR>
"Tweet and Sour" (1956)<BR>
"Tree Cornered Tweety" (1956)<BR>
"Tugboat Granny" (1956)<BR>
"Tweet Zoo" (1957)<BR>
"Tweety and the Beanstalk" (1957)<BR>
"Birds Anonymous" (1957)<BR>
"Greedy For Tweety" (1957)<BR>
"A Pizza Tweety-Pie" (1958)<BR>
"A Bird in a Bonnet" (1958)<BR>
"Trick or Tweet" (1959)<BR>
"Tweet and Lovely" (1959)<BR>
"Tweet Dreams" (1959)<BR>
"Hyde and Go Tweet" (1960)<BR>
"Trip For Tat" (1960)<BR>
"The Rebel Without Claws" (1961)<BR>
"The Last Hungry Cat" (1962)<BR>
"The Jet Cage" (1962)<BR>
"Hawaiian Aye Aye" (1964)<BR>
</UL>
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Sequence of Tweety and Sylvester Cartoons in <B>The Bugs Bunny/Road Runner
Hour</B> (1968-9)<BR>
<UL>
"Tweety's S.O.S." (Show # 1)<BR>
"Tweet Tweet Tweety" (Show # 1)<BR>
"All a Bir-r-r-d" (Show # 2)<BR>
"Canary Row" (Show # 3)<BR>
"Red Riding Hoodwinked" (Show # 3)<BR>
"Ain't She Tweet" (Show # 4)<BR>
"Trick or Tweet" (Show # 5)<BR>
"Fowl Weather" (Show # 6)<BR>
"Gift Wrapped" (Show # 6)<BR>
"Tweet Dreams" (Show # 7)<BR>
"A Bird in a Bonnet" (Show # 8)<BR>
"Catty Cornered" (Show # 9)<BR>
"A Pizza Tweety-Pie" (Show # 10)<BR>
"Trip For Tat" (Show # 10)<BR>
"Dog Pounded" (Show # 10)<BR>
"Tweet and Sour" (Show # 11)<BR>
"Muzzle Tough" (Show # 11)<BR>
"Tweet Zoo" (Show # 12)<BR>
"The Jet Cage" (Show # 13)<BR>
"Greedy For Tweety" (Show # 15)<BR>
"Putty Tat Trouble" (Show # 16)<BR>
"Tweet and Lovely" (Show # 17)<BR>
"Tree Cornered Tweety" (Show # 18)<BR>
"Tugboat Granny" (Show # 18)<BR>
"Snow Business" (Show # 19)<BR>
"A Bird in a Guilty Cage" (Show # 20)<BR>
"Hawaiian Aye Aye" (Show # 21)<BR>
"Home, Tweet Home" (Show # 22)<BR>
"Tweety's Circus" (Show # 23)<BR>
"Hyde and Go Tweet" (Show # 24)<BR>
"Sandy Claws" (Show # 25)<BR>
"Tweety and the Beanstalk" (Show # 26)<BR>
"A Street Cat Named Sylvester" (Show # 26)<BR>
</UL>
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<CENTER><IMG src="roombird.jpg"></CENTER>
<P>
<HR>
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<B>Textual content (c) Kevin McCorry, with all rights reserved<BR>
This article, the observations, the interpretations, and the ideas therein
are the intellectual property of the author unless otherwise
noted and may not be reproduced and then altered in any way without the express
written consent of the author, and any scholarly quoting, paraphrasing, or other
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<hr></html> | Nuance and Suggestion in the Tweety and Sylvester Series
# Nuance and Suggestion in the Tweety and
Sylvester Series
By Kevin McCorry
A series of Looney Tunes and Merrie Melodies released from 1947 to 1964.
Directed by I. (Friz) Freleng and Gerry Chiniquy.
Stories by Warren Foster, Tedd Pierce, Michael Maltese, Arthur Davis, John Dunn, Dave Detiege, Bill Daunch, and I. (Friz) Freleng.
Animation by Gerry Chiniquy, Virgil Ross, Ken Champin, Manuel Perez,
Arthur Davis, Emery Hawkins, Ted Bonnicksen, Tom Ray, Bob Matz, Art Leonardi,
and Lee Halpern.
Layouts by Hawley Pratt and Robert Gribbroek.
Backgrounds by Paul Julian, Phil DeLara, Carlos Manriquez, Irv Wyner, Boris Gorelick, and Tom O'Loughlin.
Voice Characterisation by Mel Blanc.
Music by Carl W. Stalling, Milt Franklyn, John Seely, Eugene Poddany, and William Lava.
An experimental pairing of two established cartoon characters in 1947 was so instantly successful that the duo's first film won an Academy Award.
Tweety and Sylvester are as enduring a twosome as any other that Warner Brothers' animation studios have created. Like Bugs Bunny and Elmer Fudd or the Road Runner and Wile E. Coyote, the Sylvester and Tweety team was the subject of a long-running classic cartoon series, along with vinyl records and print media- including illustrated magazines (i.e. comic books) distributed by Gold Key. Saturday morning U.S. television network compilations of Looney Tunes and Merrie Melodies featured Tweety and Sylvester as prominently as the other pairs above mentioned. More than 50 years after his birth, Tweety continues to adorn T-shirts of girls who may empathise with Tweety's wide-eyed innocence and petite but spunky nature, while Sylvester as a plush toy, or as "spokes-cat" for Nine Lives cat food, or as a T-shirt or wall-poster image still nets considerable merchandise revenue. And after over 30 years in cartoon limbo, the duo were back in action in a weekly television series, **The Sylvester and Tweety Mysteries** (1995-8), courtesy of a new generation of talented animators at the revived Warner Brothers cartoon shop.
The genesis of this funny cat-and-bird relationship was slow and haphazard. The two characters appeared solo in a number of films under the different styles of two directors. Tweety's first three appearances, devoid of feathers and baby-like in looks, were in Robert Clampett's "A Tale of Two Kitties" (1942), "Birdy and the Beast" (1944), and "A Gruesome Twosome" (1945), fighting other, rather dopey felines with typical Clampett wildness. Sylvester, meanwhile, starred in a series of Friz Freleng-directed cartoons as a loud-mouthed alley cat, fallible but not emphatically so, in his chasing of birds or his operatic tormenting of Elmer Fudd at all hours of the night.
In 1947, after Clampett had departed Warner Brothers with a fourth Tweety cartoon in early stages of production, Freleng was planning another Sylvester-vs.-bird film. In an earlier cartoon, Freleng had Sylvester chase a woodpecker, but now he saw Tweety as a likelier foe for the lisping cat. General producer Eddie Selzer, an appointee by the high echelons at Warner Brothers, knew little or nothing about cartoon production but nonetheless fancied himself to be an expert thereof, and he ordered Freleng not to pair Sylvester with Tweety, but to instead again use the woodpecker to contest Sylvester. In the ensuing argument, Freleng put his drafting pencil in Selzer's hand and said, "If you think you know so much, you should be doing it." He walked out of the studio, intending to quit Warner Brothers on the next day, but Selzer telephoned him at home in the evening and said, "Okay, do it your way." With that, Freleng directed the first film pitting Tweety against Sylvester.
  
The completed cartoon short, "Tweetie Pie", featured Tweety as an orphaned bird adopted on a cold winter's day by Sylvester's mistress. The personalities of the two cartoon stars "played off" one another with charm. Audiences loved their hi-jinks, and so did the Motion Picture Academy judges. "Tweetie Pie" won an Oscar. After that came two more energetic cartoons with the feisty canary and the scheming but not very brilliant cat. By 1950, their career was in its prime, and an average of 3 Sylvester and Tweety cartoons per year were produced for the next decade and a half.
  
Perhaps the reason for their appeal, along with that of all of the other animal stars of Warner Brothers' animated cartoons, is their human qualities. They may be animals with instincts and urges typical of their species, but they enact their impulses in a human manner. The endowing of animals with human thoughts and traits is common practice in animation, but the Warner Brothers studios elevated it to comic extremes. Tweety eats his bird seed with a spoon, gleefully bathes in a bathtub, sings lyrical songs, and, in a few of his early cartoons, attempts to woo "girl birds", while Sylvester salivates at the thought of a Tweety sandwich and employs human equipment and tactics to try to catch his prey. Both increasingly become "humanised", with complications for their original, animal nature, whose inclinations seem ignoble, a cause for guilt, in the human scheme of things.
   
A total of 42 cartoon shorts were made featuring this pair of characters, all of which were conceived and produced in one of the three main animation units at Warner Brothers, the unit of senior director Friz Freleng. And Freleng himself directed all but one of the films, the exception being Tweety and Sylvester's final appearance in theatrical cartoons, film number forty-two, which was directed by long-time Freleng animator Gerry Chiniquy.
   
Despite the seeming limitation in the notion of cat-pursuing-bird, the Tweety and Sylvester series was possibly the most versatile and varied of all of those done at Warner Brothers studios. The format was constant, that of Sylvester eyeing Tweety for lunch and chasing him for the duration of a cartoon, but the situations were varied and hilarious each and every time. The chase was stretched to nearly every Earthly setting possible: an ocean liner, a train, a park, a circus, a zoo, a beach, a farm, a snowbound cabin, a department store, a gangster's hideout, and such far-flung locales as Hawaii, Italy, and Japan, in addition to the conventional forest or U.S. city. The duo were also written into fictional scenarios like Little Red Riding Hood, Jack and the Beanstalk, and Jekyll and Hyde. They appeared in history as combatants in the American Civil War. And their chase parodied television series like **Dragnet** and **Alfred Hitchcock Presents**.
  
Various supporting characters were introduced to complicate Sylvester's chase so that it was less necessary for Tweety to act in his own defence and so seem more helpless. First, there was Granny, a gingerly matron with a preference for live, non-swallowed canaries and a thrash of her umbrella upon the head of any cat who would dare to "molest" her little birdie. Next was a bulldog by the name of Spike or Hector, who served, voluntarily or not, as Tweety's guardian and pummelled Sylvester any time that the cat came too close to the canary. Sylvester therefore sought to neutralise the canine and so had another cause for failed effort and disastrous consequences. Also a continuing character was a one-eyed, mute, orange tabby who fought Sylvester for culinary possession of Tweety, who had to run double-fast to escape both putty tats.
Not only did the settings and supporting characters change, but personalities underwent a gradual "progression". Adaptive "domestication" to a human world and human values and the problematic denial or repression of instinct are recurrent themes in this 42-cartoon series. Both characters, while continuing to act on animal urges, must conform to increasingly pervasive human ways as they become domesticated under the care of Granny in the country, or, with her or not, in the city. Tweety becomes human-like in his movements, running on two feet away from Sylvester rather than flying. Sometimes, he is able to flit upward to a shelf or some other place of safety, but rarely is he shown to fly capably for any duration. And in most cases when he tries to fly like an ordinary bird in the wild, he only does so with difficulty and falls flat on his face if he tries to maintain aloft motion.
   
For his first films in which he was separate from Sylvester and directed by Clampett, Tweety was portrayed as loud-mouthed and merciless. Like nearly all of the Warner Brothers cartoon characters in that time period, he delighted in juvenile deviltry, actively tormenting any cats who happen to be nearby. Even in his first pairings with Sylvester, Tweety retains his physically aggressive personality, pounding Sylvester with mallets or sticks. But Freleng and his story man, Warren Foster, decided to reduce Tweety's aggressiveness and emphasise his smallness and give to him a milder, charming personality. Henceforth, Tweety was rather like Bugs Bunny, a mind-his-own-business-unless-provoked cartoon protagonist. He allowed Sylvester to defeat himself and delighted in seeing his assuming devourer receive appropriate punishment. Tweety, over this "evolution", flies less and less, so that by the time of "Sandy Claws" (1955), in which Tweety is surrounded by water after a tidal wave, he needs to manually paddle himself in his cage to dry land. And in "Tree Cornered Tweety" (1956), rather than just fly above deep snow on the ground, he has to apply spoons to his feet to act as snowshoes.
   
Over time, the Sylvester-Tweety conflict becomes less overtly physical and more psychological, especially for Sylvester, as more and more human adaptation requires him to quell his instincts. He must deny himself for his own sake, either because Granny has threatened to turn him into violin strings, or because he has lost some of his nine lives in his chase and is apt to lose them all if he persists, or because it has been explained to him that canary-craving is as self-destructive as human weakness for alcohol, and that abstinence is the best policy. Sylvester must restrain himself. Like man, Sylvester has become "domesticated", expected to live by thou-shall-not-kill. And he sometimes has to defend the canary that he craves.
   
He is indoctrinated to the virtues of the human world yet cannot transcend his catly instinct to eat birds. With this comes guilt surrounding his Tweety-hunt. Whereas earlier, he was not able to snatch Tweety due to his overeager ineptitude, in later cases he is impeded because he has become increasingly civilised and forced either by Granny or by his own conscience to adhere to the killing-is-wrong code of conduct. Sylvester has become "human", resulting in complexes, contradictions between instinct and decency. His relationship to Tweety has become a combat between old ways, the ones that tie Sylvester to others of his feline "clan"- panthers, tigers, and lions- and the civil, sociable mores of the human world to which he has become adapted.
  
The Oscar-winning "Birds Anonymous" is the most famous portrayal of this conflict in the psyche of Sylvester. Made in 1957, 10 years after their first cartoon together merited recognition by the Motion Picture Academy, this Sylvester-Tweety series entry his been noted in most serious studies on Warner Brothers animation as a parable for human weakness for food, liquor, or sex. Sylvester begins the cartoon with the dark, sinister intent of eating Tweety. He pulls down the window shades, closes curtains, shuts out all light, all possible observation of his nefarious deed. Before he can swallow the helpless canary, one of the window blinds is raised and a mannerly fellow cat warns Sylvester off of the self-destructive taste for birds. Sylvester is initiated into an Alcoholics Anonymous-like club for cats "swearing off" birds. For the rest of the cartoon, Sylvester struggles to maintain composure as he tries to live with Tweety in brotherly love. He eventually loses control and "makes a grab" for the bird. "Just one little bird. Just one! No one will know the difference... Just one! Then I'll quit. I'll quit after one. Just one. Just one little bird!" When the other cat intervenes and preaches to Sylvester again about control of bird-eating urges, that cat kisses Tweety and is overcome with the same carnivorous cravings, only worse so: "It's been so long!" The kinship of these two felines under the stress of "domestication" is portrayed in a most human way: two brothers urging to binge after being on "the wagon" for an extended time period!
The psychological encounters are later in the cartoon series, culminating in "The Last Hungry Cat" (1961), an examination of human guilt in the mind of Sylvester, who thinks that he has swallowed and killed Tweety. In actuality, Tweety slipped out of Sylvester's mouth when Sylvester fell to the floor after seizing Tweety from a birdcage, leaving a few feathers in Sylvester's mouth. A Hitchcockian voice in the cartoon continually  chides Sylvester for his evil act and warns how Sylvester's conscience will induce mental collapse. Sylvester experiences exactly this, retreating to a decrepit hideout like a common criminal, pacing the floor to the point that it crumbles under him, chain-smoking and coffee-drinking in fear of going to sleep, and developing a red-eyed case of severe insomnia. He finally "cracks" and runs into the streets, confessing his crime, thankfully to find that he had not eaten the canary. But he resumes the chase anyhow, because he cannot help but enact his instincts released from the immediate strain of guilt.
The problem for Tweety caused by "domestication" is different. He has lost the ability to fly with freedom and grace like other birds, the ones in the wilds. He now has to move on his feet like a human; the inherent capacity for flight that connects birds to their earliest ancestors has, for Tweety, been almost entirely divested. Only the untamed birds seem to have retained flight with mastery, because they have remained in their original state of nature. For a domesticated bird almost unable to fly to somehow regain flight capability, is to revert, to "go back" to a less "civilised" condition, like in "Hyde and Go Tweet" (1960), wherein Tweety is able to reacquire the power of flight when he is reverted by Hyde formula into a prehistoric bird of prey, his evolved characteristics ungracefully removed.
Different but not contradictory is another case of Tweety regaining the ability to fly, by means of a jet-propelled cage, in "The Jet Cage" (1962). This clever modern contraption enables him to retain his evolved security and gentility and fly without reverting like he did in "Hyde and Go Tweet", by using technology to handle the mechanics of flight and to encase him in a protective, mobile "gilded cage". It seems that only by utilising modern instruments is he able to fly without reverting to a monstrous bird. But he is not really flying under his own wing-power, and his use of "The Jet Cage" likens him even more to humans, who need machines to fly.
Both characters' urges for inherent behaviour are corrupted when civilised directives are imposed over instinct. For Tweety, flight is an originally graceful ability that he has lost with "domestication", and so it has, for him, become a regressive trait only physically re-acquirable to a degree of competence by regressing ungracefully to a savage bird of prey. For Sylvester, bird-stalking, once an innocently savage trait of his feline species, has become regressive and a source of shame. It ties him to his voracious ancestor as Tweety's clumsy efforts at flight allude to his. Original states of nature have become regressive for both of these humanised "animals".
In "Tweety's Circus" (1955), Sylvester as a lark visits a closed-for-business big top and encounters the King of the Cats, a hot-tempered lion whose beastly character offends Sylvester's pride. Sylvester is not prepared to bow in the presence of such uncivilised "felineness", even though his own carnivorous instinct to hunt and eat Tweety is a descendant to the appetite of the beastly lion. What "paints" this cartoon as particularly fascinating is Sylvester's encounter with his ancestral "cousin" and his proud denial of its descendent traits in himself. But he reverts to the wildcat in himself every time that he acts on his urge to eat Tweety. In "Tweety's Circus", Sylvester confronts an external reminder of his wild, carnivorous species origins, and as a consequence, he projects his own self-loathing onto the lion by striking and angering the beast.
In the sequence of original **Bugs Bunny/Road Runner Show**s first broadcast in 1968-9, instalment number 24 containing "Hyde and Go Tweet" directly followed instalment 23 with "Tweety's Circus". "Hyde and Go Tweet" concerns Tweety's ancestral beast, brought out of himself by way of the Hyde formula. Tweety becomes an avian version of Hyde, a cross between the modern vulture or falcon and a large, prehistoric bird. In becoming the flying carnivore, Tweety regains the ability to fly and loses it when he transforms back to his modern form. He regains his ancestral ability but not the grace that once accompanied it, because in his domestication he has lost its innocence. It has become regressive in character, re-acquirable only by a "throwing off" of his genteel nature in the transformation, as Jekyll loses his civilised traits when he transforms.
Actually, Tweety's transformations in "Hyde and Go Tweet" are the lurid imaginings of Sylvester's tortured mind, and the monstrous changes of Tweety in Sylvester's dream seem quite apropos after the encounter with the lions in the circus, a projection of Sylvester's deep-rooted sense of inferiority. Again, Sylvester's mounting guilt or shame, as a result of his domestication to civil life and the problem of his continued desire to eat Tweety, is preying on his mind, and he projects his growing awareness of the darker self in him onto Tweety in the nightmare (or day-mare?), with Tweety undergoing beastly transformations.
   
Certain parts of these cartoons are especially striking, for example the scene in "Tweety's Circus" wherein Sylvester pursues Tweety on the high wire, precariously moving forward with a balancing stick only to find Tweety on one of the edges of the stick. Sylvester attempts a grab for Tweety, loses his balance, and falls into the lion's mouth, devoured by the external representation of his monstrous feline self. Similarly, in "Hyde and Go Tweet", Sylvester is swallowed by the Tweety monster at the cartoon's climax. And in both cartoons, Sylvester locks himself inside either a cage or a room, thinking that he has secured himself from the ancestral beast symbolised either by the lion or by the vulture-like Tweety-Hyde, only to find that he has locked himself inside the cage or room with the beast which he is trying to escape.
In the case of "Tweety's Circus", Sylvester, after swallowing the key to a cage with him on the inside and his lion foe presumably on the outside, thinks, "Well, I guess that solves my lion problem." But when he walks further into the cage, he is surrounded by ravenous lions poised to devour him. Correspondingly, in "Hyde and Go Tweet", Sylvester, still unaware of the Hyde formula's effect on Tweety, thinks after carrying Tweety into a room and locking the door, that he has locked out the monstrous bird and thus solved his (and Tweety's) prehistoric bird "problem", but Tweety undergoes his transformation and, breathing menacingly with evil eyes, ingests Sylvester as the lion had done in the other cartoon.
It may be said to be something of a stretch to advance an argument for correspondence between "Tweety's Circus" and "Hyde and Go Tweet" to this extent. Suffice it to say, then, that in the former cartoon, Sylvester meets his own savage ancestor, and in the latter cartoon, he meets Tweety's- and the circumstances of both, however different in setting and effect, suggest a recurring motif- the bestial ancestor of both characters lurking either externally in a menagerie or internally in the darker part of their psyches. What may clinch this intriguing correspondence is the running of these cartoon shorts in consecutive episodes of the original **Bugs Bunny/Road Runner Hour**.
It is also noteworthy that instalment 23 of **The Bugs Bunny/Road Runner Hour**, which preceded instalment 24 with "Hyde and Go Tweet", also contained "Pre-Hysterical Hare" in which Bugs witnesses his ancestor, the Sabre-Toothed Rabbit, via a long-preserved film of Stone Age life recovered and viewed by Bugs. Moreover, on Canada's cross-country CBC Television network, in February, 1974, **It's a Mystery, Charlie Brown**, wherein Woodstock's twig-constructed home is confiscated for Sally's school science exhibit as a prehistoric bird's nest, was shown on the Monday evening between these instalments of **The Bugs Bunny/Road Runner Hour** broadcast on Saturday, February 16 and Saturday, February 23. A curious coincidence!
Sylvester has become a humanised cat with a psychological "hang-ups" over his catly instinct to chase, catch, and eat birds. Each time that he succumbs to this urge, he reverts to the lion or wildcat within him. As the killing-is-wrong credo is "drilled" into his head by repetitious umbrella strikes by Granny or by the moralising of other cats, he increasingly finds himself in conflict with himself. Shame is what causes his "other self" to assume the menacing, Hyde-like monstrous aspect of the ravenous lion, something to be fled, or combated and vanquished. But Sylvester is unable to overcome his "lion problem", the shame persists, and in later cartoons, he becomes neurotic with guilt or self-doubt.
"Tweet Dreams" (1959) has him in a psychologist's office, frustrated by his inability to catch Tweety, plagued by feelings of weakness or inferiority, which have him on the verge of total mental breakdown. Sylvester has been unable to assuage his craving for canary, has been told by humans and by fellow cats that he should not do so, and has reached the point of wanting to be rid of Tweety just for peace of mind, but Tweety- and the desire associated with the canary- keeps returning to Sylvester's life, prompting the cat to resume his chase and suffer further failures and continued culpability. As a humorous twist at this cartoon's closure, the doctor after listening to Sylvester suffers a neurosis. He flies away from his office like an undomesticated bird, with Sylvester doing the identical thing in pursuit of the psychiatrist. Sylvester becomes a bird, with the "beastly" ability to fly; he does what Tweety will do as the monster in his "Hyde and Go Tweet" nightmare (day-mare), an ungraceful regression of Tweety as imagined by Sylvester that follows from anguish suffered by Sylvester from his own reverting tendencies. It is intriguing foreshadowing, in that "Hyde and Go Tweet" in production order follows this cartoon short, and it strengthens the theory of connection between Tweety and Sylvester, between the problem posed by "domestication" to each of them.
The Jekyll-Hyde story is a classic portrayal of release of human regressive urges. In a couple of Sylvester's cartoons without Tweety, also directed by Freleng, he is forced to do battle with two belligerent dogs, Spike and Chester. In one cartoon, he is assisted by a black panther escaped from the zoo; in the other, Sylvester himself becomes the wildcat, by mistaken consumption of Hyde formula, and rather gleefully claws bulldog Spike into little pieces. In different cartoons, both Sylvester and Tweety experience the potion-induced regression to the animal from which they have evolved, and the loss of their humanly evolved or "domesticated" traits being accompanied by a monstrous change of appearance and character.
The cage, for Sylvester or for Tweety, seems to signify a dichotomy  between safety and shame. It is a physical means of securing them from the outside world and its wildness, thereby permitting their domestication, while also leading to psychological problems concerning the lingering potential wildness within their instinctual minds. For Sylvester in "Tweety's Circus", a cage is a presumed way of escaping the lion(s). Yet, he finds that he has locked himself inside of it with them, which seems to symbolise that he is not safe from them in his own mind. The lion is with him there. Tweety has become "A Bird in a Guilty Cage", to quote the comical title of one of his 1952 cartoons. The cage shelters him from the wild outside but not inside of his mind. A physical reverting to the wild bird is accompanied by notions of fall from grace a la Jekyll and Hyde. The cage may thus represent human civilisation, the imposing of which over the two characters has robbed their state of nature of its innocence and rendered any return to it ignoble or shameful.
In conclusion, there would seem to be depth to the cartoons featuring the duo of Tweety and Sylvester, because the idea of domestication creating "hang-ups" and complexes in the psyches of these two characters seems to carry rather interesting meaning in the way that it is portrayed in various of the 42 cartoons in the series.
    
**Tweety and Sylvester Filmography**
"Tweetie Pie" (1947)
"I Taw a Putty Tat" (1948)
"Bad Ol' Putty Tat" (1949)
"Home, Tweet Home" (1950)
"All a Bir-r-r-d" (1950)
"Canary Row" (1950)
"Putty Tat Trouble" (1951)
"Room and Bird" (1951)
"Tweety's S.O.S." (1951)
"Tweet Tweet Tweety" (1951)
"Gift Wrapped" (1952)
"Ain't She Tweet" (1952)
"A Bird in a Guilty Cage" (1952)
"Snow Business" (1953)
"Fowl Weather" (1953)
"Tom Tom Tomcat" (1953)
"A Street Cat Named Sylvester" (1953)
"Catty Cornered" (1953)
"Dog Pounded" (1954)
"Muzzle Tough" (1954)
"Satan's Waitin'" (1954)
"Sandy Claws" (1955)
"Tweety's Circus" (1955)
"Red Riding Hoodwinked" (1955)
"Tweet and Sour" (1956)
"Tree Cornered Tweety" (1956)
"Tugboat Granny" (1956)
"Tweet Zoo" (1957)
"Tweety and the Beanstalk" (1957)
"Birds Anonymous" (1957)
"Greedy For Tweety" (1957)
"A Pizza Tweety-Pie" (1958)
"A Bird in a Bonnet" (1958)
"Trick or Tweet" (1959)
"Tweet and Lovely" (1959)
"Tweet Dreams" (1959)
"Hyde and Go Tweet" (1960)
"Trip For Tat" (1960)
"The Rebel Without Claws" (1961)
"The Last Hungry Cat" (1962)
"The Jet Cage" (1962)
"Hawaiian Aye Aye" (1964)
  
Sequence of Tweety and Sylvester Cartoons in **The Bugs Bunny/Road Runner
Hour** (1968-9)
"Tweety's S.O.S." (Show # 1)
"Tweet Tweet Tweety" (Show # 1)
"All a Bir-r-r-d" (Show # 2)
"Canary Row" (Show # 3)
"Red Riding Hoodwinked" (Show # 3)
"Ain't She Tweet" (Show # 4)
"Trick or Tweet" (Show # 5)
"Fowl Weather" (Show # 6)
"Gift Wrapped" (Show # 6)
"Tweet Dreams" (Show # 7)
"A Bird in a Bonnet" (Show # 8)
"Catty Cornered" (Show # 9)
"A Pizza Tweety-Pie" (Show # 10)
"Trip For Tat" (Show # 10)
"Dog Pounded" (Show # 10)
"Tweet and Sour" (Show # 11)
"Muzzle Tough" (Show # 11)
"Tweet Zoo" (Show # 12)
"The Jet Cage" (Show # 13)
"Greedy For Tweety" (Show # 15)
"Putty Tat Trouble" (Show # 16)
"Tweet and Lovely" (Show # 17)
"Tree Cornered Tweety" (Show # 18)
"Tugboat Granny" (Show # 18)
"Snow Business" (Show # 19)
"A Bird in a Guilty Cage" (Show # 20)
"Hawaiian Aye Aye" (Show # 21)
"Home, Tweet Home" (Show # 22)
"Tweety's Circus" (Show # 23)
"Hyde and Go Tweet" (Show # 24)
"Sandy Claws" (Show # 25)
"Tweety and the Beanstalk" (Show # 26)
"A Street Cat Named Sylvester" (Show # 26)
---
All characters and images (c) Warner Bros.
**Textual content (c) Kevin McCorry, with all rights reserved
This article, the observations, the interpretations, and the ideas therein
are the intellectual property of the author unless otherwise
noted and may not be reproduced and then altered in any way without the express
written consent of the author, and any scholarly quoting, paraphrasing, or other
repetition of them MUST be accompanied by full stated credit to the author, with
failure to do so possibly exposing an individual or group to litigation and
possible civil or criminal penalty**
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<meta NAME="Description" CONTENT="Motorola HT220 VHF/UHF band handheld information including model tables, specifications, frequency conversions, parts and accessories, manual numbers, troubleshooting guide, and more.">
<meta NAME="Keywords" CONTENT="Motorola HT220,HT-220,VHF/UHF,handheld radio,handie talkie,walkie talkie,amateur,ham,business,police,fire">
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<h1>HT-220 Page</h1></font>
<b>http://www.mfwright.com/HT220.html</b><BR>
(site was at www.batnet.com/mfwright/HT220.html but ISP changed domain to userwebs.batnet.com)<BR>
<I>hosted by the HT-220 Preservation Society</I>
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<h4>Last update: 12-24-17</h4>
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NOTE: I have couple new updates, HT220 repair service and HT220s (and the HT200) in the movies but not much updates since 10 years ago. In process of updating this site i.e. replacing defunked geocities links. There may be other images missing since the previous batnet domain terminated.
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<B>HT-220 Meeting at Electronics Flea Market at DeAnza College in Cupertino, Saturday July 9.</B>
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HT-220 Preservation Society is planning to meet at the Electronics Flea Market at DeAnza College in Cupertino, CA (<a href="http://www.asvaro.org">http://www.asvaro.org</a>). See the website for for details on location. Our operating frequencies are 146.52 simplex or 154.600 PL 118.8 (a MURS channel).
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DeAnza College is a great location with restaurants, shopping for the ladies, and even an Olympic size swimming pool. Best of all, there are real bathrooms.
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<a href="http://www.ebay.com/itm/Motorola-Portable-HT220-or-HT210-Radio-Repair-Tuning-Services-Only-/221258722628" target="blank">Portable Clinic Products & Services (KA4LMW) offers HT-220 Repair Tuning Services via Ebay for $33 buy-it-now.</a> This is for sending your HT220 in for repair, additional costs for more extensive repairs may be added.
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<B>HT220s in the movies and TV shows</B>
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<a href="mikeht220/HT220shows.html" target="blank">Collection of video stills showing these radios in action with movie stars.</a>
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<a href="mikeht220/220newsletters.html" target="blank">Download PDF copies of HT-220 Preservation Society newsletters here</a>
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<img
ALIGN="RIGHT" SRC="ht220titlephoto.jpg" ALT="HT-220 picture!">
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Back in the 20th century when only women wore earrings and men walked the surface of the Moon, the Motorola HT-220 was the hottest handheld on the market when it was introduced in 1969. Tougher than a pit bull, this VHF or UHF business band handheld in a weatherproof housing was the envy of ham radio operators for its compact size and performance. It contains a very sensitive and selective receiver, and a transmitter that can deliver up to 5 Watts (4 on UHF). It can easily be identified with the silver center band (metal frame) with stellar blue hi-impact plastic front and back. Servicing the HT220 is convenient as the front and back covers can be removed to access component board from both sides.
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The HT-220 was the second generation of 2-way FM handheld radio and the successor to Motorola's first business band handheld, the <a href="mikeht220/ht200.html">HT-200</a>. Two custom-designed ICs were used in the HT-220 which vastly reduced the number of components and the overall size of the radio from the 200 series. The HT-200, introduced in 1962, circuitry was all discrete components; the <a href="mikeht220/ht200.html">HT-200</a> is big and scary.
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<p><img ALIGN="LEFT" SRC="ht220hc.jpg" ALT="HT220 on History Channel">
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As the years gone by and the HT-220 moved to the pages of history, many of the newer handhelds haven't become smaller or have more transmit power than the HT-220. They have become more sophisticated, and some of the newer radios may have a more selective and sensitive receiver (though many new have taken a downturn in noise rejection). Frequency synthesis and microprocessor chips are the backbone of the new generation of portables which can offer more channel selection and trunking capabilities.
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The HT220 was used on The History Channel as part of a annoucement for a program series discussing law enforcement as seen on this video clip. They also occasionally show this same actor portraying historical police officer during station ID breaks.
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There are some people who refuse to accept that the HT220 has perished. Check out this drawing that somebody sent to this webpage.
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<ul><b>HT-220 is Y2K compliant.</b></ul>
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In the history of the 220, there should be mention of the HT100, since it was a radio which was a 220 less the power amplifier. You hardly see HT-100's anymore -- they're just too exotic, what with the funny button-cell battery pack, the low, low power (100 mW), etc., but they do surface from time to time. Some people think the HT-100 is a nice radio for local plant operations but others considered it cute but impractical.
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Here is the inside of a HT-220, a VHF with "PL" board. The PL board, sideways, with Vibrasponder is the lower section. Receive crystals (two) are on the right top and the transmitter crystal (one on the upper left, same side as PTT switch). The IF crystal (16.345 MHz) is on the lower right side. Above it and to the right some more, surrounded by rubber, is the crystal filter (16.8 MHz). The UHF model has the same placement except it would have two crystal filters to the right of the IF crystal. These crystals are important in determining if a used HT220 is worth buying. If IF crystal and crystal filters are not there, the value of the radio is very small (in the order of 5 cents). The IF crystal can be purchased for a nominal fee but crystal filters, available from Motorola, are very expensive ($75 each). Plus they are more difficult to install than regular operating crystals (the filters have 3 leads). Note that the operating crystals on this particular unit were crushed to render the radio inoperative on its operating frequency. Being a surplus radio, they wanted to prevent unauthorized people calling up on a public safety agency channel, "breaker, breaker, one-niner!" The radio can re-crystalized and re-tuned for other frequencies (assuming YOU are authorized to transmit on the new channel <img SRC="dynamite.gif" ALT="dynamite">).
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<hr size="-1">
<p>
<b>Important Note on DC Power to HT-220</b><br>
A good, fully charged battery right off the charger is about 17V. Using a bench supply dictates caution, so +15v max is a safe approach. <img SRC="dynamite.gif" ALT="dynamite">NEVER, NEVER reverse the polarity of the power supply! Two common areas to look if the cover fuse is blown is the audio output transistors, and a 10uf polarized cap, Cxxx (P/N TBD) across the +15 buss. If any of these components are shorted, they must be replaced. NOTE: If the audio transistors are blown, it is a good indication that someone applied power with REVERSED polarity.
<p>
<hr size="-1">
<p>
Jerry Zacker sent this article about the HT-220 from a Motorola publication (click the title): <ul><h2><a href=mikeht220/dreamtrue.html>A Dream Come True!</a></h2>
<p>
Note there are numerous photos to download.
</ul>
<p>
For more details of the HT-220, click these following pages:
<p>
<h3><a href=mikeht220/HT220models.html>HT-220 Model ID</a>
<p>
<a href=mikeht220/HT220acc.html>HT-220 Accessories and Batteries</a>
<p>
<a href=mikeht220/VHFtuning.html>HT-220 VHF Frequency Tuning</a>
<p>
<a href=mikeht220/UHFtuning.html>HT-220 UHF Frequency Tuning</a>
<p>
<a href=mikeht220/HT220specials.html>HT-220 Special Models</a>
<p>
<a href=mikeht220/HT220servicetools.html>HT-220 Service Tools</a>
<p>
<a href=mikeht220/HT220parts.txt>HT-220 Parts Lists</a>
<p>
<a href=mikeht220/motopartsidlist.txt>Motorola Parts Identification List</a>
<p>
<a href=mikeht220/txtroubleshoot.gif>Typical Transmitter Troubleshooting Chart</a>
<p>
<a href=mikeht220/mikeht220/rxtroubleshoot.gif>Typical Receiver Troubleshooting Chart</a>
<p>
<a href="mikeht220/htmemories.html">HT-220 Memories from a Design Team Member</a>
<p>
<a href="mikeht220/hthistory.html">History of the Handie-Talkie</a>
<p>
<a href="mikeht220/zackerarticle.html">HT-220 Program Design from a Project Member</a>
<p>
<a href="mikeht220/eoltech.html">Working the 'Dream Come True' from a Motorola Technician</a>
<p>
<a href="mikeht220/slimlinebatt.html">Batteries for HT-220 Slimlines</a>
<p>
<a href="mikeht220/ht220plcodes.html">Motorola Private Line Codes</a>
<p>
<a href="mikeht220/ht220battcontact.html">Cleaning HT220 Battery Contacts</a>
<p>
<a href="mikeht220/bodyalarms.html">HT220 Body Alarms</a>
<p>
<a href="mikeht220/secretservice220.html">White House Secret Service HT-220</a>
<p>
<a href=mikeht220/HT220techtips.html>HT-220 Tech Tips and Stories</a></h3>
<ul>
Includes topics such as,
<p>
<li>The Case of the Missing Plate, and The "X" Scandal<br>
<li>HT-220 Info from a Factory Tester<br>
<li>Charging and recovering HT220 batteries<br>
<li>Using the HT220 on packet on 2 Meters<br>
<li>Downbanding the VHF HT-220 to the Amateur 2-Meter Band<br>
<li>Channel Scan Option<br>
<li>HT220 Ruggedness (from Usenet)<br>
<li>and more!
<p>
<b>Are your ideas here?</b> If not, they could be and other HT-220 enthusiasts can be learning from your contributions! Please send me your tech tips and stories for posting on the HT-220 Page. Let me know if you want your name added to the credits.
</ul>
<p>
<h3>The Portable Clinic</h3>
<p>
<ul>
Robert Hicks of <b>The Portable Clinic</b> famous for HT220 mods and accessories has resurrected his company at <a href="http://www.theportableclinic.com">http://www.theportableclinic.com</a>. The photo gallery includes Bob during his years at Motorola, other 220 engineers, HT220 and HT200 repair girls, and pages from his catalogs. Most useful are high density scans of schematics for downbanding HT220s and scanning circuits. Check it out!
</ul>
<p>
<h3>HT220 Frequency Synthesizer</h3>
<p>
<ul>
Dale Heatherington, WA4DSY, designed and published this circuit for easy frequency selection in the 2 meter band. See <a href="mikeht220/220synthesizer.html">mikeht220/220synthesizer.html</a>
<p>
Dale has lots of interesting stuff at <a href="http://www.wa4dsy.net">http://www.wa4dsy.net</a>
</ul>
<p>
<h3>HT220 Special Slimline Spec Sheet</h3> Wow!<br>
<ul>
Yep, this is the same model carried by the Secret Service while protecting the Commander-In-Chief back in the 20th century. These are large file size jpeg images of front and back. You can resize these using whatever image program such as Adobe Photoshop or reduce the print size from your browser to get a properly cropped image for hardcopy. Actually I had these since the 70s, found them in my junque files.
</ul>
<p>
<ul>
<a href="mikeht220/ht220ss.html">Front of special slimline spec sheet</a><br>
<a href="mikeht220/ht220ss2.html">Back of special slimline spec sheet</a>
</ul>
<p>
<h3>Miscellaneous Pages</a></h3>
<p>
<ul>
<b><a href="mikeht220/ht220userguide.html">HT220 User's Manual</a></b>
<p>
<b><a href="mikeht220/insideht220.html">Inside the HT-220</a></b>
<p>
<b><a href="mikeht220/licenseholder.html">Motorola radio license holder</a></b>
<p>
<b><a href="mikeht220/econoprgm.html">Economic Stabilization Program</a></b><br>
from 1971 Motorola Communications Buyers Guide
<p>
<b><a href="mikeht220/apcoposter.html">APCO Communications "How Do They Read You?" Etiquette poster</a></b>
<p>
<b><a href="mikeht220/ht100.html">HT-100 info:</a></b> This corny little spin-off of the HT-220 is also a collectors item
<p>
<b><a href="mikeht220/ht200.html">HT-200 info:</a></b> It's big, it's heavy, and (best of all) it's scary. Predecessor of the HT220.
<p>
<b><a href="mikeht220/partsdatahandbook.html">Scans from a 1978 Motorola Parts & Data Handbook</a></a></b> which features:
<p>
<ul>
Deviation Meter Calibration Bessel Function Method<br>
Identifying Receiver Produced Intermodulation<br>
Measuring Receiver Input Level and Effective Sensitivity<br>
EIA SINAD Sensitivity Measurement<br>
HT-200 Parts Lists (H21, H23, H24 DCN and DEN Series)<br>
HT-220 Slimline and Omni Parts Lists<br>
Charger Cross Reference Chart (HT220 and MT500)<br>
PAC-RT Vehicular Repeater System (H14TTY for HT220)<br>
Portable/Paging Charger Cross Reference Chart<br>
Portable Chargers Parts Lists<br>
Batteries<br>
Battery Cross Reference<br>
Portable Microphone Replacement Parts<br>
Portable/Paging Tools<br>
Alignment Tool Cross Reference Chart<br>
Tuning Tools
</ul>
<p>
<b><a href="mikeht220/txidtag.html">Motorola Transmitter ID tag</a></b>, a requirement for your Motrac and Consolette radios.
<p>
<b><a href="mikeht220/nameplate.html">Downloadable HT220 Nameplate</a></b>
<p>
<b><a href="mikeht220/spectronics.jpg">Here's a blast from the past (Spectronics catalog photo):</a></b><br>
Here you will see a young lady with various Moto stuff in her shopping cart including a Motrac, HT-220, HT-200, a Consolette power supply, and she's browsing some tube-type mobile equipment. [use your Back Button to return]
<p>
<b><a href="mikeht220/tom_mills.html">Farewell to Tom Mills, K6LHE</a></b>
<p>
</ul>
More stuff to come as I have received some great emails from former 220 engineers and technicians. Many thanks for your contributions!
<p>
<h3>HT-220 Tech Help</h3>
<p>
Do you have a question or problem with an HT220 that cannot be solved with the information on this page? Ask Mike Gibbemeyer (K1CW) at <font color="blue">Jurypowr @ aol.com</font>. He worked at the Motorola plant performing acceptance tests and servicing of HT220s. If he cannot solve your HT220 problem, then the HT220 probably cannot be fixed.
<p>
<hr size="-1">
<p>
<b>Places that sell old Motorola radios, accessories, and manuals</b>
<p>
<b>Manuals For Sale</b><br>
Ed Fong has complete, brandnew HT220 manuals in all models A-D. They are $10. His email address is <font color="blue">edison_fong @ hotmail.com</font>
<p>
<a href=bobjarn.html>Motorola Radios and Accessories for sale by Bob Jarnutowski (click here)</a>
<p>
<b>Editor's Note:</b><br>
<ul>
Some of the following URLs may be broken as it has been some time since I've followed up (much of my website effort is on other sites, i.e. Connie and Gina).
</ul>
<p>
MDM Radio Ltd.<br>
1629-B N. 31st Avenue<br>
Melrose Park, IL 60160-1837<br>
Voice (708) 681-0300<br>
Fax (708) 681-9800<br>
email: <font color="blue">sales @ mdmradio.com</font> (If using email, please include a phone number.)<br>
<a href=http://www.MDMradio.com/>http://www.MDMradio.com/</a>
<p>
Brinkley Electronics<br>
8411 NC Highway 109<br>
Winston-Salem, NC 27107<br>
Voice (336) 769-2902<br>
Fax (336) 769-4029<br>
email: <font color="blue">radios @ rbdc.com</font><br>
<a href=http://www.brinkleyelec.com/>http://www.brinkleyelec.com/</a>
<p>
Another source for old HT220 stuff may be at Panik's Electronics N Surplus at <a href="http://www.panikelectronics.com">http://www.panikelectronics.com</a><br>
Panik's Electronics alternate website:<br>
<a href="http://surfusa.com/panikelectronics.html">http://surfusa.com/panikelectronics.html</a><br>
Panik's Electronics current inventory<br>
<a href="http://www.panikelectronics.com/panik.txt">http://www.panikelectronics.com/panik.txt</a><br>
Panik's Electronics alternate inventory website:<br>
<a href="http://surfusa.com/panik.txt">http://surfusa.com/panik.txt</a><br>
<p>
<a href=http://www.telepathcorp.com/Used%20Products/used_items.htm>Used radios by TelePath Corp. (http://www.telepathcorp.com)</a>
<p>
<a href=http://dmoz.org/Business/Business_Services/Two_Way_Radio/Used_Equipment/>URLs to Used Equipment by http://dmoz.org</a>
<p>
<a href=http://www.spantekradio.com/>Spantek Radio at http://www.spantekradio.com/ sells lots of used equipment</a>
<p>
Occasionally people ask for MT500s and some of the above links may have MT500s. "Radiotrader" (email <font color="blue">radiotr @ jaxnet.com</font>) has a collection of MT500 channel elements listed at his webpage here at <a href=http://users.leading.net/~radiotr/MT500>http://users.leading.net/~radiotr/MT500</a>.
<p>
Daryl Jones of Telecommunications Engineering Associates has contributed information to this page. Although he does not have HT220 stuff available, his business has a considerable amount of surplus Motorola base and mobile gear. All this equipment is available for free or very cheap. If you are in the SF Bay Area (San Carlos, California), stop by with a truck. See his webpage at <a href=http://www.tcomeng.com>http://www.tcomeng.com</a>.
<p>
<b>MT-500 Website</b><br>
There used to be a webpage dedicated for MT500s at http://www.mt500.com but it is now a MT500 motorcycle page.
<p>
<b>HT-220 Manuals Available from Motorola</b>
<p>
Motorola still sells (but probably not for long) re-productions from a contractor. They are not *full* re-productions but they have enough for tuning and repairs. Many of the parts listed in the manuals may no longer be available (and the ones that are cost lotsa bux).
<p>
Available from the Motorola Accessories and Aftermarkets Product Division<br>
Call 1-800-422-4210
<p>
Prices are subject to change.
<blockquote>
<li>HT-220 (H33FFN) VHF,<br>
Omni housing Service Manual (shows accessories but does not have complete schematics)<br>
Motorola P/N 68P81001C60-D, $25.00
<p>
<li>HT-220 (H33FFN) VHF,<br>
Omni housing Supplement (has schematics)<br>
Motorola P/N 68P81001C63-G, $5.78
<p>
<li>HT-220 (H23FFN) VHF,<br>
Slimline housing Supplement (has schematics)<br>
Motorola P/N 68P81001C74, $3.94
<p>
<li>HT-220 (H24FFN and H34FFN) UHF,<br>
Slimline and Omni housing Supplement (has schematics)<br>
Motorola P/N 68P81001C83-K, $2.00
</blockquote>
<p>
<b>Editor's Note:</b><br>
<ul>
Following URLs may not work as Motorola is always changing them. You may have to start at <a href="http://www.motorola.com">http://www.motorola.com</a> and find the applicable links.
</ul>
<p>
Motorola has a <a href=http://accesssecure.mot.com/Accesspoint/cgi-bin2/SoftCart.exe/Accesspoint/Search/index.html?L+test+cjec8709+918764639/index.html?L+test+cjec8709+918764639>Part Number Search Engine (click here)</a> that is useful for tracking down various parts that Motorola still sells.
<p>
Motorola - CGISS - Accessories & Aftermarket Division, Service Aids at <a href="http://ap.cgiss.motorola.com/AAD/portable/lts2000/svc_detail/svc_aids.html">http://ap.cgiss.motorola.com/AAD/portable/lts2000/svc_detail/svc_aids.html</a>
<p>
<hr size="-1">
<p>
<b>HT220 as a Greatest Gadget</b>
<p>
<ul>
In 2005 (or so) the HT-220 was featured as one of the 50 Greatest Gadgets of the Past 50 Years by PC World. PC World had a link to the HT220 page and said we are fiercely dedicated radio geeks for this handheld.
</ul>
<b>Handie Talkie</b>
<p><img ALIGN="LEFT" SRC="ww2ht.jpg" ALT="WWII handie talkie">
<p>
"Handie Talkie," or HT, is a trademark name by Motorola and it supposed to only be used for identifying handhelds by the "Big /\/\" and no one else. How serious is this? <img SRC="dynamite.gif" ALT="dynamite"> Well, you can be rounded up with the usual group of suspects like those who misuse words like kneenex, band-aid, and xerox!
<p>
The name "Handie Talkie" was used in World War II when Motorola introduced a two-way radio small enough to be carried with one hand, as compared to the GI-styled backmounted radios (Army "breakie backies").
<p>
<br CLEAR=ALL>
<br>
<b>HT-220 Frequency Bands</b>
<p>
HT-220 is available as a VHF (136 to 174 MHz) or UHF (406 to 512 MHz). VHF is split into three bands: 136-150.8, 150.8-162, and 162-174 MHz. The 150.8-162 version can be downbanded to the Amateur Radio 2-Meter band by modifying with capacitors.
<p>
UHF is split into three bands: 406-420, 450-470, and 470-512 MHz.
<p>
<b>Note:</b> No problem bringing a 450-470 HT into ham band (440 MHz). Just retune.
<p>
The 470-512 MHz (T-band) version is a later release of the HT-220 when the FCC allocated television channels 14 through 20 frequencies in selected areas to business and public safety agencies.
<ul>
Back in the days of clipper ships and wagon trains, the FCC designated 470 to 890 MHz to broadcast television channels 14 through 83 thinking 2-way radio communications would not grow as fast as television. You can use a UHF TV set on channels 14 through 20 to tune to 2-way radio T-band. On older UHF TV sets, you can tune to the 800 Mhz 2-way radio band on channels 70, 71, 72 and 77, 78, 79. Channels 73, 74, and 80 through 83 can tune to cellphones, which is illegal according to the ECPA act of 1986 (doing so and you may be rounded up with the usual group of suspects! <img SRC="dynamite.gif" ALT="dynamite">).
</ul>
<b>Tuning the HT-220</b>
<p>
<ul>
<b>Tuning Note:</b> If the receiver sensititivity seems limited, examine the IF frequency. Ed Fong has found radios where the 2nd oscillator was off by up to 8 KHz and this will limit receiver performance.
</ul>
<p>
Selecting frequencies on a HT-220 is not like selecting frequencies on today's handhelds where you punch in the desired frequency on a keypad. The HT-220 has to have a crystal.
<p>
The HT-220 is a crystal-controlled radio and requires a crystal for each frequency, one for transmit and another for receive. A 2-channel unit will need another set of crystals. The crystal will have to be changed if a different frequency is desired. This is why the HT-220 is limited to 6-channel maximum because it is size limited to how many crystals it can hold. The transmitter and the receiver will have to be aligned for each frequency by tuning associated components (coils and capacitors).
<p>
Unless you are rich and can afford someone else to do the work, you have to get crystals for the HT-220 as they did in the old days, LIKE MEN! This means going to the quarry (hiking 20 miles through the snow even in the summer), bust rocks until you get a adequate amount of quartz to grind the crystals, and then hiking back (it's uphill both ways!) to your shop were you have to spend long endless nights painstaking grinding the quartz to the precise thickness so the crystal vibrates at the exact frequency you want. Kids these days...
<p>
Well, it is not this bad. You can order crystals to the desired frequency from either ICM (<a href="http://www.icmfg.com">http://www.icmfg.com</a> or 1-800-725-1426) or Peterson Radio at (712) 323-7539. ICM will calculate the actual crystal frequency for the operating frequency you specify for the HT-220. Cost is typically $15 and delivery is about 2 weeks. After soldering the crystal in place, you still need to tune the radio for optimum performance.
<p>
Now you may be asking "ain't this the same techniques Guglielmo Marconi and Charles Herrold used on their radios?" This is why the current market price of the HT-220 is so cheap. You must be technically competent in RF circuitry, and willing to put in the effort to make it operational (most people will not). Tools required are a finetip soldering station, needle-nose pliers, small snips, tuning tools, and test equipment. Other things such as de-soldering tools (if removing old crystals) and a test jig (recommended) to hold the chassis in place during servicing.
<p>
Some years ago, the FCC regulations stated that radio transmitters may be tuned or adjusted only by persons holding appropriate commercial radiotelephone operator's license. The purpose was to prevent mal-adjusted radios from technically incompetent people going on the air. But these days, brain dead people can perform whatever is required for adjustments outside the factory since virtually all 2-way radios are computer-programmable and have no servicable parts. However, an FCC license is still required for servicing aircraft and marine radios.
<p>
<b>HT-220 Prices</b>
<p>
<img ALIGN="RIGHT" SRC="ht22zfnn.jpg" ALT="Kojak with HT220">
It has been mentioned that the current market rate of HT-220s are $10 per pound ("they make excellent doorstops!") Typical prices range from $10 to $30 for both working and non-working. Sometimes the cost can go higher if it comes with a charger, battery, and/or antenna. And other factors such as number of channels, PL, special model, etc. Price usually depends on how fast the seller wants to unload it or if the buyer is fiercely determined to get a "police styled" radio like what Kojak used (as shown in photo on right). Anything more than $40 is way too much. $30 should be considered the top price of an HT220.
<p>
<br CLEAR=ALL>
<p>
<ul>
<img ALIGN="LEFT" SRC="eigna.jpg" ALT="Angie with Mocom70">
Editor's note: I don't have a photo of Angie Dickinson with an HT220 but here she is with a Mocom70 in the television series "Police Woman."
</ul>
<p>
<br CLEAR=ALL>
<p>
<img ALIGN="LEFT" SRC="ht220emergency.jpg" ALT="HT220 on 'Emergency'">
Something uncommon on the TV series "Emergency," Randolph Mantooth with an HT-220 (normally they use some big ugly handheld). Julie London, top nurse of Rampart (also the beautiful singer of the 1950s) looks on. (<i>editors note: It seems the antenna is too long instead of the 18 inches for VHF, maybe the HT is something else</i>.
<p>
<br CLEAR=ALL>
<p>
(OK, back to pricing info)<br>
Because prices are so depressed for any denomination of the HT220, many of them are simply being tossed out than presented on the used equipment lists by commercial vendors. Hamfests routinely include large boxes of old Motorola portable parts, with the HT-220s at the dirtiest bottom of the pile.
<p>
<i>"How does a radio that sold for big $$$$ go for so cheep these days?"</i>
<p>
Way back in the days of polyester clothes (the 1970s) the HT-220 price tag was $600 to $1400 (that's 70s dollars). It's a different world today and with programmable radios, nobody has a use for HT-220s, except for specific hobbyists. Most amateur radio operators carry programmable handhelds. Radios (exception CBs and cellphones) purchased new from Motorola are such that if you have to ask the price, you can't afford it.
<p>
<img ALIGN="RIGHT" SRC="cbgcover.jpg" ALT="1973 Buyers Guide cover">
The one old Motorola item that has become very difficult to obtain are the books they use to give out for free in the 1970s. These are the Communications Buyers Guide and the Parts and Data Handbook. Excellent resource for reference for all the great "boatanchors" and "doorstops."
<br CLEAR=ALL>
<p>
<b>HT-220 Rear Photos With Cover Removed</b>
<p>
<img ALIGN="LEFT" SRC="ht2203.jpg" ALT="back of slimline version">
<p>
This photo shows the side and back of a Slimline version. This is the solder side of board and also shown is the "PL" board is between the main board and battery compartment.
<br CLEAR=ALL>
<p>
<img ALIGN="LEFT" SRC="ht2202.jpg" ALT="back of omni version">
<p>
This photo shows the side and rear of a Omni-housing version. Notice the frame extension and extra room to put a high power PA board and the multi-channel board (3 or more freq).
<br CLEAR=ALL>
<p>
<b>HT-220 Cleaning</b>
<p>
Here's a cleaning tip contributed by Ed Fong:<br><ul>
"I use Simple Green which takes off latex paint. Then I use Armorall to polish
it back up. The 220 will look almost brand new. You won't recognize it."
</ul>
<p>
<b>HT-220 Wire Placement</b>
<p>
"There I was... thought I was gonna die!" is the thought HT-220 novices had when they removed the front cover and pulled the 4 wires connecting it to the main component board, and forgot to note where the wires go. Well don't fret because two diagrams (normally on the inside rear cover) shows the wire placement. Also shows the metering points used for alignment.
<p>
The four wires (red, black, white, blue) connect on the component side of board. The following images are the solder side of board.
<p>
<ul>
<li><a href=mikeht220/VHFboard.jpg>VHF board</a>
<p>
<li><a href=mikeht220/UHFboard.jpg>UHF board</a>
</ul>
<p>
<b>HT-220 Private-Line Squelch</b>
<p>
You get no privacy from "Private-Line." This is a trademark by Motorola for their name of the tone-coded squelch feature (CTCSS).
<a href="mikeht220/ht220plcodes.html">Click here for Motorola Private Line Codes</a>
<p>
<b>HT-220 and MT-500 Antenna Cross Reference Chart</b><br>
Antenna Color Coding<br>
(paint dot found on thread of antenna)<br>
<i>courtesy of the old www.mt500.com before the motorcycle</i>
<p>
<blockquote>
<table>
<tr>
<td>
<b>Part Number</b><br>
85-05195H01<br>
85-05195H02<br>
85-05195H03<br>
85-05195H04
<p>
85-82283J05<br>
85-82283J06<br>
85-82283J01<br>
85-82283J02
<p>
85-05146B03<br>
85-05146B04<br>
85-05146B05
</td>
<td>
<b>Model</b><br>
NAB6001<br>
NAB6002<br>
NAB6003<br>
NAB6004
<p>
NAD6221<br>
NAD6222<br>
NAD6219<br>
NAD6220
<p>
NAE6100<br>
NAE6142<br>
NAE6163
</td>
<td>
<b>Frequency</b><br>
30-35<br>
36-40<br>
40-45<br>
46-50
<p>
136-142<br>
142-150.8<br>
150.8-162<br>
162-174
<p>
406-420<br>
440-470<br>
470-512
</td>
<td>
<b>Color</b><br>
Yellow<br>
Green<br>
Black<br>
Blue
<p>
Yellow<br>
Green<br>
Black<br>
Blue
<p>
Red<br>
Green<br>
Black
</td>
</tr>
</table>
</blockquote>
<h2>Applicable Motorola Websites</h2>
<p>
<b>Editor's Note:</b><br>
<ul>
Following URLs may not work as Motorola is always changing them. You may have to start at <a href="http://www.motorola.com">http://www.motorola.com</a> and find the applicable links.
</ul>
<p>
Motorola Search Query at
<a href=http://search.motorola.com/>http://search.motorola.com/</a>.
<p>
There is a page of current Motorola portables accessories somewhere at
<a href="https://AccessSecure.mot.com">https://AccessSecure.mot.com</a> I used to have a direct link but they keep changing the URL.
<p>
Motorola has a <a href=http://accesssecure.mot.com/Accesspoint/cgi-bin2/SoftCart.exe/Accesspoint/Search/index.html?L+test+cjec8709+918764639/index.html?L+test+cjec8709+918764639>Part Number Search Engine (click here)</a> that is useful for tracking down various parts that Motorola still sells.
<p>
<h2>Other Useful Webpages regarding Motorola</h2>
<p>
BatLabs at <a href="http://www.batlabs.com">http://www.batlabs.com</a> has lots of information on Moto stuff though primarily on radios much newer than HT220.
<p>
<a href="http://www.batlabs.com/images/76model.jpg">Motorola Model Numbers circa 1976 by http://www.batlabs.com</a>.
<p>
<a href=http://www.arsradio.com/480/service_parts.htm>
Motorola NSO Service Parts at
http://www.arsradio.com/480/service_parts.htm</a>.
<p>
<h2>A New Life for HT220s?</h2>
<p>
In November 2000, FCC authorized MURS (Multi-Use Radio System) at 151.82, 151.88, 151.94, 154.57 and 154.60 for up to 2 W on an unlicensed basis under Part 95 of the FCC's rules. The FCC said it will "revisit" the issue of allocating additional MURS channels "at a later date should additional support develop." Also note that 154.6 MHz is used by McDonalds Hamburgers for one of the drive-up channels.
<p>
<img SRC="dynamite.gif" ALT="dynamite"> Editors Note: Please be advised that operating a 1.8 watt HT220 may not be valid on MURS. There are limitations such as bandwidth of 2.5KHz so HT220 will have to be adjusted accordingly.
<ul>
<p>
<img SRC="dynamite.gif" ALT="dynamite"> It should be noted you can modify "accepted equipment" (i.e.) for business bands such as the HT220 to operate on amateur radio bands, however, you cannot operate a amateur radio on business bands (amateur gear is not considered "accepted equipment").
</ul>
<p>
For more on MURS, visit the MURS Homepage at <a href="http://www.provide.net/~prsg/murshome.htm">http://www.provide.net/~prsg/murshome.htm</a> which includes opeating rules, FAQ, and latest developments. This webpage does not have rotating banners, javascript or any other worthless "hubcaps" to screw-up your browser.
<p>
<h2>Comments about the HT220 by visitors to this webpage:</h2>
"THOUSANDS STILL IN USE."<br>
"They hardly ever die! (batteries, of course are a different story)"<br>
"I never thought the old rig would attract a cult following!"<br>
"I remember drooling over the HT220 25 years ago at ham swap meets."<br>
"I use both VHF and UHF models everyday."<br>
"I've taken VHF units up to 220 MHz (a real 220 220)."<br>
"I thought I was the only HT-220 nut in the world."<br>
"HT220 is truly an object deserving of such a shrine!"<br>
"It was and still is a engineering marvel."<br>
"They are very easy to re-condition."<br>
"I still think it is the nicest looking, most purposeful radio ever produced."<br>
"The HT-220 still lives!"<br>
"I cut my teeth on the HT-200 and went on to the HT-220."<br>
"I can remember in the mid-70s the envy we all felt for the BMOC that had an HT220."<br>
"What is that?!?" (from a generation X-er first seeing a HT220)<br>
<p>
Reaction of seeing someone with an HT-220:
<ul>
circa 1971: "You must be a police officer or government agent of some sort."<br>
circa 2001: "Wow! That's a big cellphone!"
</ul>
<p>
If you think the HT220 is an old radio, <a href="http://www.911dispatch.com/centers/port_radio.html">take a look at this page on a Motorola "Handie Talkie"</a> from the days when ships were wood and men were steel.
<p>
<hr size="-1">
<center><h2>Disclaimer and Purpose</h2></center>
<p>
This website is for noncommercial purposes only. This is not an official media outlet for Motorola, nor is it for any organization. I make no claims to technical accuracies. USE AT OWN RISK. Every effort has been made to make this article to be non-offensive and politically correct. I receive no compensation for this site.
<p>
This web site was constructed as a contribution for radio hobbyists to assist them in restoring older style radios.
<p>
<center><h2>Important Notice</h2></center>
<p>
<img SRC="dynamite.gif" ALT="dynamite"> WARNING: FCC license required for transmitting on frequencies covered by the HT-220.
<p>
<img SRC="dynamite.gif" ALT="dynamite"> NOTICE: HT-220 cannot be certificated for transmitting in the Family Radio Service (FRS) bands.
<p>
<img SRC="dynamite.gif" ALT="dynamite"> WARNING: Amateur radio license is required for tuning, adjusting, and operating transmitters on the Amateur radio bands.
<p>
Michael Wright, K6MFW<br>
<i>Website Editor</i>
<p>
<hr size="-1">
Feedback is desired (suggestions, comments, errors, gripes, whatever) Michael Wright, K6MFW, <font color="blue">mfwright@batnet.com</font>
<p>
<a HREF=index.html>Back to the Michael Wright Page</a><br>
</body>
</html> |
HT220 Page
| |
| --- |
|
HT-220 Page
**http://www.mfwright.com/HT220.html**
(site was at www.batnet.com/mfwright/HT220.html but ISP changed domain to userwebs.batnet.com)
*hosted by the HT-220 Preservation Society* |
#### Last update: 12-24-17
NOTE: I have couple new updates, HT220 repair service and HT220s (and the HT200) in the movies but not much updates since 10 years ago. In process of updating this site i.e. replacing defunked geocities links. There may be other images missing since the previous batnet domain terminated.
[Portable Clinic Products & Services (KA4LMW) offers HT-220 Repair Tuning Services via Ebay for $33 buy-it-now.](http://www.ebay.com/itm/Motorola-Portable-HT220-or-HT210-Radio-Repair-Tuning-Services-Only-/221258722628) This is for sending your HT220 in for repair, additional costs for more extensive repairs may be added.
**HT220s in the movies and TV shows**
[Collection of video stills showing these radios in action with movie stars.](mikeht220/HT220shows.html)
[Download PDF copies of HT-220 Preservation Society newsletters here](mikeht220/220newsletters.html)
Back in the 20th century when only women wore earrings and men walked the surface of the Moon, the Motorola HT-220 was the hottest handheld on the market when it was introduced in 1969. Tougher than a pit bull, this VHF or UHF business band handheld in a weatherproof housing was the envy of ham radio operators for its compact size and performance. It contains a very sensitive and selective receiver, and a transmitter that can deliver up to 5 Watts (4 on UHF). It can easily be identified with the silver center band (metal frame) with stellar blue hi-impact plastic front and back. Servicing the HT220 is convenient as the front and back covers can be removed to access component board from both sides.
The HT-220 was the second generation of 2-way FM handheld radio and the successor to Motorola's first business band handheld, the [HT-200](mikeht220/ht200.html). Two custom-designed ICs were used in the HT-220 which vastly reduced the number of components and the overall size of the radio from the 200 series. The HT-200, introduced in 1962, circuitry was all discrete components; the [HT-200](mikeht220/ht200.html) is big and scary.
As the years gone by and the HT-220 moved to the pages of history, many of the newer handhelds haven't become smaller or have more transmit power than the HT-220. They have become more sophisticated, and some of the newer radios may have a more selective and sensitive receiver (though many new have taken a downturn in noise rejection). Frequency synthesis and microprocessor chips are the backbone of the new generation of portables which can offer more channel selection and trunking capabilities.
The HT220 was used on The History Channel as part of a annoucement for a program series discussing law enforcement as seen on this video clip. They also occasionally show this same actor portraying historical police officer during station ID breaks.
There are some people who refuse to accept that the HT220 has perished. Check out this drawing that somebody sent to this webpage.
**HT-220 is Y2K compliant.**
In the history of the 220, there should be mention of the HT100, since it was a radio which was a 220 less the power amplifier. You hardly see HT-100's anymore -- they're just too exotic, what with the funny button-cell battery pack, the low, low power (100 mW), etc., but they do surface from time to time. Some people think the HT-100 is a nice radio for local plant operations but others considered it cute but impractical.
Here is the inside of a HT-220, a VHF with "PL" board. The PL board, sideways, with Vibrasponder is the lower section. Receive crystals (two) are on the right top and the transmitter crystal (one on the upper left, same side as PTT switch). The IF crystal (16.345 MHz) is on the lower right side. Above it and to the right some more, surrounded by rubber, is the crystal filter (16.8 MHz). The UHF model has the same placement except it would have two crystal filters to the right of the IF crystal. These crystals are important in determining if a used HT220 is worth buying. If IF crystal and crystal filters are not there, the value of the radio is very small (in the order of 5 cents). The IF crystal can be purchased for a nominal fee but crystal filters, available from Motorola, are very expensive ($75 each). Plus they are more difficult to install than regular operating crystals (the filters have 3 leads). Note that the operating crystals on this particular unit were crushed to render the radio inoperative on its operating frequency. Being a surplus radio, they wanted to prevent unauthorized people calling up on a public safety agency channel, "breaker, breaker, one-niner!" The radio can re-crystalized and re-tuned for other frequencies (assuming YOU are authorized to transmit on the new channel ).
---
**Important Note on DC Power to HT-220**
A good, fully charged battery right off the charger is about 17V. Using a bench supply dictates caution, so +15v max is a safe approach. NEVER, NEVER reverse the polarity of the power supply! Two common areas to look if the cover fuse is blown is the audio output transistors, and a 10uf polarized cap, Cxxx (P/N TBD) across the +15 buss. If any of these components are shorted, they must be replaced. NOTE: If the audio transistors are blown, it is a good indication that someone applied power with REVERSED polarity.
---
Jerry Zacker sent this article about the HT-220 from a Motorola publication (click the title): ## [A Dream Come True!](mikeht220/dreamtrue.html)
Note there are numerous photos to download.
For more details of the HT-220, click these following pages:
### [HT-220 Model ID](mikeht220/HT220models.html)
[HT-220 Accessories and Batteries](mikeht220/HT220acc.html)
[HT-220 VHF Frequency Tuning](mikeht220/VHFtuning.html)
[HT-220 UHF Frequency Tuning](mikeht220/UHFtuning.html)
[HT-220 Special Models](mikeht220/HT220specials.html)
[HT-220 Service Tools](mikeht220/HT220servicetools.html)
[HT-220 Parts Lists](mikeht220/HT220parts.txt)
[Motorola Parts Identification List](mikeht220/motopartsidlist.txt)
[Typical Transmitter Troubleshooting Chart](mikeht220/txtroubleshoot.gif)
[Typical Receiver Troubleshooting Chart](mikeht220/mikeht220/rxtroubleshoot.gif)
[HT-220 Memories from a Design Team Member](mikeht220/htmemories.html)
[History of the Handie-Talkie](mikeht220/hthistory.html)
[HT-220 Program Design from a Project Member](mikeht220/zackerarticle.html)
[Working the 'Dream Come True' from a Motorola Technician](mikeht220/eoltech.html)
[Batteries for HT-220 Slimlines](mikeht220/slimlinebatt.html)
[Motorola Private Line Codes](mikeht220/ht220plcodes.html)
[Cleaning HT220 Battery Contacts](mikeht220/ht220battcontact.html)
[HT220 Body Alarms](mikeht220/bodyalarms.html)
[White House Secret Service HT-220](mikeht220/secretservice220.html)
[HT-220 Tech Tips and Stories](mikeht220/HT220techtips.html)
Includes topics such as,
* The Case of the Missing Plate, and The "X" Scandal
* HT-220 Info from a Factory Tester
* Charging and recovering HT220 batteries
* Using the HT220 on packet on 2 Meters
* Downbanding the VHF HT-220 to the Amateur 2-Meter Band
* Channel Scan Option
* HT220 Ruggedness (from Usenet)
* and more!
**Are your ideas here?** If not, they could be and other HT-220 enthusiasts can be learning from your contributions! Please send me your tech tips and stories for posting on the HT-220 Page. Let me know if you want your name added to the credits.
### The Portable Clinic
Robert Hicks of **The Portable Clinic** famous for HT220 mods and accessories has resurrected his company at <http://www.theportableclinic.com>. The photo gallery includes Bob during his years at Motorola, other 220 engineers, HT220 and HT200 repair girls, and pages from his catalogs. Most useful are high density scans of schematics for downbanding HT220s and scanning circuits. Check it out!
### HT220 Frequency Synthesizer
Dale Heatherington, WA4DSY, designed and published this circuit for easy frequency selection in the 2 meter band. See <mikeht220/220synthesizer.html>
Dale has lots of interesting stuff at <http://www.wa4dsy.net>
### HT220 Special Slimline Spec Sheet
Wow!
Yep, this is the same model carried by the Secret Service while protecting the Commander-In-Chief back in the 20th century. These are large file size jpeg images of front and back. You can resize these using whatever image program such as Adobe Photoshop or reduce the print size from your browser to get a properly cropped image for hardcopy. Actually I had these since the 70s, found them in my junque files.
[Front of special slimline spec sheet](mikeht220/ht220ss.html)
[Back of special slimline spec sheet](mikeht220/ht220ss2.html)
### Miscellaneous Pages
**[HT220 User's Manual](mikeht220/ht220userguide.html)**
**[Inside the HT-220](mikeht220/insideht220.html)**
**[Motorola radio license holder](mikeht220/licenseholder.html)**
**[Economic Stabilization Program](mikeht220/econoprgm.html)**
from 1971 Motorola Communications Buyers Guide
**[APCO Communications "How Do They Read You?" Etiquette poster](mikeht220/apcoposter.html)**
**[HT-100 info:](mikeht220/ht100.html)** This corny little spin-off of the HT-220 is also a collectors item
**[HT-200 info:](mikeht220/ht200.html)** It's big, it's heavy, and (best of all) it's scary. Predecessor of the HT220.
**[Scans from a 1978 Motorola Parts & Data Handbook](mikeht220/partsdatahandbook.html)** which features:
Deviation Meter Calibration Bessel Function Method
Identifying Receiver Produced Intermodulation
Measuring Receiver Input Level and Effective Sensitivity
EIA SINAD Sensitivity Measurement
HT-200 Parts Lists (H21, H23, H24 DCN and DEN Series)
HT-220 Slimline and Omni Parts Lists
Charger Cross Reference Chart (HT220 and MT500)
PAC-RT Vehicular Repeater System (H14TTY for HT220)
Portable/Paging Charger Cross Reference Chart
Portable Chargers Parts Lists
Batteries
Battery Cross Reference
Portable Microphone Replacement Parts
Portable/Paging Tools
Alignment Tool Cross Reference Chart
Tuning Tools
**[Motorola Transmitter ID tag](mikeht220/txidtag.html)**, a requirement for your Motrac and Consolette radios.
**[Downloadable HT220 Nameplate](mikeht220/nameplate.html)**
**[Here's a blast from the past (Spectronics catalog photo):](mikeht220/spectronics.jpg)**
Here you will see a young lady with various Moto stuff in her shopping cart including a Motrac, HT-220, HT-200, a Consolette power supply, and she's browsing some tube-type mobile equipment. [use your Back Button to return]
**[Farewell to Tom Mills, K6LHE](mikeht220/tom_mills.html)**
More stuff to come as I have received some great emails from former 220 engineers and technicians. Many thanks for your contributions!
### HT-220 Tech Help
Do you have a question or problem with an HT220 that cannot be solved with the information on this page? Ask Mike Gibbemeyer (K1CW) at Jurypowr @ aol.com. He worked at the Motorola plant performing acceptance tests and servicing of HT220s. If he cannot solve your HT220 problem, then the HT220 probably cannot be fixed.
---
**Places that sell old Motorola radios, accessories, and manuals**
**Manuals For Sale**
Ed Fong has complete, brandnew HT220 manuals in all models A-D. They are $10. His email address is edison\_fong @ hotmail.com
[Motorola Radios and Accessories for sale by Bob Jarnutowski (click here)](bobjarn.html)
**Editor's Note:**
Some of the following URLs may be broken as it has been some time since I've followed up (much of my website effort is on other sites, i.e. Connie and Gina).
MDM Radio Ltd.
1629-B N. 31st Avenue
Melrose Park, IL 60160-1837
Voice (708) 681-0300
Fax (708) 681-9800
email: sales @ mdmradio.com (If using email, please include a phone number.)
<http://www.MDMradio.com/>
Brinkley Electronics
8411 NC Highway 109
Winston-Salem, NC 27107
Voice (336) 769-2902
Fax (336) 769-4029
email: radios @ rbdc.com
<http://www.brinkleyelec.com/>
Another source for old HT220 stuff may be at Panik's Electronics N Surplus at <http://www.panikelectronics.com>
Panik's Electronics alternate website:
<http://surfusa.com/panikelectronics.html>
Panik's Electronics current inventory
<http://www.panikelectronics.com/panik.txt>
Panik's Electronics alternate inventory website:
<http://surfusa.com/panik.txt>
[Used radios by TelePath Corp. (http://www.telepathcorp.com)](http://www.telepathcorp.com/Used%20Products/used_items.htm)
[URLs to Used Equipment by http://dmoz.org](http://dmoz.org/Business/Business_Services/Two_Way_Radio/Used_Equipment/)
[Spantek Radio at http://www.spantekradio.com/ sells lots of used equipment](http://www.spantekradio.com/)
Occasionally people ask for MT500s and some of the above links may have MT500s. "Radiotrader" (email radiotr @ jaxnet.com) has a collection of MT500 channel elements listed at his webpage here at <http://users.leading.net/~radiotr/MT500>.
Daryl Jones of Telecommunications Engineering Associates has contributed information to this page. Although he does not have HT220 stuff available, his business has a considerable amount of surplus Motorola base and mobile gear. All this equipment is available for free or very cheap. If you are in the SF Bay Area (San Carlos, California), stop by with a truck. See his webpage at <http://www.tcomeng.com>.
**MT-500 Website**
There used to be a webpage dedicated for MT500s at http://www.mt500.com but it is now a MT500 motorcycle page.
**HT-220 Manuals Available from Motorola**
Motorola still sells (but probably not for long) re-productions from a contractor. They are not \*full\* re-productions but they have enough for tuning and repairs. Many of the parts listed in the manuals may no longer be available (and the ones that are cost lotsa bux).
Available from the Motorola Accessories and Aftermarkets Product Division
Call 1-800-422-4210
Prices are subject to change.
>
> - HT-220 (H33FFN) VHF,
>
> Omni housing Service Manual (shows accessories but does not have complete schematics)
>
> Motorola P/N 68P81001C60-D, $25.00
>
> - HT-220 (H33FFN) VHF,
>
>
> Omni housing Supplement (has schematics)
>
> Motorola P/N 68P81001C63-G, $5.78
>
> - HT-220 (H23FFN) VHF,
>
> Slimline housing Supplement (has schematics)
>
> Motorola P/N 68P81001C74, $3.94
>
> - HT-220 (H24FFN and H34FFN) UHF,
>
> Slimline and Omni housing Supplement (has schematics)
>
> Motorola P/N 68P81001C83-K, $2.00
>
**Editor's Note:**
Following URLs may not work as Motorola is always changing them. You may have to start at <http://www.motorola.com> and find the applicable links.
Motorola has a [Part Number Search Engine (click here)](http://accesssecure.mot.com/Accesspoint/cgi-bin2/SoftCart.exe/Accesspoint/Search/index.html?L+test+cjec8709+918764639/index.html?L+test+cjec8709+918764639) that is useful for tracking down various parts that Motorola still sells.
Motorola - CGISS - Accessories & Aftermarket Division, Service Aids at <http://ap.cgiss.motorola.com/AAD/portable/lts2000/svc_detail/svc_aids.html>
---
**HT220 as a Greatest Gadget**
In 2005 (or so) the HT-220 was featured as one of the 50 Greatest Gadgets of the Past 50 Years by PC World. PC World had a link to the HT220 page and said we are fiercely dedicated radio geeks for this handheld.
**Handie Talkie**
"Handie Talkie," or HT, is a trademark name by Motorola and it supposed to only be used for identifying handhelds by the "Big /\/\" and no one else. How serious is this?  Well, you can be rounded up with the usual group of suspects like those who misuse words like kneenex, band-aid, and xerox!
The name "Handie Talkie" was used in World War II when Motorola introduced a two-way radio small enough to be carried with one hand, as compared to the GI-styled backmounted radios (Army "breakie backies").
**HT-220 Frequency Bands**
HT-220 is available as a VHF (136 to 174 MHz) or UHF (406 to 512 MHz). VHF is split into three bands: 136-150.8, 150.8-162, and 162-174 MHz. The 150.8-162 version can be downbanded to the Amateur Radio 2-Meter band by modifying with capacitors.
UHF is split into three bands: 406-420, 450-470, and 470-512 MHz.
**Note:** No problem bringing a 450-470 HT into ham band (440 MHz). Just retune.
The 470-512 MHz (T-band) version is a later release of the HT-220 when the FCC allocated television channels 14 through 20 frequencies in selected areas to business and public safety agencies.
Back in the days of clipper ships and wagon trains, the FCC designated 470 to 890 MHz to broadcast television channels 14 through 83 thinking 2-way radio communications would not grow as fast as television. You can use a UHF TV set on channels 14 through 20 to tune to 2-way radio T-band. On older UHF TV sets, you can tune to the 800 Mhz 2-way radio band on channels 70, 71, 72 and 77, 78, 79. Channels 73, 74, and 80 through 83 can tune to cellphones, which is illegal according to the ECPA act of 1986 (doing so and you may be rounded up with the usual group of suspects! ).
**Tuning the HT-220**
**Tuning Note:** If the receiver sensititivity seems limited, examine the IF frequency. Ed Fong has found radios where the 2nd oscillator was off by up to 8 KHz and this will limit receiver performance.
Selecting frequencies on a HT-220 is not like selecting frequencies on today's handhelds where you punch in the desired frequency on a keypad. The HT-220 has to have a crystal.
The HT-220 is a crystal-controlled radio and requires a crystal for each frequency, one for transmit and another for receive. A 2-channel unit will need another set of crystals. The crystal will have to be changed if a different frequency is desired. This is why the HT-220 is limited to 6-channel maximum because it is size limited to how many crystals it can hold. The transmitter and the receiver will have to be aligned for each frequency by tuning associated components (coils and capacitors).
Unless you are rich and can afford someone else to do the work, you have to get crystals for the HT-220 as they did in the old days, LIKE MEN! This means going to the quarry (hiking 20 miles through the snow even in the summer), bust rocks until you get a adequate amount of quartz to grind the crystals, and then hiking back (it's uphill both ways!) to your shop were you have to spend long endless nights painstaking grinding the quartz to the precise thickness so the crystal vibrates at the exact frequency you want. Kids these days...
Well, it is not this bad. You can order crystals to the desired frequency from either ICM (<http://www.icmfg.com> or 1-800-725-1426) or Peterson Radio at (712) 323-7539. ICM will calculate the actual crystal frequency for the operating frequency you specify for the HT-220. Cost is typically $15 and delivery is about 2 weeks. After soldering the crystal in place, you still need to tune the radio for optimum performance.
Now you may be asking "ain't this the same techniques Guglielmo Marconi and Charles Herrold used on their radios?" This is why the current market price of the HT-220 is so cheap. You must be technically competent in RF circuitry, and willing to put in the effort to make it operational (most people will not). Tools required are a finetip soldering station, needle-nose pliers, small snips, tuning tools, and test equipment. Other things such as de-soldering tools (if removing old crystals) and a test jig (recommended) to hold the chassis in place during servicing.
Some years ago, the FCC regulations stated that radio transmitters may be tuned or adjusted only by persons holding appropriate commercial radiotelephone operator's license. The purpose was to prevent mal-adjusted radios from technically incompetent people going on the air. But these days, brain dead people can perform whatever is required for adjustments outside the factory since virtually all 2-way radios are computer-programmable and have no servicable parts. However, an FCC license is still required for servicing aircraft and marine radios.
**HT-220 Prices**
It has been mentioned that the current market rate of HT-220s are $10 per pound ("they make excellent doorstops!") Typical prices range from $10 to $30 for both working and non-working. Sometimes the cost can go higher if it comes with a charger, battery, and/or antenna. And other factors such as number of channels, PL, special model, etc. Price usually depends on how fast the seller wants to unload it or if the buyer is fiercely determined to get a "police styled" radio like what Kojak used (as shown in photo on right). Anything more than $40 is way too much. $30 should be considered the top price of an HT220.
Editor's note: I don't have a photo of Angie Dickinson with an HT220 but here she is with a Mocom70 in the television series "Police Woman."
Something uncommon on the TV series "Emergency," Randolph Mantooth with an HT-220 (normally they use some big ugly handheld). Julie London, top nurse of Rampart (also the beautiful singer of the 1950s) looks on. (*editors note: It seems the antenna is too long instead of the 18 inches for VHF, maybe the HT is something else*.
(OK, back to pricing info)
Because prices are so depressed for any denomination of the HT220, many of them are simply being tossed out than presented on the used equipment lists by commercial vendors. Hamfests routinely include large boxes of old Motorola portable parts, with the HT-220s at the dirtiest bottom of the pile.
*"How does a radio that sold for big $$$$ go for so cheep these days?"*
Way back in the days of polyester clothes (the 1970s) the HT-220 price tag was $600 to $1400 (that's 70s dollars). It's a different world today and with programmable radios, nobody has a use for HT-220s, except for specific hobbyists. Most amateur radio operators carry programmable handhelds. Radios (exception CBs and cellphones) purchased new from Motorola are such that if you have to ask the price, you can't afford it.
The one old Motorola item that has become very difficult to obtain are the books they use to give out for free in the 1970s. These are the Communications Buyers Guide and the Parts and Data Handbook. Excellent resource for reference for all the great "boatanchors" and "doorstops."
**HT-220 Rear Photos With Cover Removed**
This photo shows the side and back of a Slimline version. This is the solder side of board and also shown is the "PL" board is between the main board and battery compartment.
This photo shows the side and rear of a Omni-housing version. Notice the frame extension and extra room to put a high power PA board and the multi-channel board (3 or more freq).
**HT-220 Cleaning**
Here's a cleaning tip contributed by Ed Fong:
"I use Simple Green which takes off latex paint. Then I use Armorall to polish
it back up. The 220 will look almost brand new. You won't recognize it."
**HT-220 Wire Placement**
"There I was... thought I was gonna die!" is the thought HT-220 novices had when they removed the front cover and pulled the 4 wires connecting it to the main component board, and forgot to note where the wires go. Well don't fret because two diagrams (normally on the inside rear cover) shows the wire placement. Also shows the metering points used for alignment.
The four wires (red, black, white, blue) connect on the component side of board. The following images are the solder side of board.
* [VHF board](mikeht220/VHFboard.jpg)
* [UHF board](mikeht220/UHFboard.jpg)
**HT-220 Private-Line Squelch**
You get no privacy from "Private-Line." This is a trademark by Motorola for their name of the tone-coded squelch feature (CTCSS).
[Click here for Motorola Private Line Codes](mikeht220/ht220plcodes.html)
**HT-220 and MT-500 Antenna Cross Reference Chart**
Antenna Color Coding
(paint dot found on thread of antenna)
*courtesy of the old www.mt500.com before the motorcycle*
>
>
>
> | | | | |
> | --- | --- | --- | --- |
> | **Part Number**
> 85-05195H01
>
> 85-05195H02
> 85-05195H03
> 85-05195H04
>
> 85-82283J05
> 85-82283J06
> 85-82283J01
> 85-82283J02
>
> 85-05146B03
> 85-05146B04
>
> 85-05146B05
> | **Model**
> NAB6001
> NAB6002
> NAB6003
> NAB6004
>
> NAD6221
> NAD6222
>
> NAD6219
> NAD6220
>
> NAE6100
> NAE6142
> NAE6163
> | **Frequency**
> 30-35
> 36-40
>
> 40-45
> 46-50
>
> 136-142
> 142-150.8
> 150.8-162
> 162-174
>
> 406-420
> 440-470
> 470-512
>
> | **Color**
> Yellow
> Green
> Black
> Blue
>
> Yellow
> Green
>
> Black
> Blue
>
> Red
> Green
> Black
> |
>
>
>
## Applicable Motorola Websites
**Editor's Note:**
Following URLs may not work as Motorola is always changing them. You may have to start at <http://www.motorola.com> and find the applicable links.
Motorola Search Query at
<http://search.motorola.com/>.
There is a page of current Motorola portables accessories somewhere at
<https://AccessSecure.mot.com> I used to have a direct link but they keep changing the URL.
Motorola has a [Part Number Search Engine (click here)](http://accesssecure.mot.com/Accesspoint/cgi-bin2/SoftCart.exe/Accesspoint/Search/index.html?L+test+cjec8709+918764639/index.html?L+test+cjec8709+918764639) that is useful for tracking down various parts that Motorola still sells.
## Other Useful Webpages regarding Motorola
BatLabs at <http://www.batlabs.com> has lots of information on Moto stuff though primarily on radios much newer than HT220.
[Motorola Model Numbers circa 1976 by http://www.batlabs.com](http://www.batlabs.com/images/76model.jpg).
[Motorola NSO Service Parts at
http://www.arsradio.com/480/service\_parts.htm](http://www.arsradio.com/480/service_parts.htm).
## A New Life for HT220s?
In November 2000, FCC authorized MURS (Multi-Use Radio System) at 151.82, 151.88, 151.94, 154.57 and 154.60 for up to 2 W on an unlicensed basis under Part 95 of the FCC's rules. The FCC said it will "revisit" the issue of allocating additional MURS channels "at a later date should additional support develop." Also note that 154.6 MHz is used by McDonalds Hamburgers for one of the drive-up channels.
 Editors Note: Please be advised that operating a 1.8 watt HT220 may not be valid on MURS. There are limitations such as bandwidth of 2.5KHz so HT220 will have to be adjusted accordingly.
 It should be noted you can modify "accepted equipment" (i.e.) for business bands such as the HT220 to operate on amateur radio bands, however, you cannot operate a amateur radio on business bands (amateur gear is not considered "accepted equipment").
For more on MURS, visit the MURS Homepage at <http://www.provide.net/~prsg/murshome.htm> which includes opeating rules, FAQ, and latest developments. This webpage does not have rotating banners, javascript or any other worthless "hubcaps" to screw-up your browser.
## Comments about the HT220 by visitors to this webpage:
"THOUSANDS STILL IN USE."
"They hardly ever die! (batteries, of course are a different story)"
"I never thought the old rig would attract a cult following!"
"I remember drooling over the HT220 25 years ago at ham swap meets."
"I use both VHF and UHF models everyday."
"I've taken VHF units up to 220 MHz (a real 220 220)."
"I thought I was the only HT-220 nut in the world."
"HT220 is truly an object deserving of such a shrine!"
"It was and still is a engineering marvel."
"They are very easy to re-condition."
"I still think it is the nicest looking, most purposeful radio ever produced."
"The HT-220 still lives!"
"I cut my teeth on the HT-200 and went on to the HT-220."
"I can remember in the mid-70s the envy we all felt for the BMOC that had an HT220."
"What is that?!?" (from a generation X-er first seeing a HT220)
Reaction of seeing someone with an HT-220:
circa 1971: "You must be a police officer or government agent of some sort."
circa 2001: "Wow! That's a big cellphone!"
If you think the HT220 is an old radio, [take a look at this page on a Motorola "Handie Talkie"](http://www.911dispatch.com/centers/port_radio.html) from the days when ships were wood and men were steel.
---
## Disclaimer and Purpose
This website is for noncommercial purposes only. This is not an official media outlet for Motorola, nor is it for any organization. I make no claims to technical accuracies. USE AT OWN RISK. Every effort has been made to make this article to be non-offensive and politically correct. I receive no compensation for this site.
This web site was constructed as a contribution for radio hobbyists to assist them in restoring older style radios.
## Important Notice
 WARNING: FCC license required for transmitting on frequencies covered by the HT-220.
 NOTICE: HT-220 cannot be certificated for transmitting in the Family Radio Service (FRS) bands.
 WARNING: Amateur radio license is required for tuning, adjusting, and operating transmitters on the Amateur radio bands.
Michael Wright, K6MFW
*Website Editor*
---
Feedback is desired (suggestions, comments, errors, gripes, whatever) Michael Wright, K6MFW, mfwright@batnet.com
[Back to the Michael Wright Page](index.html)
| http://mfwright.com/HT220.html |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| https://www.milamba.com/australia/ |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| https://acdca.appliedchaosdynamicscontrolassociation.net/ |
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align="center"><i><span style="color:#000066">Almost
it seemed that the words took shape, and
visions of far lands <br>
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class="GramE">him .</span> </span></i></p>
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style="font-family:Helvetica">Musings</span></a>
<a href="other/index.html"><span
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</span><span
style="color:black"></span><br>
<span style="color:black"></span><span
style="color:black"></span><br>
<span style="color:black"><span class="SpellE">
</span></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt"><span
style="color:black"><span class="SpellE"><span
style="color:black"><img alt=""
id="_x0000_i1041"
src="images/buttons/greensquare.gif"
border="0" height="11" width="11"> Our
<a href="other/recipes.html">Middle-earth
Recipes</a> were featured <a
href="http://www.npr.org/blogs/thesalt/2013/12/09/249827551/elevenses-and-then-some-how-to-prepare-a-feast-fit-for-a-hobbit">at
NPR's blog</a>, thank you <i>Cinebeth</i>,
and also <i>Doctor Gamgee</i> for being
our spokeshobbit.<br>
</span></span></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt"><span
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style="color:black"><span class="SpellE"><span
style="color:black"><img alt=""
id="_x0000_i1041"
src="images/buttons/greensquare.gif"
border="0" height="11" width="11"> </span>The"faith</span>
& issues discussion" forum, </span><b><span
style="color:#000099">Sam's Stewpot</span></b><span
style="color:#000099">,</span><span
style="color:black"> is available.
This is a <i>member's only</i> forum for
those with a minimum of 75 posts, just pm
Daughter of Kings, Doctor Gamgee or <span
class="SpellE">Primula</span> if you would
like to take part. </span><br>
<span style="color:black"></span><br>
<span style="color:black"></span><span
style="color:black"> </span><span
style="color:black"></span></p>
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src="images/green_bar_flip.jpg" border="0"
height="23" width="264"><br>
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align="center"><br>
</p>
<p class="MsoNormal" style="text-align:center"
align="center"> Something to add to the
Scrapbook? <br>
See the <a href="submissions.html"
target="_self">Submission Guidelines.</a> <br>
<img id="_x0000_i1045"
src="images/flags/fam_friendly3.jpg" alt=""
border="0" height="85" width="202"><br>
</p>
<br>
<p class="MsoNormal" style="text-align:center"
align="center"><o:p> </o:p></p>
<table class="MsoNormalTable"
style="width:90.0%;mso-cellspacing:1.5pt;mso-padding-alt:1.5pt
1.5pt 1.5pt 1.5pt" border="0" cellpadding="0"
width="90%">
<tbody>
<tr
style="mso-yfti-irow:0;mso-yfti-firstrow:yes;mso-yfti-lastrow:yes">
<td style="padding:1.5pt 1.5pt 1.5pt
1.5pt" valign="top">
<p class="MsoNormal"><a
href="gallery/bookcovers/index.htm"><span
style="text-decoration:none;text-underline:none"><img id="_x0000_i1047"
src="images/buttons/greenbath1.gif" border="0" height="29" width="29"></span></a><br>
<a
href="http://lotrscrapbook.bookloaf.net/gallery/bookcovers/index.htm"><b>Tolkien
<span class="SpellE">Bookcovers</span>
Gallery</b></a></p>
</td>
<td style="padding:1.5pt 1.5pt 1.5pt
1.5pt" valign="top">
<p class="MsoNormal"><a
href="http://bookloaf.net/avatars.html"><span
style="text-decoration:none;text-underline:none"><img id="_x0000_i1048"
src="images/buttons/greenbutton1.gif" alt="Avatars" border="0"
height="29" width="29"></span></a><br>
<a
href="http://bookloaf.net/avatars.html"><span
class="SpellE"><b>Bookloaf</b></span><b>
Avatars</b></a></p>
</td>
<td style="padding:1.5pt 1.5pt 1.5pt
1.5pt" valign="top">
<p class="MsoNormal"><a
href="http://bookloaf.net/smile.html"><span
style="text-decoration:none;text-underline:none"><img id="_x0000_i1049"
src="images/buttons/greenbath1.gif" border="0" height="29" width="29"></span></a><br>
<a
href="http://bookloaf.net/smile.html"><span
class="SpellE"><b>Bookloaf</b></span><b>
<span class="SpellE">Smilies</span></b></a>
</p>
</td>
</tr>
</tbody>
</table>
<p class="MsoNormal"
style="margin-bottom:12.0pt;text-align:
center" align="center"><br>
<img id="_x0000_i1050"
src="images/green_bar.jpg" border="0"
height="23" width="264"></p>
</td>
<td style="padding:7.5pt 7.5pt 7.5pt 7.5pt"
valign="top">
<p class="MsoNormal" style="text-align:center"
align="center"><b><span
style="font-size:13.5pt;font-family:Papyrus;color:#780000">~
* ~<br>
Featuring<br>
offbeat and profound products<br>
collected from the<br>
creative and slightly deranged<br>
minds of the fans of<br>
Middle-earth</span></b></p>
<p class="MsoNormal" style="text-align:center"
align="center"><img id="_x0000_i1051"
src="images/Frodointree_fade.jpg" border="0"
height="160" width="262"></p>
<p class="MsoNormal"><span class="SpellE"><i><span
style="font-size:10.0pt;
font-family:Helvetica">Webmistress</span></i></span><i><span
style="font-size:10.0pt;font-family:Helvetica">: <span class="SpellE">Primula</span><br>
Assistant: <span class="SpellE">TrebleMaker</span><br>
</span></i></p>
<p class="MsoNormal" style="text-align:center"
align="center"><span
style="font-family:Harrington"><img
id="_x0000_i1052"
src="images/green_bar.jpg" border="0"
height="23" width="264"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span
style="color:#003300"><span
style="color:black"><span class="SpellE">
<img alt=""
src="file:///G:/Documents%20and%20Settings/Family/My%20Documents/bookloaf.net/mirror/lotrscrapbook/images/holiday/fall_leaf.gif"
height="47" width="50"></span></span></span></b><br>
<b><span style="color:#003300"><span
style="color:black"><span class="SpellE"></span></span></span></b><b><span
style="color:#003300">Recent Additions:</span></b>
</p>
<ul type="disc">
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">A Hasty Leaving by
Daisy Gold (Poetry/ Poems)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Some updates to the
Members Map</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Let it Go by
Agape4Rivendell (Tales/ Short Stories)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Lembas Bread II
recipe by modelnut (Recipes)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Astray on the Road
to Bag End by Linaewen (Tales/Short
Stories)<br>
</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Lords of Gondor
updated with Chapter 52, by Linaewen
(Tales/Serial)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Sauron license
plate added to fan plates collection
(Other/ License Plates)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Six Word Stories by
various (Tales/Challenges), also
(Tales/Short Stories)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Cardinals by
Agape4Rivendell (Tales/Serial), complete.<br>
</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Gold Shall Have No
Dominion by Varda (Musings)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">The Desolation of
Tolkien by Doctor Gamgee (Musings)</span></li>
<li class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo3;tab-stops:list
.5in"><span class="name">Links page updated.<br>
</span></li>
</ul>
<p class="MsoNormal"
style="margin-bottom:12.0pt"><br>
<span style="color:black"></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt"><span
style="color:black"> <a
href="pastrecent.html" target="_self">Past
Recent Additions</a></span><br
style="mso-special-character:line-break">
<!--[endif]--></p>
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</tr>
<tr style="mso-yfti-irow:2;mso-yfti-lastrow:yes">
<td colspan="2" style="padding:7.5pt 7.5pt 7.5pt
7.5pt">
<p class="MsoNormal" style="text-align:center"
align="center"><a href="contributors.html"><span
style="text-decoration:none;text-underline:
none"><img id="_x0000_i1053"
src="images/buttons/contributors.jpg"
border="0" height="58" width="229"></span></a></p>
<p class="MsoNormal" style="text-align:center"
align="center"><img id="_x0000_i1054"
src="images/green_bar1.jpg" border="0"
height="53" width="605"></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;text-align:
center" align="center"><a name="boards"></a><b><span
style="color:#660000"><br>
</span></b><b><span
style="font-family:Helvetica;color:#660000">
</span></b><b><span
style="font-family:Helvetica"><a
href="http://lotrfanmb.com/msgbd/index.php">The
Fellowship of Middle-earth</a></span></b><span
style="font-family:Helvetica"> <br>
<span style="color:maroon"><a
href="http://lotrfanmb.com/msgbd/viewforum.php?f=31">Shire
News</a> - </span></span><a
href="http://lotrfanmb.com/msgbd/index.php?c=5"
target="_top"><span
style="font-family:Helvetica;color:maroon">Middle-earth</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/index.php?c=2" target="_top"><span
style="font-family:Helvetica;color:maroon">The
Prancing Pony</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/index.php?c=9" target="_top"><span
style="font-family:Helvetica;color:maroon">The
Fellowship</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/viewforum.php?f=11"><span
style="font-family:Helvetica">The Red Book</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/index.php?c=6" target="_top"><span
style="font-family:Helvetica;color:maroon">Under
Hill</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/viewforum.php?f=7" target="_top"><span
style="font-family:Helvetica;color:maroon">Bag
End</span></a><span
style="font-family:Helvetica"> - </span><a
href="http://lotrfanmb.com/msgbd/index.php?c=11"><span class="SpellE"><span
style="font-family:Helvetica">Bucklebury</span></span></a></p>
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align="center">
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align="center"><span style="font-size:10.0pt">The
original website design was by <span
class="SpellE">Redbeard</span>, adapted,
embellished and expanded upon by <span
class="SpellE">Primula</span>. This
is <span class="GramE">a gen</span>, family
friendly, slash-free site.</span></p>
<div class="MsoNormal" style="text-align:center"
align="center">
<hr align="center" size="2" width="100%"> </div>
<p class="MsoNormal" style="text-align:center"
align="center"><span style="font-size:10.0pt">Note:
the items on these pages are only posted
here for the personal use of the
members of <a
href="http://lotrfanmb.com">The Fellowship
of Middle-earth</a> and their related
sites and may not be used for commercial or
other unauthorized use, by publication,
re-transmission, distribution, or otherwise,
except as permitted by the <a
href="http://www4.law.cornell.edu/uscode/17/107.html">fair
use</a> clause of the <a
href="http://www4.law.cornell.edu/uscode/17/">Copyright
Law</a> or other law. All writings,
artwork and other postings <a
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<span style="font-size:10.0pt">These pages
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permits, site hosted by <a
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class="SpellE">Lunarpages</span></a>. <br>
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free to use these banners, or our other
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<td style="padding:1.5pt 1.5pt 1.5pt
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<p class="MsoNormal"><span
style="font-size:10.0pt"><img
id="_x0000_i1057"
src="images/flags/alt_title_flag.gif"
alt="LOTRscrapbook.com" border="0"
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style="font-size:10.0pt"><img
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alt="LOTRfanclub Scrapbook 100x35"
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LOTRfanclub Scrapbook
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| | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| LOTRfanclub Scrapbook
| |
| --- |
| *Almost
it seemed that the words took shape, and
visions of far lands
and bright things that he had never yet
imagined opened out before him .* |
| Contents
[Contributors](contributors.html)
[Definitions](definitions/definitions.html)
[Contests](contest/index.html)
[Galleries](gallery/index.html)
[Links](links/links.html)
[Members Map](ref/fanclubmap.html)
[Message
Boards](http://lotrfanmb.com/msgbd/index.php) [Musings](essay/index.html)
[Other](other/index.html)
[Poetry](poetry/index.html)
[Recipes](other/recipes.html)
[Reference](ref/index.html)
[Site Map](sitemap.html)
[Songs](songs/index.html)
[Tales](stories/index.html)
[Themes](themes/index.html)
[Top Tens](topten/index.html)
Entire Site
Galleries
Musings
Other
Poetry
Songs
Tales
Themes
Toptens
powered by [FreeFind](http://www.freefind.com)
[Links](links/links.html)
~ [Member
Sites](links/sites.html) ~ [Affiliates](links/affiliates.html)
~ [Support](support.html)
Our
[Middle-earth
Recipes](other/recipes.html) were featured [at
NPR's blog](http://www.npr.org/blogs/thesalt/2013/12/09/249827551/elevenses-and-then-some-how-to-prepare-a-feast-fit-for-a-hobbit), thank you *Cinebeth*,
and also *Doctor Gamgee* for being
our spokeshobbit.
The"faith
& issues discussion" forum, **Sam's Stewpot**, is available.
This is a *member's only* forum for
those with a minimum of 75 posts, just pm
Daughter of Kings, Doctor Gamgee or Primula if you would
like to take part.
Something to add to the
Scrapbook?
See the [Submission Guidelines.](submissions.html)
| | | |
| --- | --- | --- |
|
[**Tolkien
Bookcovers
Gallery**](http://lotrscrapbook.bookloaf.net/gallery/bookcovers/index.htm) | [Avatars](http://bookloaf.net/avatars.html)
[**Bookloaf****Avatars**](http://bookloaf.net/avatars.html) |
[**Bookloaf****Smilies**](http://bookloaf.net/smile.html)
|
| **~
\* ~
Featuring
offbeat and profound products
collected from the
creative and slightly deranged
minds of the fans of
Middle-earth**
*Webmistress**: Primula
Assistant: TrebleMaker*
**Recent Additions:**
* A Hasty Leaving by
Daisy Gold (Poetry/ Poems)
* Some updates to the
Members Map
* Let it Go by
Agape4Rivendell (Tales/ Short Stories)
* Lembas Bread II
recipe by modelnut (Recipes)
* Astray on the Road
to Bag End by Linaewen (Tales/Short
Stories)
* Lords of Gondor
updated with Chapter 52, by Linaewen
(Tales/Serial)
* Sauron license
plate added to fan plates collection
(Other/ License Plates)
* Six Word Stories by
various (Tales/Challenges), also
(Tales/Short Stories)
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Agape4Rivendell (Tales/Serial), complete.
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Tolkien by Doctor Gamgee (Musings)
* Links page updated.
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<h2>Icy Brian's RPG Fan Art Gallery</h2>
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<p>Welcome! Here you can find fan art from your favorite RPGs by over 300 artists.
There are two ways to submit fan art to the site. The first is to email them to me at <A HREF="mailto:fanart@icybrian.com">fanart@icybrian.com</A>. The second way is to post them in the Fan Art section of the <a href="http://icybrian.com/forum/index.php">Web Forum</a>, where you can also get feedback on them from other artists; this is preferred for artists who aren't yet posted on the site. Please bear in mind that I don't post every piece that's sent to me. I don't respond to emails containing pieces that I don't post, which is another reason why it's better to post them in the forum.
<P>
A few quick notes. Don't just redraw the official artwork and send it in, because it's going to be rejected immediately (the only way it won't is if you do it in an original way, such as <a href="http://www.icybrian.com/fanart/flipone/crono.jpg">spray painting it on a wall</a>.) Please don't send artwork drawn on lined paper or simple line drawings that have no shading or quality inking. And please, try to reduce the file size as much as possible before you submit.
<P>
<A HREF="artists.php"><b>Artists</b></A>- A list of every artist whose work can be found on this page.<BR>
<A HREF="/contests.php"><b>Contests</b></A>- Lists the various fan art contests that have been held on the site.<BR>
<A HREF="updates.php"><b>Updates</b></A>- The latest additions to the page. <B><I>Updated July 7th, 2005</I></B>
<P>
<BR>
<CENTER>
<TABLE CELLPADDING="2" ALIGN="Center">
<TR>
<TD ALIGN=Center>
<A HREF="alundra.php">Alundra</A></TD>
<TD ALIGN=Center>
<A HREF="azuredreams.php">Azure Dreams</A></TD>
<TD ALIGN=Center>
<A HREF="bravefencer.php">Brave Fencer Musashi</A></TD>
<TD ALIGN=Center>
<A HREF="breathfire.php">Breath of Fire</A></TD>
<TD ALIGN=Center>
<A HREF="breathfire2.php">Breath of Fire II</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="breathfire3.php">Breath of Fire III</A></TD>
<TD ALIGN=Center>
<A HREF="breathfire4.php">Breath of Fire IV</A></TD>
<TD ALIGN=Center>
<A HREF="breathfire5.php">Breath of Fire V</A></TD>
<TD ALIGN=Center>
<A HREF="chronocross.php">Chrono Cross</A></TD>
<TD ALIGN=Center>
<A HREF="chronotrigger.php">Chrono Trigger</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="darkcloud.php">Dark Cloud</A></TD>
<TD ALIGN=Center>
<A HREF="darkcloud2.php">Dark Cloud II</A></TD>
<TD ALIGN=Center>
<A HREF="disgaea.php">Disgaea</A></TD>
<TD ALIGN=Center>
<A HREF="dothack.php">.hack</A></TD>
<TD ALIGN=Center>
<A HREF="dragonwarrior3.php">Dragon Warrior III</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="drakengard.php">Drakengard</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy.php">Final Fantasy</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy2.php">Final Fantasy II</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy4.php">Final Fantasy IV</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy5.php">Final Fantasy V</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="finalfantasy6.php">Final Fantasy VI</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy7.php">Final Fantasy VII</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy8.php">Final Fantasy VIII</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy9.php">Final Fantasy IX</A></TD>
<TD ALIGN=Center>
<A HREF="finalfantasy10.php">Final Fantasy X</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="finalfantasy12.php">Final Fantasy XII</A></TD>
<TD ALIGN=Center>
<A HREF="ffmysticquest.php">Final Fantasy Mystic Quest</A></TD>
<TD ALIGN=Center>
<A HREF="fftactics.php">Final Fantasy Tactics</A></TD>
<TD ALIGN=Center>
<A HREF="fftadvance.php">Final Fantasy Tactics Advance</A></TD>
<TD ALIGN=Center>
<A HREF="ffunlimited.php">Final Fantasy Unlimited</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="fireemblem.php">Fire Emblem</A></TD>
<TD ALIGN=Center>
<A HREF="fireemblem4.php">Fire Emblem 4</A></TD>
<TD ALIGN=Center>
<A HREF="frontmission3.php">Front Mission III</A></TD>
<TD ALIGN=Center>
<A HREF="goldensun.php">Golden Sun</A></TD>
<TD ALIGN=Center>
<A HREF="grandia.php">Grandia</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="grandia2.php">Grandia II</A></TD>
<TD ALIGN=Center>
<A HREF="grandiaxtreme.php">Grandia Xtreme</A></TD>
<TD ALIGN=Center>
<A HREF="granstreamsaga.php">Granstream Saga</A></TD>
<TD ALIGN=Center>
<A HREF="hoshigami.php">Hoshigami</A></TD>
<TD ALIGN=Center>
<A HREF="ico.php">Ico</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="illusiongaia.php">Illusion of Gaia</A></TD>
<TD ALIGN=Center>
<A HREF="kartia.php">Kartia</A></TD>
<TD ALIGN=Center>
<A HREF="kingdomhearts.php">Kingdom Hearts</A></TD>
<TD ALIGN=Center>
<A HREF="legenddragoon.php">Legend of Dragoon</A></TD>
<TD ALIGN=Center>
<A HREF="legendlegaia.php">Legend of Legaia</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="legendmana.php">Legend of Mana</A></TD>
<TD ALIGN=Center>
<A HREF="legendzelda.php">Legend of Zelda</A></TD>
<TD ALIGN=Center>
<A HREF="lufia.php">Lufia</A></TD>
<TD ALIGN=Center>
<A HREF="lufia2.php">Lufia II</A></TD>
<TD ALIGN=Center>
<A HREF="lunareb.php">Lunar: Eternal Blue</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="lunarsssc.php">Lunar: Silver Star Story</A></TD>
<TD ALIGN=Center>
<A HREF="okage.php">Okage: Shadow King</A></TD>
<TD ALIGN=Center>
<A HREF="orphen.php">Orphen</A></TD>
<TD ALIGN=Center>
<A HREF="parasiteeve.php">Parasite Eve</A></TD>
<TD ALIGN=Center>
<A HREF="persona.php">Persona</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="persona2.php">Persona II</A></TD>
<TD ALIGN=Center>
<A HREF="phantasystar4.php"> Phantasy Star IV</A></TD>
<TD ALIGN=Center>
<A HREF="rhapsody.php">Rhapsody</A></TD>
<TD ALIGN=Center>
<A HREF="sagafrontier.php">SaGa Frontier</A></TD>
<TD ALIGN=Center>
<A HREF="sagafrontier2.php">SaGa Frontier II</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="secretmana.php">Secret of Mana</A></TD>
<TD ALIGN=Center>
<A HREF="seikendensetsu.php">Seiken Densetsu</A></TD>
<TD ALIGN=Center>
<A HREF="seikendensetsu3.php">Seiken Densetsu III</A></TD>
<TD ALIGN=Center>
<A HREF="shiningforce.php">Shining Force</A></TD>
<TD ALIGN=Center>
<A HREF="skiesarcadia.php">Skies of Arcadia</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="starocean2.php">StarOcean II</A></TD>
<TD ALIGN=Center>
<A HREF="suikoden.php">Suikoden</A></TD>
<TD ALIGN=Center>
<A HREF="supermariorpg.php">Super Mario RPG</A></TD>
<TD ALIGN=Center>
<A HREF="swordmana.php">Sword of Mana</A></TD>
<TD ALIGN=Center>
<A HREF="talesdestiny.php">Tales of Destiny</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="talesdestiny2.php">Tales of Destiny II</A></TD>
<TD ALIGN=Center>
<A HREF="talessymphonia.php">Tales of Symphonia</A></TD>
<TD ALIGN=Center>
<A HREF="terranigma.php">Terranigma</A></TD>
<TD ALIGN=Center>
<A HREF="threadsfate.php">Threads of Fate</A></TD>
<TD ALIGN=Center>
<A HREF="vagrantstory.php">Vagrant Story</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="valkyrieprofile.php">Valkyrie Profile</A></TD>
<TD ALIGN=Center>
<A HREF="vandalhearts.php">Vandal Hearts</A></TD>
<TD ALIGN=Center>
<A HREF="vanguardbandits.php">Vanguard Bandits</A></TD>
<TD ALIGN=Center>
<A HREF="wildarms.php">Wild ARMs</A></TD>
<TD ALIGN=Center>
<A HREF="wildarms2.php">Wild ARMs II</A></TD>
</TR>
<TR>
<TD ALIGN=Center>
<A HREF="wildarms3.php">Wild ARMs III</A></TD>
<TD ALIGN=Center>
<A HREF="xenogears.php">Xenogears</A></TD>
<TD ALIGN=Center>
<A HREF="xenosaga.php">Xenosaga</A></TD>
<TD ALIGN=Center>
</TD>
<TD ALIGN=Center>
</TD>
</TR>
</TABLE>
</CENTER>
<P>
I accept fan art for any console RPG, not just the ones listed above. I am especially looking for fan art from the following games:<BR>
Disgaea<BR>
Lunar (either game)<BR>
Saiyuki: Journey West<br>
Shining Force<br>
Sudeki<BR>
Suikoden (any of the games)<BR>
Vagrant Story<BR>
Valkyrie Profile<BR>
Vandal Hearts<BR>
Wild ARMs<BR>
Xenogears<BR>
Xenosaga
<span class="copyright" style="clear:both;"><br><br><br>All artwork is copyright by its respective artist, and can not be used on another page without their direct permission; the artists' email addresses are located on their index page.<BR><BR>
This Website © Copyright 1997, <A HREF="mailto:icybrian@icybrian.com">Brian Work</A>. All rights reserved. Thanks to <a href="http://www.chrishaynie.com">Sax</a> for his help with the layout. Do not take anything from my page without my consent. This site is link-free, meaning you don't need to ask me if you'd like to link to it. This site is best viewed in 1024x768.</span>
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</body>
</html> |
IcyBrian's RPG Fan Art Gallery - IcyBrian.com
@import url(/includes/gallery.css);
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[Updates](/updates.php)
**Fan Works**
[Cold Fusion](/coldfusion/)
[Fan Art Gallery](/fanart/)
[Fanfic Library](/fanfic/)
[Original Flavors](/flavors/)
**Features**
[Contests](/contests/)
[Fanfic Resource](/fanficresource/)
[Game Info](/games/)
[Reviews](/reviews/)
[The Freezer](/freezer/)
**Interact**
[Blogs](http://www.icyforums.com/index.php?automodule=blog)
[IRC Chat](/irc/)
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[FAQ](/faq.php)
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|
Icy Brian's RPG Fan Art Gallery
Welcome! Here you can find fan art from your favorite RPGs by over 300 artists.
There are two ways to submit fan art to the site. The first is to email them to me at [fanart@icybrian.com](mailto:fanart@icybrian.com). The second way is to post them in the Fan Art section of the [Web Forum](http://icybrian.com/forum/index.php), where you can also get feedback on them from other artists; this is preferred for artists who aren't yet posted on the site. Please bear in mind that I don't post every piece that's sent to me. I don't respond to emails containing pieces that I don't post, which is another reason why it's better to post them in the forum.
A few quick notes. Don't just redraw the official artwork and send it in, because it's going to be rejected immediately (the only way it won't is if you do it in an original way, such as [spray painting it on a wall](http://www.icybrian.com/fanart/flipone/crono.jpg).) Please don't send artwork drawn on lined paper or simple line drawings that have no shading or quality inking. And please, try to reduce the file size as much as possible before you submit.
[**Artists**](artists.php)- A list of every artist whose work can be found on this page.
[**Contests**](/contests.php)- Lists the various fan art contests that have been held on the site.
[**Updates**](updates.php)- The latest additions to the page. ***Updated July 7th, 2005***
| | | | | |
| --- | --- | --- | --- | --- |
| [Alundra](alundra.php) | [Azure Dreams](azuredreams.php) | [Brave Fencer Musashi](bravefencer.php) | [Breath of Fire](breathfire.php) | [Breath of Fire II](breathfire2.php) |
| [Breath of Fire III](breathfire3.php) | [Breath of Fire IV](breathfire4.php) | [Breath of Fire V](breathfire5.php) | [Chrono Cross](chronocross.php) | [Chrono Trigger](chronotrigger.php) |
| [Dark Cloud](darkcloud.php) | [Dark Cloud II](darkcloud2.php) | [Disgaea](disgaea.php) | [.hack](dothack.php) | [Dragon Warrior III](dragonwarrior3.php) |
| [Drakengard](drakengard.php) | [Final Fantasy](finalfantasy.php) | [Final Fantasy II](finalfantasy2.php) | [Final Fantasy IV](finalfantasy4.php) | [Final Fantasy V](finalfantasy5.php) |
| [Final Fantasy VI](finalfantasy6.php) | [Final Fantasy VII](finalfantasy7.php) | [Final Fantasy VIII](finalfantasy8.php) | [Final Fantasy IX](finalfantasy9.php) | [Final Fantasy X](finalfantasy10.php) |
| [Final Fantasy XII](finalfantasy12.php) | [Final Fantasy Mystic Quest](ffmysticquest.php) | [Final Fantasy Tactics](fftactics.php) | [Final Fantasy Tactics Advance](fftadvance.php) | [Final Fantasy Unlimited](ffunlimited.php) |
| [Fire Emblem](fireemblem.php) | [Fire Emblem 4](fireemblem4.php) | [Front Mission III](frontmission3.php) | [Golden Sun](goldensun.php) | [Grandia](grandia.php) |
| [Grandia II](grandia2.php) | [Grandia Xtreme](grandiaxtreme.php) | [Granstream Saga](granstreamsaga.php) | [Hoshigami](hoshigami.php) | [Ico](ico.php) |
| [Illusion of Gaia](illusiongaia.php) | [Kartia](kartia.php) | [Kingdom Hearts](kingdomhearts.php) | [Legend of Dragoon](legenddragoon.php) | [Legend of Legaia](legendlegaia.php) |
| [Legend of Mana](legendmana.php) | [Legend of Zelda](legendzelda.php) | [Lufia](lufia.php) | [Lufia II](lufia2.php) | [Lunar: Eternal Blue](lunareb.php) |
| [Lunar: Silver Star Story](lunarsssc.php) | [Okage: Shadow King](okage.php) | [Orphen](orphen.php) | [Parasite Eve](parasiteeve.php) | [Persona](persona.php) |
| [Persona II](persona2.php) | [Phantasy Star IV](phantasystar4.php) | [Rhapsody](rhapsody.php) | [SaGa Frontier](sagafrontier.php) | [SaGa Frontier II](sagafrontier2.php) |
| [Secret of Mana](secretmana.php) | [Seiken Densetsu](seikendensetsu.php) | [Seiken Densetsu III](seikendensetsu3.php) | [Shining Force](shiningforce.php) | [Skies of Arcadia](skiesarcadia.php) |
| [StarOcean II](starocean2.php) | [Suikoden](suikoden.php) | [Super Mario RPG](supermariorpg.php) | [Sword of Mana](swordmana.php) | [Tales of Destiny](talesdestiny.php) |
| [Tales of Destiny II](talesdestiny2.php) | [Tales of Symphonia](talessymphonia.php) | [Terranigma](terranigma.php) | [Threads of Fate](threadsfate.php) | [Vagrant Story](vagrantstory.php) |
| [Valkyrie Profile](valkyrieprofile.php) | [Vandal Hearts](vandalhearts.php) | [Vanguard Bandits](vanguardbandits.php) | [Wild ARMs](wildarms.php) | [Wild ARMs II](wildarms2.php) |
| [Wild ARMs III](wildarms3.php) | [Xenogears](xenogears.php) | [Xenosaga](xenosaga.php) | | |
I accept fan art for any console RPG, not just the ones listed above. I am especially looking for fan art from the following games:
Disgaea
Lunar (either game)
Saiyuki: Journey West
Shining Force
Sudeki
Suikoden (any of the games)
Vagrant Story
Valkyrie Profile
Vandal Hearts
Wild ARMs
Xenogears
Xenosaga
All artwork is copyright by its respective artist, and can not be used on another page without their direct permission; the artists' email addresses are located on their index page.
This Website © Copyright 1997, [Brian Work](mailto:icybrian@icybrian.com). All rights reserved. Thanks to [Sax](http://www.chrishaynie.com) for his help with the layout. Do not take anything from my page without my consent. This site is link-free, meaning you don't need to ask me if you'd like to link to it. This site is best viewed in 1024x768.
|
| http://www.icybrian.com/fanart/ |
<HTML><HEAD><TITLE>Joe Smith's PDP-10 page</TITLE></HEAD><BODY BGCOLOR="#d8d8bf">
<I>PDP-10 index</I><hr>
<P>
This is the<font size=+2> <b>592nd</b> </font>access to this page.
<a href="images/popj.jpg"><IMG SRC="images/popj.gif" align=right alt="POPJ P," WIDTH=80 HEIGHT=40></a>
<H1>36 bits forever!</H1>
<h2 align="center"><a href="#Tymnet">Tymshare / Tymnet pictures</a></h2>
<br clear=all>
<a href="tymshare/hardware/index.cgi"><img src="tymshare/hardware/xkl-murdock2.gif" align=right width=68 height=90></a>
This is one of the two pages at Best.com that describe the history
of 36-bit computing: www.inwap.com/pdp10 = www.best.com/~inwap/pdp10/.
The other one, <a href="http://www.multicians.org">www.multicians.org</a>
is <a href="http://www.multicians.org/thvv/tvv.html">Tom Van Vleck</a>'s
history of Multics. Both of these computers use 36-bit words with 18-bit
addresses, but otherwise have very little in common.
(Another set of web pages dedicated to 36-bit computers
is at <a href="http://www.36bit.org/">www.36bit.org/</a> .)
<p>This page was listed in the NCSA Mosaic What's New page for June 16, 1995.
<H2>36 bit systems running today</H2>
25-Nov-96: <a href="96license.txt">personal-use license</a> for TOPS-10 and TOPS-20.
<p><table border align=center>
<tr> <th>Onwer</th> <th>CPU</th> <th>Operating System<br>Access Method</th> </tr>
<tr> <td><a href="http://www.pdpplanet.com/">PDPplanet</a></td>
<td>DEC 2065</td>
<td>PDPplanet DECsystem-10 TOPS-10 v7.04
<br><a href="telnet://DEC-10.PDPplanet.com">telnet DEC-10.PDPplanet.com</a>
(DNS OK, does not respond to PING.)</td>
</tr>
<tr> <td><a href="http://www.paulallen.com">Paul Allen</a></td>
<td>XKL TOAD-1</td>
<td>XKLeTen - Tops20 for the Wired World, TOPS-20 Monitor 7(102400)-1
<br><a href="telnet://xkleten.paulallen.com">telnet xkleten.paulallen.com</a>
(DNS OK, does not respond to PING.)</td>
</tr>
</table>
<H3>Digital Equipment Corporation: KA, KI, KL, KS</H3>
16-Jun-2007: ComputerWorld's ad favorites over the last 40 years includes
<a href="http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9024559&pageNumber=6">
one from 9-Nov-1981</a>: The <a href="http://computerworld.com.edgesuite.net/digital_mainframe_11981.jpg">
Personal Mainfraime</a>.
<p>DEC equipment on the Net:
<ul>
<li>DEC-10.PDPplanet.COM is a 2065 accessible on the network, running TOPS-10. So there's now an example of DEC hardware on the net.
Paul Allen's machine (xkleten.paulallen.com) is an XKL-1 (a.k.a. TOAD-1)
There are a couple of other XKL-1 systems in addition to XKL and Paul Allen, but they aren't public access.
There are several klh10-based TOPS-20 systems up 24/7: lingling.panda.com, bi5.bootstrap.org, kankan.twenex.org, tops.drkngs.com, tina.update.uu.se. There are some others which are intermittantly up.
Two ITS systems are intermittantly up: its.svensson.org, md.spacy.boston.ma.us.
<p><a href="http://www.corestore.org/compute.htm">Corestore.org</a> has
<a href="http://www.corestore.org/dec10.htm">KL-10</a> and
<a href="http://www.corestore.org/dec20.htm">KS-2020</a> hardware,
and links to other hobbiest-owned hardware.
<H3>Compatible hardware</H3>
<ul>
<li><a href="telnet://toad.xkl.com/">toad.xkl.com</a> is running on a TOAD-1.
<pre>
They are still running an NCSA web server on <a href="http://toad.xkl.com">toad.xkl.com</a>,
but it now redirects to Apache on an x86 box.
XKL Systems TOAD, TOPS-20 Monitor 7(102605)-1
HTTP/1.0 200 Document follows
Date: Tue, 21 May 2002 %T GMT
Server: NCSA/1.4.1
Content-type: text/html
Last-modified: Thu, 11 Apr 2002 %T GMT
Location: http://cheshire.xkl.com</pre>
<li><a href="xkleten.txt">Publicly accessable PDP-10</a> set up by
Paul Allen (the other co-founder of Microsoft).
<li>Unknown number of SC40M systems running at Compuserve Classic at UUNET.
<li>No known instances FOONLY systems still running.
</ul>
<H3><a href="emulators/">PDP-10 emulators</a></H3>
Run TOPS-10 or TOPS-20 on a KS-2020 emulator on your own hardware!
<ul>
<li>Tim Stark's <a href="emulators/#ts10"><b>ts10</b></a>
<li>Bob Supnick's <a href="emulators/#simh"><b>simh</b></a>
<li>Daniel Seagrave's <a href="emulators/#dzclient"><b>dzclient</b></a>
<li>Telnet into <a href="usenet/asuka">asuka.umtec.com</a>, a Linux box
running <b>ts10</b> with <b>dzclient</b>.
</ul>
<br clear=all>
<H2>Developers, DECUS, People</H2>
<a href="images/TWJMF.jpg"><IMG src="images/TWJMF.gif" align=right WIDTH=80 HEIGHT=57></a>
<ul>
<li>Report on the <a href="year30.html">30th Anniversary of 36 bits</a>.
<li>Picture of <a href="images/TWJMF.jpg">Jim Flemming and Tony Wachs</a> in front of a KL
called "Chip" (at a DECUS in the early 80's). This picture was relayed to Kimo B. Yap
<a href="mailto:kby@alumni.caltech.edu">kby@alumni.caltech.edu</a> by Barb Huizenga
and taken by Clive Dawson.
<li>Andy Tannenbaum's list of <a href="http://www.wpi.edu/~trb/hacker70s.html">WPI hackers</a> of the '70s.
<li>Picture of <a href="http://wmbr.mit.edu/images/tech-radio.jpg">Bob Clements</a> before PDP-10.
<li><a href="http://www.paulallen.com/profile/_private/favorites_body2.html#websites">Paul Allen</a>, the other co-founder of Microsoft
<li><a href="http://www.si.edu/resource/tours/comphist/gates.htm">Bill Gates</a> used
a PDP-10 in college.
<li><a href="http://panda.com/mrc">Mark Crispin</a>, developer of MM and IMAP.
</ul>
<br clear=all>
<hr>
<h2><a name="Tymnet">My documents</a></h2>
<IMG SRC="images/DecusBadges.gif" width=54 height=80 alt="DECUS badges" align=right></a>
<ul>
<li><a href="36th/">Pictures</a> from the <a href="36th/anniv.txt">36th Anniversary</a> dinner (16-Jun-2001)
<li><a href="tymshare/">Tymshare</a><ul>
<li><a href="tymshare/#history">History</a>
<li><a href="tymshare/Reunion-2000/">Pictures: Reunion 1-Jul-2000</a>
<li><a href="tymshare/BubbRoad/">Pictures: Bubb Road</a>, 1980
<li><a href="tymshare/Fremont/">Pictures: Fremont Data Center</a>, 1997
<li><a href="tymshare/Hardware/">Hardware</a> (KI, KL, X-KL)
<li><a href="tymshare/Software/">Software</a> (TYMCOM-X)
</ul>
<li>Analysis of the <a href="rim10b.html">RIM10B</a> bootstrap loader.
<li>PDP-10 references in <a href="jargon.html">The Hacker's Dictionary</a>.
<li>PDP-10 <a href="opcodes.html">op-codes</a> (in numeric order).
<li><A NAME="36to8" HREF="36to8.html">36 bit to 8 bit conversion</a> for FTP, tapes.
<li>Program to analyze possible 36-bit tapes: <a href="type36.c">type36.c</a>
<li>List of <a href="models.txt">model numbers</a>, from 1040 to 2065.
<li>Mark Crispin's list of <a href="cpus.txt">36-bit CPUs</a>.
<li><a href="vt100test.txt">VT100 Torture Test</a> (test for terminal emulators).
<li>List of <a href="ansicode.txt">ANSI ESCape sequences</a> as implemented on the
<a href="http://www.cs.utk.edu/~shuford/terminal/dec.html">VT100</a> and LA34.
<li>Scan of badges from <a href="images/DecusBadges.jpg">DECUS conventions</a>.
</ul>
<hr>
<IMG src="images/dec10logo.gif" WIDTH=494 HEIGHT=94><br>
<h2>Manufacturers</H2>
<ul>
<li><IMG src="images/logo22pt.gif" WIDTH=50 HEIGHT=17> DEC (Digital Equipment Corporation) cancelled the follow-on CPU 17-May-83.
<ul>
<A NAME="disks-1981" HREF="hardware/disks-1981.html#RP06"><IMG SRC="images/rp06.gif" WIDTH=61 HEIGHT=62 ALT="RP06" ALIGN=right></a>
<li>36-bit computers in <A NAME="timeline" HREF="timeline.html">Digital's Computing Timeline</a>
<li>DEC has a <a href="96license.txt">personal-use license</a> for TOPS-10 and TOPS-20.
<li><a href="hardware/disks-1981.html">Disk drives:</a> RM03, RP06, RP20
<li><a href="dec10-ad.html">Magazine ad for DECsystem-10</a>. <img src="images/new.gif" width=32 height=16 alt="New">
</ul>
<li><a href="http://www.ulib.org/webRoot/Books/Saving_Bell_Books/Computer_Engineering/00000511.htm">The Evolution of the DECsystem-10 (Bell, Kotok, Hastings and Hill)</a> from Computer Engineering - Bell, Mudge, McNamara
<li>Foonly is out of the business. But their one-and-only F1 was used by
Information International Inc (III) to render the graphics used in the
movie "TRON". The legacy of that movie lives on as "Toy Story" and the
TV show <b><i><a href="../Reboot.html">ReBoot</a></i></b>.
<li>Tymshare made a 26KL system for the Augment project until McDonnell
Douglas took over Tymnet and cancelled the project in 1987.
<li>The <a href="http://www.scgroup.com">SC Group</a> used to be known as Systems Concepts
and is still selling their <a href="http://www.scgroup.com/sc40.html">SC-40</a>.
<li>Compuserve manufactured their own SC-25 systems for a while. (The SC Group
licensed their design to Compuserve during the time when the SC-40 was
being designed.)
<li>XKL renamed their <a href="td-1a.html">TD-1</a> to <a href="td-1b.html">TOAD-1</a>,
we have <a href="tymshare/#TOAD">2 CPUs</a> in production.
<li><a href="http://www.setasi.com/RM06.html">RP06 replacement</a> by
<a href="http://www.setasi.com/">SETASI</a>.
</ul>
<a href="http://www.compustory.com"><IMG SRC="images/acm.gif" align=right WIDTH=150 HEIGHT=99></a>
<h2>Museums</h2>
<ul>
<li><a href="http://www.brouhaha.com/~eric/retrocomputing/pdp-10/">Scott and Eric's retrocomputing</a>.
<li><a href="http://www.cbi.umn.edu/resources/websites.html">List of Museums</a> at the Charles Babbage Institute
<li><a href="http://www.computerhistory.org/">The Computer History Museum</a>
<li><a href="http://www.compustory.com">American Computer Museum</a> in Bozeman, Montana
<li><a href="http://swift.eng.ox.ac.uk/rjm/museum.html">Bob's Computer Museum</a>
<li><a href="http://tenex.opost.com/kapix.html">Dan Murphy's TENEX (KA+BBN) pictures</a>
<li><a href="http://research.microsoft.com/users/GBell/Bell_Smithsonian_Interview.htm">Interview of Gordon Bell</a> from summer of 1995.
<li>Al Kossow's <a href="http://www.spies.com/~aek/retrocomp.html">Minicomputer Orphanage</a>
</ul>
<h2>Other documents</h2>
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<ul>
<li>PDP-10/TOPS-10 heard as "<a href="http://www.benway.com/firesign/lexicon/D.html#DOCTOR%20MEMORY">Doctor Memory</a>"
in Firesign Theatre's "We're All Bozos on this Bus":<ul>
<li>The big computer that runs everything in the FUTURE
FAIR, described in the FT's BOZO play. The Doctor was also mentioned
in a poem on the "Dear Friends" album. He is based on an old SAILON
LISP program written for the PDP-10 running the TOPS-10 operating
system. AhClem repeatedly calls Dr. Memory "Mac" - which far
predates the current Apple computer line; but the MIT AI lab, where
the Doctor program originated, grew out of Project Mac (for Machine
Aided Cognition and/or Multiple Access Computer)
<li>Also known as ELIZA.
</ul>
<li><a href="http://starfish.rcsri.org/rcs/DECsystem/DECsystems.html">DECsystem at RCS</a>.
<li>Byte covers <a href="http://www.byte.com/documents/s=716/byt20010622s0005/greer.html">
DECWORLD 2001</a><a href="decworldgreer.html">.</a>
<li><a href="tops10-evolution">TOPS-10 Evolution</a> - dates when features
were added to the TOPS-10 Monitor.
<li><a href="http://www.columbia.edu/kermit/pdp10.html">PDP-10 Kermit</a> page
at Columbia.
<li>DECSYSTEM-20 at <a href="http://www.columbia.edu/kermit/dec20.html">Columbia University</a>
was mentioned on <a href="http://slashdot.org/article.pl?sid=01/01/18/1249240&mode=thread">SlashDot</a>.
<li>We're listed in YAHOO under <a href="http://www.yahoo.com/Computers/Hardware/Platforms/Digital/">http://www.yahoo.com/Computers/Hardware/Platforms/Digital/</a>.
<li>Tim Shoppa's archive of <a href="http://pdp-10.trailing-edge.com">PDP-10 software</a>
<li><a href="sail-shutdown.txt">TAKE ME, I'M YOURS</a> - The autobiography of SAIL
<li>Text-based role-playing games: <a href="http://www.lysator.liu.se/adventure/Mainframe_adventures.html">ADVENT, ZORK, HAUNT</a>.
<li><a href="uta-shutdown.txt">Soul of an Old Machine</a>
<li><a href="rh20.txt">Tony in RH20 Land</a>, or <cite>"I Should
Have Listened When Mother Told Me There Was A Great Future In
Encyclopedia Sales"</cite>.
<li><a href="mr-bill.txt">Mr. Bill's DEC-20</a>
<li><a href="software-wars.txt">Software Wars</a>
<li><a href="decwars.txt">DEC Wars</a> (a parody of Star Wars)
<li>Harris S. Newman is working on re-implementing <a href="http://www.blkbox.com/~hsnewman/decwar.htm">DECWAR</a> (the multi-player game) in C.
<li><a href="pdp-model.txt">PDP models</a>
<li>The <a href="read20.1.html">man page for read20</a>, a UNIX program to read TOPS-20 DUMPER
tapes. C sources in <a href="read20.tar">read20.tar</a>
<li><a href="http://www.trailing-edge.com/www/dumper.zip">DUMPER</a> a
<a href="http://WWW.Decus.Org/libcatalog/document_html/vs0097_3.html">BLISS program</a> in the <a href="http://www.decus.org/decus/search/library-search.html">DECUS library</a>
for reading TOPS-10/BACKUP and TOPS-20/DUMPER tapes on VAX/VMS. See also
<a href="http://www.trailing-edge.com/www/10backup.zip">10BACKUP</a>, written in MACRO-32 and VAX BASIC.
<li>John Wilson's collection of programs to read PDP-10 tapes that were written by
<a href="ftp://ftp.dbit.com/pub/pdp10/tops10/decus/backup.tar">TOPS-10</a>,
<a href="ftp://ftp.dbit.com/pub/pdp10/tops20/read20/read20.tar">TOPS-20</a>
and <a href="ftp://ftp.dbit.com/pub/pdp10/its/itstar/">ITS</a>.
<li>The pager used for <a href="http://www.dbit.com/pub/pdp10/info/paging.its">ITS</a>.
<li>Megan Gentry's <a href="http://world.std.com/~mbg/#computers">computer interests</a>, including dual-KL TOPS-10/SMP
<li>Big GIFs from <a href="ftp://ftp.biostat.washington.edu/pub/pdp-10/other/xkl">XKL's flyer</a>.
<li>Rob Austein's <a href="http://www.hactrn.net/sra/alice/">Alice's PDP-10</a> (sung to
the tune of "Alice's Restaurant".) [<a href="alice-pdp10-1995.txt"><b>local copy</b></a>]
<li>Stuff at <a href="ftp://ftp.biostat.washington.edu/pub/pdp-10/">biostat.washington.edu</a>
<ul>
<li>Their alt.sys.pdp10
<a href="ftp://ftp.biostat.washington.edu/pub/pdp-10/alt.sys.pdp10">archive</a>
</ul>
<li><a href="ftp://ftp.netcom.com/pub/hb/hbaker/home.html">Henry Baker's</a> documents
(copied to <a href="http://www.inwap.com/pdp10/hbaker">http://www.inwap.com/pdp10/hbaker/</a> because Netcon's FTP
server is constantly running up against the limit of simultaneous
anonymous users).<ul>
<li>The famous <a href="hbaker/hakmem/hakmem.html">HAKMEM</a>
file copied from ftp://ftp.netcom.com/pub/hb/hbaker/hakmem/hakmem.html
<li>MIT's info file on the <a href="hbaker/pdp-10/pdp-10.html">PDP-10 instruction set</a>
copied from ftp://ftp.netcom.com/pub/hb/hbaker/pdp-10/pdp-10.html
</ul>
<li>Sunsite's PDP-10
<a href="ftp://sunsite.unc.edu/pub/academic/computer-science/history/pdp-10/docs">
documentation archive</a>
<li>The Online Book Initiative at <a href="ftp://ftp.std.com/obi/DEC/36-bit/">ftp://ftp.std.com/obi/DEC/36-bit/</a>
had two papers so far. [Archive offline, Jan 2001.] Local copies are in <ul>
<li><a href="paper-smp.txt">paper.smp</a> - Symmetric Multi Processing
<br>Allan Wilson and Jim Flemming
<li><a href="http://www.opost.com/dlm/tenex/hbook.html">History of TOPS20</a>
(<a href="paper-t20.txt">paper-t20.txt</a>) and
<a href="http://www.opost.com/dlm/tenex/">three other TENEX papers</a>.
<br>Dan Murphy <a href="mailto:dlm@opost.com">dlm@opost.com</a>
</ul>
<li>KA-10 with BBN Pager running Tenex: <a href="http://tenex.opost.com/kapix.html">Dan Murphy</a>, <a href="tymshare/BubbRoad/">Tymshare</a>.
<li>Stuff found at John Wilson's site <a href="ftp://ftp.dbit.com/pub/pdp10/">ftp://ftp.dbit.com/pub/pdp10</a>
(site formerly known as <a href="ftp://tats.wizvax.net/pub/pdp10">ftp://tats.wizvax.net/pub/pdp10</a>)<ul>
<li>36-bit <a href="compuserve.txt">history of Compuserve</a>
<li>The ITS paper on <a href="pclsr.txt">PCLSRing</a>
</ul>
<li><a href="http://www.medg.lcs.mit.edu/people/psz/LCS-75/computers.html">Pictures</a> of PDP-10s at MIT
<li>TECO<ul>
<li><a href="ftp://sunsite.unc.edu/pub/academic/computer-science/history/pdp-11/teco/">ftp://sunsite.unc.edu/pub/academic/computer-science/history/pdp-11/teco/</a>
<li><a href="ftp://ftp.wimsey.com/pub/teco/usc-archive/">ftp://ftp.wimsey.com/pub/teco/usc-archive/</a>
<li><a href="ftp://usc.edu/pub/teco/">ftp://usc.edu/pub/teco/</a> [Archive offline, Jan 2001.]
<li><a href="ftp://ftp.dbit.com/pub/pdp10/tops10/teco124.mac">ftp://ftp.dbit.com/pub/pdp10/tops10/teco124.mac</a> Note: this is the <b>MACRO-10</b> sources, 240 Kb of 36-bit assembler code.
</ul>
<li>A Web page dedicated to the <a href="http://www.winternet.com/~radams/adventure/">game of ADVENT</a>ure (which includes
a pointer to a nifty site that allows you to <a href="http://tjwww.stanford.edu/adventure.html">play ADVENT</a> on the Web.)
<li>Sources to <a href="ftp://ftp.gmd.de/if-archive/games/source/">ADVENT</a>
<li>Tom Knight's <a href="http://www.ai.mit.edu/people/tk/pdp6/pdp6.html">PDP-6 blueprints</a>.
(<a href="pdp6/pdp6.html"><b>local copy</b></a>)
<li><a href="http://www.terrigal.net.au/~acms/z0104.htm">PDP-6</a> at the <a href="http://www.terrigal.net.au/~acms/">Australian Computer Museum</a>.
<li><a href="ftp://publications.ai.mit.edu/ai-publications/0-499/AIM-161A.ps">AI Memo 161a</a> "ITS 1.5 Reference Manual".
<li>Carl Friend's photo of a <a href="http://www.ultranet.com/~crfriend/museum/machines/KI-10.html">KI-10</a>
<li><a href="ftp://aconit.org/pub/dec-10/MIG703.TXT">Monitor Installation Guide 7.03</a>
<li><a href="http://firedrake.org/paddy/images/non-unix_os_history_0.3.10.pdf">Non-Unix OS History</a>
which has these details for TOPS-10:<br>
1964=PDP-6 Monitor and TOPS-10 1.4; 1966=1.9; 1967=2.18; 1968=3.27;
1969=4.50 and 4.72; 1970=5.01; 1971=5.02; 1972=5.06; 1974=5.07 and 6.01;
1975=5.07A (last OS for KA-10); 1975=6.02; 1977=6.03; 1978=6.03LIR;
1979=7.02; 1980=7.01; 1983=7.02; 1985=7.03; 1988=7.04
<br>Details for TOPS-20:<br>
1969=TENEX; 1976=TOPS-20 v1; 1977=v2; 1978=v3; 1980=v3A; 1981=v4; 1982=v5;
1985=v6; 1988=v7;
<li>Phil's <a href="http://www.ultimate.com/phil/pdp10/tops-10">history of the monitor</a><a href="History_of_TOPS10.txt">.</a>
<li>Old documents forwarded by Klaus Zeuge<ul>
<li><a href="lineage.txt">Lineage of PDP systems</a>
<li><a href="kl1269.txt">KL1269 needs a home....</a>
<li>The giveaway of the <a href="lysator-2020.txt">2020 at Lysator</a>
<li><a href="tops-history.txt">The History of TOPS, or Life in the Fast AC's</a>
<li><a href="misc-links.txt">misc-links</a>
<li><a href="emulators/klh10.txt">Ken Harrenstien's KLH10</a> emulator announcement
<li>Log of <a href="emulators/kx10-log.txt">Stu Grossman's KX10 emulator</a> in action
</ul>
<li>Facebook: <a href="http://www.facebook.com/event.php?eid=176555469030799">Happy DEC-20 Day!</a>
<li>Michael Thompson's <a href="https://sites.google.com/site/mthompsonorg/Home/pdp-10/ks10">DECSYSTEM-2020 KS10, S/N 4224</a>
<li>YouTube video: <a href="https://www.youtube.com/watch?v=_13TAKuazhM">PDP 10
arrives at James Cook University</a>, in Queensland, Australia.
</ul>
<h2>News and mailing lists</h2>
<ul>
<li>Newsgroup: <a href="usenet/">selected articles</a> from <a href="news:alt.sys.pdp10">alt.sys.pdp10</a>
<li>Newsgroup: <a href="http://neil.franklin.ch/Usenet/alt.sys.pdp10/">another archive</a>
<li>Mailing list: <img src="images/mailto.gif" alt="@" align=middle>
</ul>
<h2>Misc</h2>
<pre>
Date: Wed, 02 Aug 95 11:23:03 -0400
From: dbj@MPGN.COM (David E. Brooks Jr)
Organization: Tantalus Incorporated
Subject: Interesting little tid-bit
Hi,
Just for kicks, I ran 'DECsystem-ten' through the internet
anagram server (http://www.wordsmith.org/awad-cgibin/anagram)
and it came back with "Decent System".
Very appropriate, I thought.
-- Dave Brooks
</pre>
<P>Updated: Thursday, 21-Oct-2021 09:00:02 EDT<HR>
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[](images/popj.jpg)
# 36 bits forever!
## [Tymshare / Tymnet pictures](#Tymnet)
[](tymshare/hardware/index.cgi)
This is one of the two pages at Best.com that describe the history
of 36-bit computing: www.inwap.com/pdp10 = www.best.com/~inwap/pdp10/.
The other one, [www.multicians.org](http://www.multicians.org)
is [Tom Van Vleck](http://www.multicians.org/thvv/tvv.html)'s
history of Multics. Both of these computers use 36-bit words with 18-bit
addresses, but otherwise have very little in common.
(Another set of web pages dedicated to 36-bit computers
is at [www.36bit.org/](http://www.36bit.org/) .)
This page was listed in the NCSA Mosaic What's New page for June 16, 1995.
## 36 bit systems running today
25-Nov-96: [personal-use license](96license.txt) for TOPS-10 and TOPS-20.
| Onwer | CPU | Operating SystemAccess Method |
| --- | --- | --- |
| [PDPplanet](http://www.pdpplanet.com/) | DEC 2065 | PDPplanet DECsystem-10 TOPS-10 v7.04
[telnet DEC-10.PDPplanet.com](telnet://DEC-10.PDPplanet.com)
(DNS OK, does not respond to PING.) |
| [Paul Allen](http://www.paulallen.com) | XKL TOAD-1 | XKLeTen - Tops20 for the Wired World, TOPS-20 Monitor 7(102400)-1
[telnet xkleten.paulallen.com](telnet://xkleten.paulallen.com)
(DNS OK, does not respond to PING.) |
### Digital Equipment Corporation: KA, KI, KL, KS
16-Jun-2007: ComputerWorld's ad favorites over the last 40 years includes
[one from 9-Nov-1981](http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9024559&pageNumber=6): The [Personal Mainfraime](http://computerworld.com.edgesuite.net/digital_mainframe_11981.jpg).
DEC equipment on the Net:
* DEC-10.PDPplanet.COM is a 2065 accessible on the network, running TOPS-10. So there's now an example of DEC hardware on the net.
Paul Allen's machine (xkleten.paulallen.com) is an XKL-1 (a.k.a. TOAD-1)
There are a couple of other XKL-1 systems in addition to XKL and Paul Allen, but they aren't public access.
There are several klh10-based TOPS-20 systems up 24/7: lingling.panda.com, bi5.bootstrap.org, kankan.twenex.org, tops.drkngs.com, tina.update.uu.se. There are some others which are intermittantly up.
Two ITS systems are intermittantly up: its.svensson.org, md.spacy.boston.ma.us.
[Corestore.org](http://www.corestore.org/compute.htm) has
[KL-10](http://www.corestore.org/dec10.htm) and
[KS-2020](http://www.corestore.org/dec20.htm) hardware,
and links to other hobbiest-owned hardware.
### Compatible hardware
+ [toad.xkl.com](telnet://toad.xkl.com/) is running on a TOAD-1.
```
They are still running an NCSA web server on [toad.xkl.com](http://toad.xkl.com),
but it now redirects to Apache on an x86 box.
XKL Systems TOAD, TOPS-20 Monitor 7(102605)-1
HTTP/1.0 200 Document follows
Date: Tue, 21 May 2002 %T GMT
Server: NCSA/1.4.1
Content-type: text/html
Last-modified: Thu, 11 Apr 2002 %T GMT
Location: http://cheshire.xkl.com
```
+ [Publicly accessable PDP-10](xkleten.txt) set up by
Paul Allen (the other co-founder of Microsoft).
+ Unknown number of SC40M systems running at Compuserve Classic at UUNET.
+ No known instances FOONLY systems still running.
### [PDP-10 emulators](emulators/)
Run TOPS-10 or TOPS-20 on a KS-2020 emulator on your own hardware!
+ Tim Stark's [**ts10**](emulators/#ts10)+ Bob Supnick's [**simh**](emulators/#simh)+ Daniel Seagrave's [**dzclient**](emulators/#dzclient)+ Telnet into [asuka.umtec.com](usenet/asuka), a Linux box
running **ts10** with **dzclient**.
## Developers, DECUS, People
[](images/TWJMF.jpg)
+ Report on the [30th Anniversary of 36 bits](year30.html).
+ Picture of [Jim Flemming and Tony Wachs](images/TWJMF.jpg) in front of a KL
called "Chip" (at a DECUS in the early 80's). This picture was relayed to Kimo B. Yap
[kby@alumni.caltech.edu](mailto:kby@alumni.caltech.edu) by Barb Huizenga
and taken by Clive Dawson.
+ Andy Tannenbaum's list of [WPI hackers](http://www.wpi.edu/~trb/hacker70s.html) of the '70s.
+ Picture of [Bob Clements](http://wmbr.mit.edu/images/tech-radio.jpg) before PDP-10.
+ [Paul Allen](http://www.paulallen.com/profile/_private/favorites_body2.html#websites), the other co-founder of Microsoft
+ [Bill Gates](http://www.si.edu/resource/tours/comphist/gates.htm) used
a PDP-10 in college.
+ [Mark Crispin](http://panda.com/mrc), developer of MM and IMAP.
---
## My documents
+ [Pictures](36th/) from the [36th Anniversary](36th/anniv.txt) dinner (16-Jun-2001)
+ [Tymshare](tymshare/)
- [History](tymshare/#history)- [Pictures: Reunion 1-Jul-2000](tymshare/Reunion-2000/)- [Pictures: Bubb Road](tymshare/BubbRoad/), 1980
- [Pictures: Fremont Data Center](tymshare/Fremont/), 1997
- [Hardware](tymshare/Hardware/) (KI, KL, X-KL)
- [Software](tymshare/Software/) (TYMCOM-X)+ Analysis of the [RIM10B](rim10b.html) bootstrap loader.
+ PDP-10 references in [The Hacker's Dictionary](jargon.html).
+ PDP-10 [op-codes](opcodes.html) (in numeric order).
+ [36 bit to 8 bit conversion](36to8.html) for FTP, tapes.
+ Program to analyze possible 36-bit tapes: <type36.c>+ List of [model numbers](models.txt), from 1040 to 2065.
+ Mark Crispin's list of [36-bit CPUs](cpus.txt).
+ [VT100 Torture Test](vt100test.txt) (test for terminal emulators).
+ List of [ANSI ESCape sequences](ansicode.txt) as implemented on the
[VT100](http://www.cs.utk.edu/~shuford/terminal/dec.html) and LA34.
+ Scan of badges from [DECUS conventions](images/DecusBadges.jpg).
---
## Manufacturers
+  DEC (Digital Equipment Corporation) cancelled the follow-on CPU 17-May-83.
[](hardware/disks-1981.html#RP06)- 36-bit computers in [Digital's Computing Timeline](timeline.html)- DEC has a [personal-use license](96license.txt) for TOPS-10 and TOPS-20.
- [Disk drives:](hardware/disks-1981.html) RM03, RP06, RP20
- [Magazine ad for DECsystem-10](dec10-ad.html). + [The Evolution of the DECsystem-10 (Bell, Kotok, Hastings and Hill)](http://www.ulib.org/webRoot/Books/Saving_Bell_Books/Computer_Engineering/00000511.htm) from Computer Engineering - Bell, Mudge, McNamara
+ Foonly is out of the business. But their one-and-only F1 was used by
Information International Inc (III) to render the graphics used in the
movie "TRON". The legacy of that movie lives on as "Toy Story" and the
TV show ***[ReBoot](../Reboot.html)***.
+ Tymshare made a 26KL system for the Augment project until McDonnell
Douglas took over Tymnet and cancelled the project in 1987.
+ The [SC Group](http://www.scgroup.com) used to be known as Systems Concepts
and is still selling their [SC-40](http://www.scgroup.com/sc40.html).
+ Compuserve manufactured their own SC-25 systems for a while. (The SC Group
licensed their design to Compuserve during the time when the SC-40 was
being designed.)
+ XKL renamed their [TD-1](td-1a.html) to [TOAD-1](td-1b.html),
we have [2 CPUs](tymshare/#TOAD) in production.
+ [RP06 replacement](http://www.setasi.com/RM06.html) by
[SETASI](http://www.setasi.com/).
[](http://www.compustory.com)
## Museums
+ [Scott and Eric's retrocomputing](http://www.brouhaha.com/~eric/retrocomputing/pdp-10/).
+ [List of Museums](http://www.cbi.umn.edu/resources/websites.html) at the Charles Babbage Institute
+ [The Computer History Museum](http://www.computerhistory.org/)+ [American Computer Museum](http://www.compustory.com) in Bozeman, Montana
+ [Bob's Computer Museum](http://swift.eng.ox.ac.uk/rjm/museum.html)+ [Dan Murphy's TENEX (KA+BBN) pictures](http://tenex.opost.com/kapix.html)+ [Interview of Gordon Bell](http://research.microsoft.com/users/GBell/Bell_Smithsonian_Interview.htm) from summer of 1995.
+ Al Kossow's [Minicomputer Orphanage](http://www.spies.com/~aek/retrocomp.html)
## Other documents
| | | |
| --- | --- | --- |
|
| | |
| --- | --- |
|
| |
| --- |
| This site is a member of WebRing.
To browse visit
<http://ss.webring.com/navbar?f=l&y=systems_joe&u=10016142> |
|
|
+ PDP-10/TOPS-10 heard as "[Doctor Memory](http://www.benway.com/firesign/lexicon/D.html#DOCTOR%20MEMORY)"
in Firesign Theatre's "We're All Bozos on this Bus":
- The big computer that runs everything in the FUTURE
FAIR, described in the FT's BOZO play. The Doctor was also mentioned
in a poem on the "Dear Friends" album. He is based on an old SAILON
LISP program written for the PDP-10 running the TOPS-10 operating
system. AhClem repeatedly calls Dr. Memory "Mac" - which far
predates the current Apple computer line; but the MIT AI lab, where
the Doctor program originated, grew out of Project Mac (for Machine
Aided Cognition and/or Multiple Access Computer)
- Also known as ELIZA.+ [DECsystem at RCS](http://starfish.rcsri.org/rcs/DECsystem/DECsystems.html).
+ Byte covers [DECWORLD 2001](http://www.byte.com/documents/s=716/byt20010622s0005/greer.html)[.](decworldgreer.html)+ [TOPS-10 Evolution](tops10-evolution) - dates when features
were added to the TOPS-10 Monitor.
+ [PDP-10 Kermit](http://www.columbia.edu/kermit/pdp10.html) page
at Columbia.
+ DECSYSTEM-20 at [Columbia University](http://www.columbia.edu/kermit/dec20.html)
was mentioned on [SlashDot](http://slashdot.org/article.pl?sid=01/01/18/1249240&mode=thread).
+ We're listed in YAHOO under <http://www.yahoo.com/Computers/Hardware/Platforms/Digital/>.
+ Tim Shoppa's archive of [PDP-10 software](http://pdp-10.trailing-edge.com)+ [TAKE ME, I'M YOURS](sail-shutdown.txt) - The autobiography of SAIL
+ Text-based role-playing games: [ADVENT, ZORK, HAUNT](http://www.lysator.liu.se/adventure/Mainframe_adventures.html).
+ [Soul of an Old Machine](uta-shutdown.txt)+ [Tony in RH20 Land](rh20.txt), or "I Should
Have Listened When Mother Told Me There Was A Great Future In
Encyclopedia Sales".
+ [Mr. Bill's DEC-20](mr-bill.txt)+ [Software Wars](software-wars.txt)+ [DEC Wars](decwars.txt) (a parody of Star Wars)
+ Harris S. Newman is working on re-implementing [DECWAR](http://www.blkbox.com/~hsnewman/decwar.htm) (the multi-player game) in C.
+ [PDP models](pdp-model.txt)+ The [man page for read20](read20.1.html), a UNIX program to read TOPS-20 DUMPER
tapes. C sources in <read20.tar>+ [DUMPER](http://www.trailing-edge.com/www/dumper.zip) a
[BLISS program](http://WWW.Decus.Org/libcatalog/document_html/vs0097_3.html) in the [DECUS library](http://www.decus.org/decus/search/library-search.html)
for reading TOPS-10/BACKUP and TOPS-20/DUMPER tapes on VAX/VMS. See also
[10BACKUP](http://www.trailing-edge.com/www/10backup.zip), written in MACRO-32 and VAX BASIC.
+ John Wilson's collection of programs to read PDP-10 tapes that were written by
[TOPS-10](ftp://ftp.dbit.com/pub/pdp10/tops10/decus/backup.tar),
[TOPS-20](ftp://ftp.dbit.com/pub/pdp10/tops20/read20/read20.tar)
and [ITS](ftp://ftp.dbit.com/pub/pdp10/its/itstar/).
+ The pager used for [ITS](http://www.dbit.com/pub/pdp10/info/paging.its).
+ Megan Gentry's [computer interests](http://world.std.com/~mbg/#computers), including dual-KL TOPS-10/SMP
+ Big GIFs from [XKL's flyer](ftp://ftp.biostat.washington.edu/pub/pdp-10/other/xkl).
+ Rob Austein's [Alice's PDP-10](http://www.hactrn.net/sra/alice/) (sung to
the tune of "Alice's Restaurant".) [[**local copy**](alice-pdp10-1995.txt)]
+ Stuff at [biostat.washington.edu](ftp://ftp.biostat.washington.edu/pub/pdp-10/)
- Their alt.sys.pdp10
[archive](ftp://ftp.biostat.washington.edu/pub/pdp-10/alt.sys.pdp10)+ [Henry Baker's](ftp://ftp.netcom.com/pub/hb/hbaker/home.html) documents
(copied to [http://www.inwap.com/pdp10/hbaker/](http://www.inwap.com/pdp10/hbaker) because Netcon's FTP
server is constantly running up against the limit of simultaneous
anonymous users).
- The famous [HAKMEM](hbaker/hakmem/hakmem.html)
file copied from ftp://ftp.netcom.com/pub/hb/hbaker/hakmem/hakmem.html
- MIT's info file on the [PDP-10 instruction set](hbaker/pdp-10/pdp-10.html)
copied from ftp://ftp.netcom.com/pub/hb/hbaker/pdp-10/pdp-10.html+ Sunsite's PDP-10
[documentation archive](ftp://sunsite.unc.edu/pub/academic/computer-science/history/pdp-10/docs)+ The Online Book Initiative at <ftp://ftp.std.com/obi/DEC/36-bit/>
had two papers so far. [Archive offline, Jan 2001.] Local copies are in
- [paper.smp](paper-smp.txt) - Symmetric Multi Processing
Allan Wilson and Jim Flemming
- [History of TOPS20](http://www.opost.com/dlm/tenex/hbook.html)
(<paper-t20.txt>) and
[three other TENEX papers](http://www.opost.com/dlm/tenex/).
Dan Murphy [dlm@opost.com](mailto:dlm@opost.com)+ KA-10 with BBN Pager running Tenex: [Dan Murphy](http://tenex.opost.com/kapix.html), [Tymshare](tymshare/BubbRoad/).
+ Stuff found at John Wilson's site [ftp://ftp.dbit.com/pub/pdp10](ftp://ftp.dbit.com/pub/pdp10/)
(site formerly known as <ftp://tats.wizvax.net/pub/pdp10>)
- 36-bit [history of Compuserve](compuserve.txt)- The ITS paper on [PCLSRing](pclsr.txt)+ [Pictures](http://www.medg.lcs.mit.edu/people/psz/LCS-75/computers.html) of PDP-10s at MIT
+ TECO
- <ftp://sunsite.unc.edu/pub/academic/computer-science/history/pdp-11/teco/>- <ftp://ftp.wimsey.com/pub/teco/usc-archive/>- <ftp://usc.edu/pub/teco/> [Archive offline, Jan 2001.]
- <ftp://ftp.dbit.com/pub/pdp10/tops10/teco124.mac> Note: this is the **MACRO-10** sources, 240 Kb of 36-bit assembler code.+ A Web page dedicated to the [game of ADVENT](http://www.winternet.com/~radams/adventure/)ure (which includes
a pointer to a nifty site that allows you to [play ADVENT](http://tjwww.stanford.edu/adventure.html) on the Web.)
+ Sources to [ADVENT](ftp://ftp.gmd.de/if-archive/games/source/)+ Tom Knight's [PDP-6 blueprints](http://www.ai.mit.edu/people/tk/pdp6/pdp6.html).
([**local copy**](pdp6/pdp6.html))
+ [PDP-6](http://www.terrigal.net.au/~acms/z0104.htm) at the [Australian Computer Museum](http://www.terrigal.net.au/~acms/).
+ [AI Memo 161a](ftp://publications.ai.mit.edu/ai-publications/0-499/AIM-161A.ps) "ITS 1.5 Reference Manual".
+ Carl Friend's photo of a [KI-10](http://www.ultranet.com/~crfriend/museum/machines/KI-10.html)+ [Monitor Installation Guide 7.03](ftp://aconit.org/pub/dec-10/MIG703.TXT)+ [Non-Unix OS History](http://firedrake.org/paddy/images/non-unix_os_history_0.3.10.pdf)
which has these details for TOPS-10:
1964=PDP-6 Monitor and TOPS-10 1.4; 1966=1.9; 1967=2.18; 1968=3.27;
1969=4.50 and 4.72; 1970=5.01; 1971=5.02; 1972=5.06; 1974=5.07 and 6.01;
1975=5.07A (last OS for KA-10); 1975=6.02; 1977=6.03; 1978=6.03LIR;
1979=7.02; 1980=7.01; 1983=7.02; 1985=7.03; 1988=7.04
Details for TOPS-20:
1969=TENEX; 1976=TOPS-20 v1; 1977=v2; 1978=v3; 1980=v3A; 1981=v4; 1982=v5;
1985=v6; 1988=v7;
+ Phil's [history of the monitor](http://www.ultimate.com/phil/pdp10/tops-10)[.](History_of_TOPS10.txt)+ Old documents forwarded by Klaus Zeuge
- [Lineage of PDP systems](lineage.txt)- [KL1269 needs a home....](kl1269.txt)- The giveaway of the [2020 at Lysator](lysator-2020.txt)- [The History of TOPS, or Life in the Fast AC's](tops-history.txt)- [misc-links](misc-links.txt)- [Ken Harrenstien's KLH10](emulators/klh10.txt) emulator announcement
- Log of [Stu Grossman's KX10 emulator](emulators/kx10-log.txt) in action+ Facebook: [Happy DEC-20 Day!](http://www.facebook.com/event.php?eid=176555469030799)+ Michael Thompson's [DECSYSTEM-2020 KS10, S/N 4224](https://sites.google.com/site/mthompsonorg/Home/pdp-10/ks10)+ YouTube video: [PDP 10
arrives at James Cook University](https://www.youtube.com/watch?v=_13TAKuazhM), in Queensland, Australia.
## News and mailing lists
+ Newsgroup: [selected articles](usenet/) from [alt.sys.pdp10](news:alt.sys.pdp10)+ Newsgroup: [another archive](http://neil.franklin.ch/Usenet/alt.sys.pdp10/)+ Mailing list: 
## Misc
```
Date: Wed, 02 Aug 95 11:23:03 -0400
From: dbj@MPGN.COM (David E. Brooks Jr)
Organization: Tantalus Incorporated
Subject: Interesting little tid-bit
Hi,
Just for kicks, I ran 'DECsystem-ten' through the internet
anagram server (http://www.wordsmith.org/awad-cgibin/anagram)
and it came back with "Decent System".
Very appropriate, I thought.
-- Dave Brooks
```
Updated: Thursday, 21-Oct-2021 09:00:02 EDT
---
Up to the index for [INWAP.COM](../).
Maintained by [Joe Smith](../u/joe/)
| http://www.inwap.com/pdp10/ |
<TITLE>Welcome to Mosaic Communications Corporation (H)</TITLE>
<BODY BGCOLOR="C0C0C0">
<CENTER><IMG SRC="images/border.UL.gif" ALT=""><A HREF="lowres_www/index.html"><IMG SRC="images/switch.gif" ALT=""></A><IMG SRC="images/border.UR.gif" ALT=""></CENTER>
<H1>
<center>Welcome to Mosaic Communications Corporation</center>
</H1>
<H2>
<A HREF="highres/switch.html">The Resolution Controller</A><P>
<A HREF="highres/backgrounder.html">Backgrounder</A><P>
<A HREF="highres/bios.html">Executive Biographies</A><P>
<A HREF="highres/mission.html">The Mosaic Mission</A><P>
</H2>
<H6>
Mosaic Communications and the Mosaic Communications logo<BR>
are trademarks of Mosaic Communications Corporation.
</H6>
<PRE><IMG SRC="images/border.LL.gif" ALT=""><IMG SRC="images/no_bottom.gif" ALT=""><IMG SRC="images/border.LR.gif" ALT=""></PRE>
</BODY>
| Welcome to Mosaic Communications Corporation (H)
[](lowres_www/index.html)
#
Welcome to Mosaic Communications Corporation
##
[The Resolution Controller](highres/switch.html)
[Backgrounder](highres/backgrounder.html)
[Executive Biographies](highres/bios.html)
[The Mosaic Mission](highres/mission.html)
######
Mosaic Communications and the Mosaic Communications logo
are trademarks of Mosaic Communications Corporation.
```
```
| http://mosaic.mcom.com/ |
<html><head><TITLE>Coalition to Ban DHMO Dihydrogen Monoxide
Homepage</Title>
<meta name="keywords"
content="dhmo dihydrogen monoxide DHMO research dental cigna water dihydrogen monoxide
ban dhmo ban water cigna dihydrogen monoxide hoax DHMO">
<meta name="description"
content="The ONLY official DHMO Website established by the World Center for Disease Control.>
<BODY BGCOLOR="#ECE8B2">
</head>
<BODY BGCOLOR="#ECE8B2">
<body background="bg/blue_paper.gif"
onload="timerONE=window.setTimeout('scrollit_r2l(100)',500);">
<p></p>
<p>
<center><H3><I>"We must stop Iran and North Korea from stockpiling DHMO before it is too late!"<BR>
Secretary of State Jim Kerry: United Nations, New York (June 17, 2014)</i></H3>
</center>
<p>
<center> <img alt="Ban Dihydrogen Monoxide banner" src="bandhmo.jpg"
style="width: 715px; height: 79px;"> </center>
<center>Coalition to Ban DHMO: http://BanDHMO.org</center>
<Font size="+1"><Center><H1><IMG SRC="skull.GIF">
Ban DHMO: Dihydrogen Monoxide!<IMG SRC="skull.GIF"></H1>
</Center><P>
<p>
<center><B><I>"The United States will not weaponize DHMO as long as I am President. You have my solemn word on this.<BR>
Beware of Conservative Republicans though. Some of them are pro clean DHMO."
<BR>
President Barack Obema: Washington, DC (January, 2010) </B></i>
</center>
<H3><IMG SRC="skull.GIF">The Invisible Killer</H3>
Dihydrogen monoxide (DHMO) is colorless, odorless, tasteless, and sickens over 4 billion and
<STRONG>kills</STRONG> over 2 million people every year (United Nations World Health Organization, 2008: www.WHO.Int).
Most of these deaths are caused by accidental inhalation of DHMO, but
the dangers of dihydrogen monoxide do not end there. Prolonged
exposure to its solid form causes severe tissue damage. Symptoms of
DHMO ingestion can include excessive sweating and urination, and
possibly a bloated feeling, nausea, vomiting and body electrolyte
imbalance. For those who have become dependent, DHMO withdrawal
means certain death.<P>
<center><I><h3>"Recreational DHMO illness can have a significant impact on public health not only<BR>
because of the severity of the illness but also the number of people who die."
<BR>Department of Health, State Of Washington (www2.DOH.WA.Gov) </h3></I>
</center><P>
<H4><IMG SRC="skull.GIF">Dihydrogen
monoxide:</H4><UL>
<LI>is also known as hydroxyl acid, and is the
major component of acid rain.
<LI>contributes to the "greenhouse effect."
<LI>may cause severe burns.
<LI>contributes to the erosion of our
natural landscape.
<LI>accelerates corrosion and rusting of many
metals.
<LI>may cause electrical failures and decreased effectiveness
of automobile brakes.
<LI>has been found in excised tumors of all terminal
cancer patients.
<LI>has always been found to be a major cause of drownings in private swimming pools.
<LI>contamination has been found in <i>all</i> floodwaters where death has occurred.
<LI>has been found in the rains in violent thunderstorms that contain destructive lightning.
<LI>in crystalline form has been implicated in many ship sinkings.
<LI>in crystalline and liquid form has been a major factor in plane crashes.
<LI>changing from crystalline to liquid is a leading cause of the
destruction of arctic ice and glaciers.</UL>
<P>
<H3><IMG SRC="skull.GIF">Contamination Is
Reaching Epidemic Proportions!</H3>Quantities of dihydrogen
monoxide have been found in almost every stream, lake, and reservoir in
America today. But the pollution is global, and DHMO contamination has even
been found in Antarctic ice, <i>all the world's oceans</i> and even in mother's milk in developing nations. DHMO has caused <STRONG>millions
</STRONG> of dollars of property damage in the midwest, Nile and Mississippi River valley and recently in
California. DHMO contamination is even found in most cells in the human body!
<P>
<H4><IMG SRC="skull.GIF">Despite the danger,
dihydrogen monoxide is often used:</H4>
<UL>
<LI>as an industrial
solvent and coolant.
<LI>in nuclear power plants.
<LI>in the production of
styrofoam.
<LI>as a fire retardant.
<LI>in many forms of cruel animal
research.
<LI>in the distribution of pesticides. Even after washing,
produce remains contaminated by this chemical.
<LI>as an additive in
certain "junk-foods" and other food products.
<LI>to dissolve medicines before giving them to children and older adults.
</UL>
Companies dump pure
waste DHMO into rivers and the ocean, and nothing can be done to stop
them because this practice is <cite>still legal</cite>. The impact on
wildlife is <cite>extreme</cite>, and we cannot afford to ignore it any
longer!
<P>
<center><B><I>"Se fossi uno scommettitore, vorrei chiedo se la Santa Sede contiene DHMO - dai, che è uno scherzo - ottenerlo? Vedere, mare ??
<BR>Ehi, Don, io non sono stupido! Sono un papa immaginario.
Stiamo parlando di vecchia acqua normale semplice!"
<BR>
Pope Jon XXXVII: Iguana, Mexico (May, 2005) </B></i>
</center>
<P>
<H3><IMG SRC="skull.GIF">The Horror Must Be Stopped!
</H3>The American government has <STRONG>refused</STRONG> to
ban the production, distribution, or use of this damaging chemical due to
its "importance to the economic health of this nation." In fact, the Navy
and other military organizations are conducting experiments with DHMO,
and designing multi-billion dollar devices to control and utilize it during
<STRONG>warfare</STRONG> situations. Hundreds of military
research facilities receive millions of tons of pure DHMO through a highly sophisticated
underground distribution network daily. Many facilities store large quantities for later
use. Many municipalities also have DHMO storage facilities.<P>
<BR>
<Center><H3>It's Not Too Late!</H3>
</Center> Act <STRONG>
NOW</STRONG> to prevent further <STRONG>contamination
</STRONG>. Find out more about this <STRONG>dangerous
</STRONG> chemical. What you don't know <STRONG>can</STRONG>
hurt you and others throughout the world. Write to your Congress person and Senator. Urge them to
Ban Dihydrogen Monoxide <B>NOW</B>!
<P>
<Center>Brought to you by the Coalition to Ban DHMO: http://BanDHMO.org.<P>
<BR>
<hr width="50%">
</center>
<p><b>Further Reading:</b></p>
<ul>
<li>Anderson, A., & Olson, L. (1961). <i>DHMO: The Untold Story.</i>
Chicago: Paladium Press. </li>
<li>________. (2007, April 1). <i>Ahmadinejad:
A rain of DHMO if Isreal attacks nuclear facilities.</i> (Editorial).
<a href=http://online.wsj.com/public/page/news-opinion-commentary.html>The Wall Street Journal.</a>
<li>Cavuto, N.J. (2003, February 12). <i>DHMO: Was this Saddam Hussein's 'Weapon of Mass Destruction'?</i>
<a href=http://www.msnbc.msn.com/>MSNBC.</a>
<li>Descy, D.E. (2015, February 31). <I>Hitler's DHMO research (1934-1944) and his attempt to flood the market. </I>
Berlin: Garantierte und ehrliche Forschung. Wir schwören, alles, was heilig und richtig ist Journal.
<li>Faiano, P. (2006). <i>Weaponizing DHMO.</i>
<a href=http://www.hindawi.com/journals/ijic/>International Journal of Inorganic Chemistry.</a>
<li>O'Boyle, J. (1997, January 7). <i>DiHydrogen Monoxide: What We Don't Know Can Hurt Us!</i>.
<a href=http://www.usatoday.com/>USA Today.</a>
<li>Win-Tang Woo, K. (1948). <i>DHMO: Molecular and Constancy Theory.</i>
London: <a href="http://www.oup.co.uk/">Oxford University</a> Press.</li>
</ul>
<p><b>Other Web Sites for more information:</b></p>
<ul>
<li>The United Nations <a href="http://who.int">World Health Organization</a>.
</li>
<li>Information about <a
href="https://www.cia.gov/library/publications/the-world-factbook.html">DiHydrogen Monoxide deaths
</a> from the CIA World Fact Book. </li>
<li><a href="http://www.amazon.com">Amazon.com</a> World Wide Web
Bookstore for more information about chemical compounds.</li>
</ul>
<center>
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<p><center><URL:http://BanDHMO.org><br>Updated: January 15 and June 15 each year and other times as required.
<br>© BanDHMO.org,
1995-2xxx All rights reserved.</center>
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Homepage
### *"We must stop Iran and North Korea from stockpiling DHMO before it is too late!"
Secretary of State Jim Kerry: United Nations, New York (June 17, 2014)*
Coalition to Ban DHMO: http://BanDHMO.org
#
Ban DHMO: Dihydrogen Monoxide!
***"The United States will not weaponize DHMO as long as I am President. You have my solemn word on this.
Beware of Conservative Republicans though. Some of them are pro clean DHMO."
President Barack Obema: Washington, DC (January, 2010)***
### The Invisible Killer
Dihydrogen monoxide (DHMO) is colorless, odorless, tasteless, and sickens over 4 billion and
**kills** over 2 million people every year (United Nations World Health Organization, 2008: www.WHO.Int).
Most of these deaths are caused by accidental inhalation of DHMO, but
the dangers of dihydrogen monoxide do not end there. Prolonged
exposure to its solid form causes severe tissue damage. Symptoms of
DHMO ingestion can include excessive sweating and urination, and
possibly a bloated feeling, nausea, vomiting and body electrolyte
imbalance. For those who have become dependent, DHMO withdrawal
means certain death.
*### "Recreational DHMO illness can have a significant impact on public health not only
because of the severity of the illness but also the number of people who die."
Department of Health, State Of Washington (www2.DOH.WA.Gov)*
#### Dihydrogen
monoxide:
* is also known as hydroxyl acid, and is the
major component of acid rain.
* contributes to the "greenhouse effect."
* may cause severe burns.
* contributes to the erosion of our
natural landscape.
* accelerates corrosion and rusting of many
metals.
* may cause electrical failures and decreased effectiveness
of automobile brakes.
* has been found in excised tumors of all terminal
cancer patients.
* has always been found to be a major cause of drownings in private swimming pools.
* contamination has been found in *all* floodwaters where death has occurred.
* has been found in the rains in violent thunderstorms that contain destructive lightning.
* in crystalline form has been implicated in many ship sinkings.
* in crystalline and liquid form has been a major factor in plane crashes.
* changing from crystalline to liquid is a leading cause of the
destruction of arctic ice and glaciers.
### Contamination Is
Reaching Epidemic Proportions!
Quantities of dihydrogen
monoxide have been found in almost every stream, lake, and reservoir in
America today. But the pollution is global, and DHMO contamination has even
been found in Antarctic ice, *all the world's oceans* and even in mother's milk in developing nations. DHMO has caused **millions** of dollars of property damage in the midwest, Nile and Mississippi River valley and recently in
California. DHMO contamination is even found in most cells in the human body!
#### Despite the danger,
dihydrogen monoxide is often used:
* as an industrial
solvent and coolant.
* in nuclear power plants.
* in the production of
styrofoam.
* as a fire retardant.
* in many forms of cruel animal
research.
* in the distribution of pesticides. Even after washing,
produce remains contaminated by this chemical.
* as an additive in
certain "junk-foods" and other food products.
* to dissolve medicines before giving them to children and older adults.
Companies dump pure
waste DHMO into rivers and the ocean, and nothing can be done to stop
them because this practice is still legal. The impact on
wildlife is extreme, and we cannot afford to ignore it any
longer!
***"Se fossi uno scommettitore, vorrei chiedo se la Santa Sede contiene DHMO - dai, che è uno scherzo - ottenerlo? Vedere, mare ??
Ehi, Don, io non sono stupido! Sono un papa immaginario.
Stiamo parlando di vecchia acqua normale semplice!"
Pope Jon XXXVII: Iguana, Mexico (May, 2005)***
### The Horror Must Be Stopped!
The American government has **refused** to
ban the production, distribution, or use of this damaging chemical due to
its "importance to the economic health of this nation." In fact, the Navy
and other military organizations are conducting experiments with DHMO,
and designing multi-billion dollar devices to control and utilize it during
**warfare** situations. Hundreds of military
research facilities receive millions of tons of pure DHMO through a highly sophisticated
underground distribution network daily. Many facilities store large quantities for later
use. Many municipalities also have DHMO storage facilities.
### It's Not Too Late!
Act **NOW** to prevent further **contamination**. Find out more about this **dangerous** chemical. What you don't know **can**
hurt you and others throughout the world. Write to your Congress person and Senator. Urge them to
Ban Dihydrogen Monoxide **NOW**!
Brought to you by the Coalition to Ban DHMO: http://BanDHMO.org.
---
**Further Reading:**
* Anderson, A., & Olson, L. (1961). *DHMO: The Untold Story.*
Chicago: Paladium Press.
* \_\_\_\_\_\_\_\_. (2007, April 1). *Ahmadinejad:
A rain of DHMO if Isreal attacks nuclear facilities.* (Editorial).
[The Wall Street Journal.](http://online.wsj.com/public/page/news-opinion-commentary.html)* Cavuto, N.J. (2003, February 12). *DHMO: Was this Saddam Hussein's 'Weapon of Mass Destruction'?*
[MSNBC.](http://www.msnbc.msn.com/)* Descy, D.E. (2015, February 31). *Hitler's DHMO research (1934-1944) and his attempt to flood the market.*
Berlin: Garantierte und ehrliche Forschung. Wir schwören, alles, was heilig und richtig ist Journal.
* Faiano, P. (2006). *Weaponizing DHMO.*
[International Journal of Inorganic Chemistry.](http://www.hindawi.com/journals/ijic/)* O'Boyle, J. (1997, January 7). *DiHydrogen Monoxide: What We Don't Know Can Hurt Us!*.
[USA Today.](http://www.usatoday.com/)* Win-Tang Woo, K. (1948). *DHMO: Molecular and Constancy Theory.*
London: [Oxford University](http://www.oup.co.uk/) Press.
**Other Web Sites for more information:**
* The United Nations [World Health Organization](http://who.int).
* Information about [DiHydrogen Monoxide deaths](https://www.cia.gov/library/publications/the-world-factbook.html) from the CIA World Fact Book.
* [Amazon.com](http://www.amazon.com) World Wide Web
Bookstore for more information about chemical compounds.
---
<URL:http://BanDHMO.org>
Updated: January 15 and June 15 each year and other times as required.
© BanDHMO.org,
1995-2xxx All rights reserved.
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<td content csheight="1536" width="692" height="1554" valign="top" xpos="16"><font size="2" face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular">The war in the Pacific ended on August 15, 1945. The Japanese had surrendered after the dropping of two atomic bombs on the cities of Hiroshima and Nagasaki. Peace in Hong Kong meant no more air raids and lots of food to eat. During the war we survived on starvation rations and I still remember the physical pain in the stomach from lack of food.<br>
<br>
When the British Fleet sailed into Hong Kong harbour, they brought back the rule of law. We no longer had to fear the arbritrary and savage behaviour of the Japanese army. To this day, the Chinese have not entirely forgiven the Japanese for the many atrocities committed during the long war and the occupation of much of China. This second Sino-Japanese War began officially in 1937 and ended in 1945.<br>
<br>
My brother and I were enrolled in the Central British School when it reopened soon after the war. The school was later renamed the King George V school (KGV). It was a pretty good school at the time, but I was a lousy student. I think that was mainly due to the fact that I was, and still am, a lazy person. Mind you, I was about two years younger than most of my fellow students in my class and that could have been a problem. Two years difference in age at that stage of life was critical. When most of my coed fellow students were experimenting in the bushes, I was still reading "Biggles".<br>
<br>
Some of our teachers were brilliant. I remember with great pleasure our English teacher, Conrad Watson; our French teacher, Mrs. Crosier; and our Math teacher, Gamble. I can only hope that I did not cause them too many heartaches with my poor behavior. I played hooky regularly, and was often in the art room, drawing and painting, when I should have been in geography or chemistry lessons. It was my last art teacher who put the apparently ridiculous idea into my head that I could study to become an artist, and for that I'm truly grateful. He told me that he could have arranged a place for me at the Central School of Art in London, but I explained to him then that our family was headed for Australia (see below).<br>
<br>
What I enjoyed most at that stage of my life was the Boy Scouts. I spent a great deal of time on hikes and camping trips with my fellow Scouts. We learned to be remarkably independent, and were also taught to take responsibility for the younger Scouts. Scouting was a healthy activity and it kept me reasonably fit. There was quite a bit of danger involved as well, as we were often caught out on Lan Tau island in tents, with a typhoon bearing down upon us.<br>
<br>
We also learnt a bit about self-defense by practicing on each other in friendly combat. I suspect this helped me at school because I cannot remember a single instance when I had been bullied, even though I was pretty short at the time. Being a Scout was like being a member of a gang. Anyone who picked on one Boy Scout would quickly find himself surrounded by three or four other Scouts. <br>
<br>
There was one instance when those defensive skills learned at the Scouts came in handy. I was walking to school one day, taking a path through the hills at the back of KGV, when two boys from a rival school confronted me. One boy was fat and the other thin. Fat boy was the aggressive one and he came at me in a rush. I quickly put him into a headlock and then raised my left foot to ward off Skinny. Luckily for me, Skinny wasn't too keen on the fight and he backed off. After a while, having put on increasing pressure on fat boy's neck, he started squealing. I made him promise to p... off and then I let him go. The two quickly ran off. Scout training had paid off. A few weeks later, I met Fat Boy at a local market and we just smiled at each other as if we had been old friends.<br>
<br>
I always found my fellow students at KGV to be friendly and helpful. The girls would patiently teach me how to pronounce the "th" sound, as it does not exist in either the Russian or Chinese languages. <br>
<br>
Alas, my Cantonese (my very first language) has now been entirely forgotten... perhaps because I never learned to read or write in that language. My Russian is fairly rusty, although I manage to understand about a half of what is being said in a Russian movie. Thanks to Mrs Crozier, my high school French still comes in handy when I am travelling in Europe. She used to make us bring little mirrors to class so that we could see how to form the correct French sounds with our lips and tongues. She was so successful that I have often been congratulated by the French on my accent! My grasp of French vocbulary is another thing.<br>
<br>
Although my father was quite generous, he refused to give my brother and me any pocket money. If we wanted to go to the cinema, we had to beg for the dollars. I hated this and decided that I needed my own source of funds. Since I was fluent in Cantonese at the time, I turned this to my advantage. There was a famous thieves market in Cat Street. Cat Street was actually a narrow lane, with steps, running up the lower slopes of Mount Victoria. It was deemed to be so dangerous that the local police would often walk there in groups of four.<br>
<br>
I would venture up Cat Street on my own looking for bargains for my fellow Scouts. The prices I paid were dirt cheap because the goods had all been stolen from Army depots by enterprising thieves. Items such as haversacks, jungle knives, and cooking kits were easily resold with a 100% markup. To make sure I paid the lowest possible prices, I would bargain ferociously, using every Cantonese swearword I could muster. This made me a great favorite with the local fences who smilingly called me Gwai Jai (little white devil). The entrepreneurial spirit was alive and well in Hong Kong.<br>
<br>
From the age of about 11, my father had groomed me to be the family secretary. Both my parents spoke English fairly well, but they were not proficient in writing in that language. Papa worked in the mining and construction industries and he was frequently required to write reports. I soon became proficient in this activity. I also acted as an interpreter for them on many occasions.<br>
<br>
My father was a great admirer of Joseph Stalin, the Soviet dictator. In 1952, Papa decided that we should all go to the Soviet Union to help Stalin rebuild that country. Although I dearly loved my father, I strongly disagreed with him politically. At that time, I was slightly to the right of Lord Baden Powell, the founder of the British Boy Scouts.<br>
<br>
I had a quiet word with my mother and brother and discovered that they too were horrified at the prospect of going to the Soviet Union. As I had mentioned in a previous passage, I was the only Catholic in the family. I went to a Catholic refugee organization and explained to them that I had a family of heathens who wanted to emigrate to the USA. If they could arrange the emigration, I would endeavour to convert my heathens to the Catholic Faith. They laughed at that but were still keen to help.<br>
<br>
They could not oblige us with passage to the USA (something to do with the Migration Act of 1912 as I recall), nor could they help us with Canada, my second choice; but they did suggest emigrating to Australia. I went home and explained to my father that we were not keen on his idea, and that, instead, we wanted to go to the land down under. As a good father, he acquiesced and meekly signed all the relevant documents enabling us to migrate to Australia.<br>
<br>
Being the family secretary since the age of 11 had given me a strange kind of authority which, at the age of 14, allowed me to organize our departure for Australia. The Scouts has also taught me to take command of situations and to solve administrative problems, so I had no qualms about taking control of the family's future. I don't know how Papa felt about this, but the others were most grateful for my initiative. Australia has been very good to us.<br>
<br>Since my brother had just enrolled in first-year architecture at Hong Kong University, it was decided that my father and I would leave for Australia first and that the rest of the family (my mother, brother and my little sister, Mara) would leave a year later. Thus, Papa and I boarded a converted liberty ship, the SS Nellore, and set sail for Australia.<br>
<br>
We arrived in Sydney in April 1953. Coming in through the Heads and steaming under the Sydney Harbour Bridge, I fell in love with Sydney and it's magnificent harbour. That stretch of water was to become an inspiration for many of my paintings in the years to come.<br>
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After the War in Hong Kong
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After the War in Hong Kong | |
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| | The war in the Pacific ended on August 15, 1945. The Japanese had surrendered after the dropping of two atomic bombs on the cities of Hiroshima and Nagasaki. Peace in Hong Kong meant no more air raids and lots of food to eat. During the war we survived on starvation rations and I still remember the physical pain in the stomach from lack of food.
When the British Fleet sailed into Hong Kong harbour, they brought back the rule of law. We no longer had to fear the arbritrary and savage behaviour of the Japanese army. To this day, the Chinese have not entirely forgiven the Japanese for the many atrocities committed during the long war and the occupation of much of China. This second Sino-Japanese War began officially in 1937 and ended in 1945.
My brother and I were enrolled in the Central British School when it reopened soon after the war. The school was later renamed the King George V school (KGV). It was a pretty good school at the time, but I was a lousy student. I think that was mainly due to the fact that I was, and still am, a lazy person. Mind you, I was about two years younger than most of my fellow students in my class and that could have been a problem. Two years difference in age at that stage of life was critical. When most of my coed fellow students were experimenting in the bushes, I was still reading "Biggles".
Some of our teachers were brilliant. I remember with great pleasure our English teacher, Conrad Watson; our French teacher, Mrs. Crosier; and our Math teacher, Gamble. I can only hope that I did not cause them too many heartaches with my poor behavior. I played hooky regularly, and was often in the art room, drawing and painting, when I should have been in geography or chemistry lessons. It was my last art teacher who put the apparently ridiculous idea into my head that I could study to become an artist, and for that I'm truly grateful. He told me that he could have arranged a place for me at the Central School of Art in London, but I explained to him then that our family was headed for Australia (see below).
What I enjoyed most at that stage of my life was the Boy Scouts. I spent a great deal of time on hikes and camping trips with my fellow Scouts. We learned to be remarkably independent, and were also taught to take responsibility for the younger Scouts. Scouting was a healthy activity and it kept me reasonably fit. There was quite a bit of danger involved as well, as we were often caught out on Lan Tau island in tents, with a typhoon bearing down upon us.
We also learnt a bit about self-defense by practicing on each other in friendly combat. I suspect this helped me at school because I cannot remember a single instance when I had been bullied, even though I was pretty short at the time. Being a Scout was like being a member of a gang. Anyone who picked on one Boy Scout would quickly find himself surrounded by three or four other Scouts.
There was one instance when those defensive skills learned at the Scouts came in handy. I was walking to school one day, taking a path through the hills at the back of KGV, when two boys from a rival school confronted me. One boy was fat and the other thin. Fat boy was the aggressive one and he came at me in a rush. I quickly put him into a headlock and then raised my left foot to ward off Skinny. Luckily for me, Skinny wasn't too keen on the fight and he backed off. After a while, having put on increasing pressure on fat boy's neck, he started squealing. I made him promise to p... off and then I let him go. The two quickly ran off. Scout training had paid off. A few weeks later, I met Fat Boy at a local market and we just smiled at each other as if we had been old friends.
I always found my fellow students at KGV to be friendly and helpful. The girls would patiently teach me how to pronounce the "th" sound, as it does not exist in either the Russian or Chinese languages.
Alas, my Cantonese (my very first language) has now been entirely forgotten... perhaps because I never learned to read or write in that language. My Russian is fairly rusty, although I manage to understand about a half of what is being said in a Russian movie. Thanks to Mrs Crozier, my high school French still comes in handy when I am travelling in Europe. She used to make us bring little mirrors to class so that we could see how to form the correct French sounds with our lips and tongues. She was so successful that I have often been congratulated by the French on my accent! My grasp of French vocbulary is another thing.
Although my father was quite generous, he refused to give my brother and me any pocket money. If we wanted to go to the cinema, we had to beg for the dollars. I hated this and decided that I needed my own source of funds. Since I was fluent in Cantonese at the time, I turned this to my advantage. There was a famous thieves market in Cat Street. Cat Street was actually a narrow lane, with steps, running up the lower slopes of Mount Victoria. It was deemed to be so dangerous that the local police would often walk there in groups of four.
I would venture up Cat Street on my own looking for bargains for my fellow Scouts. The prices I paid were dirt cheap because the goods had all been stolen from Army depots by enterprising thieves. Items such as haversacks, jungle knives, and cooking kits were easily resold with a 100% markup. To make sure I paid the lowest possible prices, I would bargain ferociously, using every Cantonese swearword I could muster. This made me a great favorite with the local fences who smilingly called me Gwai Jai (little white devil). The entrepreneurial spirit was alive and well in Hong Kong.
From the age of about 11, my father had groomed me to be the family secretary. Both my parents spoke English fairly well, but they were not proficient in writing in that language. Papa worked in the mining and construction industries and he was frequently required to write reports. I soon became proficient in this activity. I also acted as an interpreter for them on many occasions.
My father was a great admirer of Joseph Stalin, the Soviet dictator. In 1952, Papa decided that we should all go to the Soviet Union to help Stalin rebuild that country. Although I dearly loved my father, I strongly disagreed with him politically. At that time, I was slightly to the right of Lord Baden Powell, the founder of the British Boy Scouts.
I had a quiet word with my mother and brother and discovered that they too were horrified at the prospect of going to the Soviet Union. As I had mentioned in a previous passage, I was the only Catholic in the family. I went to a Catholic refugee organization and explained to them that I had a family of heathens who wanted to emigrate to the USA. If they could arrange the emigration, I would endeavour to convert my heathens to the Catholic Faith. They laughed at that but were still keen to help.
They could not oblige us with passage to the USA (something to do with the Migration Act of 1912 as I recall), nor could they help us with Canada, my second choice; but they did suggest emigrating to Australia. I went home and explained to my father that we were not keen on his idea, and that, instead, we wanted to go to the land down under. As a good father, he acquiesced and meekly signed all the relevant documents enabling us to migrate to Australia.
Being the family secretary since the age of 11 had given me a strange kind of authority which, at the age of 14, allowed me to organize our departure for Australia. The Scouts has also taught me to take command of situations and to solve administrative problems, so I had no qualms about taking control of the family's future. I don't know how Papa felt about this, but the others were most grateful for my initiative. Australia has been very good to us.
Since my brother had just enrolled in first-year architecture at Hong Kong University, it was decided that my father and I would leave for Australia first and that the rest of the family (my mother, brother and my little sister, Mara) would leave a year later. Thus, Papa and I boarded a converted liberty ship, the SS Nellore, and set sail for Australia.
We arrived in Sydney in April 1953. Coming in through the Heads and steaming under the Sydney Harbour Bridge, I fell in love with Sydney and it's magnificent harbour. That stretch of water was to become an inspiration for many of my paintings in the years to come.
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<table width="85%" border="0">
<tr>
<td>
<div align="center"><b>Main Page </b>· <a href="Standard.htm">Standard
Boot</a> · <a href="4x4.htm">4x4 Boot</a> · <a href="Hubs.htm">Hubs</a>
· <a href="install.htm">Installation</a> </div>
</td>
</tr>
</table>
<h3>Yes, The Denver Boot Comes From Denver, Colorado. <a href="https://www.cpr.org/2019/09/09/yes-the-denver-boot-comes-from-denver-now-colorado-is-deciding-how-private-business-can-use-it/">Read about it</a> from Colorado Public Radio.</h3>
<p></p>
<table width="85%" border="0" height="249">
<td width="51%" height="206" align="left" valign="top"> <img src="CamaroBoot.jpg" border="1" width="312" height="223">
</td>
<td width="49%" height="206" valign="top">
<table width="100%" border="0">
<tr>
<td>
<div align="justify">The <b>standard denver boot </b>is designed
to fit vehicles that have a flat rim face. The difference between
the standard boot and the 4x4 boot is the amount of height inside
the hub. The standard boot will fit the majority of the vehicles
on the road.</div>
</td>
</tr>
</table>
<table width="100%" border="0" height="163">
<tr>
<td width="62%" valign="top" height="96">
<div align="justify">On the right is the hub that comes with the
standard denver boot. The purpose of the hub is to prevent access
to the lug nuts for removal of the entire tire.</div>
</td>
<td width="38%" height="96" valign="top" align="center"><img src="SilverHubSmall4.jpg" width="100" height="97"></td>
</tr>
</table>
</td>
</table>
<table width="85%" border="0" height="278">
<td width="48%" height="270" align="center" valign="middle">
<table width="100%" border="0">
<tr>
<td>
<div align="justify">The <b>4x4 denver boot </b>is designed to fit
vehicles with a 4x4 hub. Both the 4x4 denver boot and the standard
denver boot use the same clamp and arm. The only difference between
the two is the hub cover.</div>
</td>
</tr>
</table>
<table width="100%" border="0" height="163">
<tr>
<td width="49%" valign="top"><img src="4x4hubSmall3.jpg" width="187" height="193"></td>
<td width="51%" align="left" valign="top">
<div align="justify">On the left is the hub that comes with the 4x4
boot. </div>
</td>
</tr>
</table>
</td>
<td width="52%" height="270" valign="middle" align="center"> <img src="explorerboot.jpg" width="319" height="241" border="1"></td>
</table>
</div>
<div align="center">
<table border="0" width="85%" height="182">
<tr>
<td width="48%" valign="top" height="170">
<div align="left"></div>
<ul>
<li>Easy to install</li>
<li>Easy to store</li>
<li>Easy to adjust and position</li>
<li>Easy to purchase</li>
<li>Weight: 14 pounds</li>
<li>Finish: Aluminum </li>
<li>Optional OSHA orange</li>
<li>Protective rubber gasket</li>
<li>Accessory: 4x4 hub cove</li>
</ul>
</td>
<td width="10%" valign="top" height="170">
<p align="left">Fits:</p>
<br>
</td>
<td width="42%" valign="top" height="170">
<p>Vehicles<br>
Large Vehicles<br>
Pickup Trucks<br>
Vans</p>
<p> Installation: Less than 1 minute</p>
</td>
</tr>
</table>
</div>
<div align="center">
<table width="85%" border="0">
<tr>
<td height="220">
<hr>
<p align="justify">The important things to know are that it is light weight
at 14 pounds (half the weight of most other boots), it does not rust
or require paint and it is easy to install.<br>
<br>
The boot is a three piece assembly: wheelclamp, hub (lug nut) cover,
and arm. The arm has two pockets which allow for an adjustment for wheel
size (larger or smaller). The three piece assembly allows for a compact
device and is very easy to transport in multiples. The Denver Boot is
made primarily for street worthy vehicles. It will fit most cars, pickup
trucks and vans. A special hub cover can be used with 4 wheel drive
vehicles with extended hubs. When paint is requested, the hub cover
and arm are painted for "higher visibility" purpose. As the
boot does not rust, the paint is not required for protection. This is
a cosmetic and often desired requirement. </p>
</td>
</tr>
</table>
<table width="85%" border="0">
<tr valign="top">
<td height="100">
<hr>
<a href="http://www.expo1000.com"><img border="0" src="/Expo1000.jpg"></a>
<p>
Please read this Expo1000.com
<a href="http://www.expo1000.com/parking/interviews/denverboot.htm">interview</a> with Liz Wolfson at
<a href="http://www.clancysystems.com">Clancy Systems</a> about the History of The Denver Boot. -Oct 2002
</p>
</td>
</tr>
</table>
<table width="85%" border="0">
<tr valign="top">
<td height="198">
<div align="left">
<hr>
<p align="justify">A rubber gasket around the rim of the hub cover protects
the vehicle from scratches. <br>
Please call, fax, or email for pricing information. </p>
<hr>
<div align="center"> Order's can be placed by sending a
fax with your purchase order, shipping information and credit card
number to (303) 759-4681. We accept Visa and Mastercharge. You may
also order by email to <a href="mailto:liz@clancysystems.com">liz@clancysystems.com</a>.
Provide the above information </div>
</div>
</td>
</tr>
</table>
<p><img src="http://www.clancysystems.com/PICS/mcp-150.jpg" width="150" height="77"></p>
<p><strong><em><a href="http://www.clancysystems.com">Clancy Systems International,
Inc.</a></em><br>
2149 So. Grape St.<br>
Denver, CO 80224
<br>
(303) 753-0197 fax (303) 759-4681 http://www.denverboot.com</strong></p>
</p>
</div>
</body>
</html>
|
The Denver Boot
| | | |
| --- | --- | --- |
| |
**The original wheel immobilization device.** | |
| |
| --- |
| **Main Page** · [Standard
Boot](Standard.htm) · [4x4 Boot](4x4.htm) · [Hubs](Hubs.htm)
· [Installation](install.htm) |
### Yes, The Denver Boot Comes From Denver, Colorado. [Read about it](https://www.cpr.org/2019/09/09/yes-the-denver-boot-comes-from-denver-now-colorado-is-deciding-how-private-business-can-use-it/) from Colorado Public Radio.
|
| |
| --- |
| The **standard denver boot** is designed
to fit vehicles that have a flat rim face. The difference between
the standard boot and the 4x4 boot is the amount of height inside
the hub. The standard boot will fit the majority of the vehicles
on the road. |
| | |
| --- | --- |
| On the right is the hub that comes with the
standard denver boot. The purpose of the hub is to prevent access
to the lug nuts for removal of the entire tire. | |
|
| |
| --- |
| The **4x4 denver boot** is designed to fit
vehicles with a 4x4 hub. Both the 4x4 denver boot and the standard
denver boot use the same clamp and arm. The only difference between
the two is the hub cover. |
| | |
| --- | --- |
| | On the left is the hub that comes with the 4x4
boot. |
| |
| | | |
| --- | --- | --- |
| * Easy to install
* Easy to store
* Easy to adjust and position
* Easy to purchase
* Weight: 14 pounds
* Finish: Aluminum
* Optional OSHA orange
* Protective rubber gasket
* Accessory: 4x4 hub cove
| Fits:
| Vehicles
Large Vehicles
Pickup Trucks
Vans
Installation: Less than 1 minute |
| |
| --- |
|
---
The important things to know are that it is light weight
at 14 pounds (half the weight of most other boots), it does not rust
or require paint and it is easy to install.
The boot is a three piece assembly: wheelclamp, hub (lug nut) cover,
and arm. The arm has two pockets which allow for an adjustment for wheel
size (larger or smaller). The three piece assembly allows for a compact
device and is very easy to transport in multiples. The Denver Boot is
made primarily for street worthy vehicles. It will fit most cars, pickup
trucks and vans. A special hub cover can be used with 4 wheel drive
vehicles with extended hubs. When paint is requested, the hub cover
and arm are painted for "higher visibility" purpose. As the
boot does not rust, the paint is not required for protection. This is
a cosmetic and often desired requirement. |
| |
| --- |
|
---
Please read this Expo1000.com
[interview](http://www.expo1000.com/parking/interviews/denverboot.htm) with Liz Wolfson at
[Clancy Systems](http://www.clancysystems.com) about the History of The Denver Boot. -Oct 2002
|
| |
| --- |
|
---
A rubber gasket around the rim of the hub cover protects
the vehicle from scratches.
Please call, fax, or email for pricing information.
---
Order's can be placed by sending a
fax with your purchase order, shipping information and credit card
number to (303) 759-4681. We accept Visa and Mastercharge. You may
also order by email to [liz@clancysystems.com](mailto:liz@clancysystems.com).
Provide the above information
|
***[Clancy Systems International,
Inc.](http://www.clancysystems.com)*
2149 So. Grape St.
Denver, CO 80224
(303) 753-0197 fax (303) 759-4681 http://www.denverboot.com**
| http://www.denverboot.com/ |
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<span class ="txt0">A Long Hot Summer Ahead<br>
<br>
We can already tell. Early June and temps in the high 90s and low 100s. Too hot to do much outside except in the early morning hours. But, what with Kevin leaving for work at 5am, I can be outside at first light, which is a good thing. That's before it gets too hot and too sticky for comfort.<br>
<br>
So other than watering the plants and collecting the harvest, most of my hours are spent indoors where it is cooler - even if I am canning and preserving. Plus, I've got four more books in the works. So I stay busy, especially with the crazy schedule that Kevin has at work.<br>
<br>
During downtime - I do watch a bit of TV. Just posted a new article on that, which you can find <a href="natureprog.html" target="_blank">here</a>. I love shows that not only entertain but also teach me something. I've got the grandkids hooked on them too - they will give up Shreck to watch a nature show. Far better for their growing minds, I think.<br>
<br>
Now that things are finally settling down a bit though, and I'm cooped up for the summer - chances are you'll see new pages more often. Which, I'm thinking, might be a good thing too.<br>
<br>
Stay cool!<br>
</span></div>
</div>
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<div class="dfltt calign txt1">All Pages Are<br>
Copyright <br>
by<br>
Kat and Kevin Yares<br>
<br>
Use of any of these works without written<br>
permission<br>
is prohibited by law.<br>
<br>
</div>
</div>
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<div id="Grtf30" class="dfltt">
<div class="dfltt calign txt2"><span class ="bold">Disclaimer: All information on this site is for informational purposes only. Before using any alternative remedy, begin any new exercise routine or otherwise start trying any of the recipes included on these pages, check with your primary health provider. Many herbs, foods, and exercises can conflict with medications you are taking or have unknown side effects.</span><br>
<br>
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<span class ="txt3"><span class ="bold">Questions? Comments email us at<br>
<a href="mailto:kyares@backwoodsliving.com">kyares at backwoodsliving.com</a></span><br>
</span></div>
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A Long Hot Summer Ahead
We can already tell. Early June and temps in the high 90s and low 100s. Too hot to do much outside except in the early morning hours. But, what with Kevin leaving for work at 5am, I can be outside at first light, which is a good thing. That's before it gets too hot and too sticky for comfort.
So other than watering the plants and collecting the harvest, most of my hours are spent indoors where it is cooler - even if I am canning and preserving. Plus, I've got four more books in the works. So I stay busy, especially with the crazy schedule that Kevin has at work.
During downtime - I do watch a bit of TV. Just posted a new article on that, which you can find [here](natureprog.html). I love shows that not only entertain but also teach me something. I've got the grandkids hooked on them too - they will give up Shreck to watch a nature show. Far better for their growing minds, I think.
Now that things are finally settling down a bit though, and I'm cooped up for the summer - chances are you'll see new pages more often. Which, I'm thinking, might be a good thing too.
Stay cool!
All Pages Are
Copyright
by
Kat and Kevin Yares
Use of any of these works without written
permission
is prohibited by law.
Disclaimer: All information on this site is for informational purposes only. Before using any alternative remedy, begin any new exercise routine or otherwise start trying any of the recipes included on these pages, check with your primary health provider. Many herbs, foods, and exercises can conflict with medications you are taking or have unknown side effects.
Questions? Comments email us at
[kyares at backwoodsliving.com](mailto:kyares@backwoodsliving.com)
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<html>
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<body background=bg-ocean.gif>
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<td><pre> </pre></td>
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<pre>
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<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
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<td><p align=center><strong><font size=+2><a href="traditions-navy-index.html">TRADITIONS of the NAVY</a></font></strong></td>
<td><p align=center><strong><font size=+2><a href="museum.html">US Navy Museums</strong></font></td>
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<pre>
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<td><a href="officers.html"><font size=+2><strong>Organization Officers</font></a></strong></td>
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<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
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<td><a href="memoriam.html"><font size=+2><strong>Taps</strong></a></td>
<td><a href="http://www.exciteableitalian.com/HelenaSatellite/satellite.htm"><strong><font size=+2>Satellite Page</a>
<td><a href="objectives.html"><font size=+2><strong>Association Objectives</a></td></strong></tr></table>
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<td><strong><font size=+1><a href="sailorscreed.html"><strong>The Sailors Creed</a></td>
<td><strong><font size=+1><a href="enlistedoath.html"><strong>Oath of Enlistment</a></td></tr></table>
<pre>
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<td><strong><font size=+1><a href="reunion2017-2.html"><strong>Reunion 2017</font></a></strong></td>
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<td><strong><font size=+1><a href="applicationform.html"><strong><font color="#ff0000">Membership</font></a></td></strong></tr></table>
<p align=center><strong><font size=+2><font color="#0000ff">For more information, click on the ship picture of choice.</strong></font></font>
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<td><a href="pg9.html"><img src=fg9d.jpg height=135 width=204></a><br><strong>USS Helena PG9</td>
<td><a href="cl50.html"><img src=cl50h.jpg height=135 width=204></a><br><strong>USS Helena CL-50</td>
<td><a href="ca75.html"><img src=hel5.jpg height=135 width=204></a><br><strong>USS Helena CA-75</td>
<td><a href="ssn725.html"><img src=ssn725h.jpg height=135 width=204></a><br><strong>USS Helena (SSN 725)</strong></td></tr></table>
<pre>
</pre>
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<td><p align=center><strong><font size=+1><font face="Comic Sans MS"><a href="https://www.acuity.com/about/flagpole">The FLAG!!</a>
<td><p align=center><strong><font size=+1><font face="Comic Sans MS"><a href="https://www.warhistoryonline.com/"> War History On Line</a> </td>
<td><p align=center><strong><font size=+1><font face="Comic Sans MS">
<a href="ford.html">The USS Gerald R. Ford (CVN 78) Commissioning.</a></font></strong></td></tr></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="http://www.theunknownsmovie.com/"><font color="#0000ff">Tomb of the Unknown</font></strong></a></td>
<td><p align=center><strong><font size=+1><a href="williams-r.html">Silent Hero</a>
<td><p align=center><strong><font size=+1><a href="norris.html"><font color="#0000ff">Medal Of Honor. LT Thomas R. Norris</font></strong></a></td>
<td><p align=center><strong><font size=+1><a href="https://www.youtube.com/embed/GJokaiyJNVA">One Life. One Flag. One Mile.</a></font></strong></td></td></tr></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="biernacki.html">Pearl Harbor - A Story of Survival</font></a></td>
<td><p align=center><strong><font size=+1><a href="silverset.html"><font color="#0000ff"> "Silver Service Set"</font></a></td>
<td><p align=center><strong><font size=+1><a href="http://www.youtube.com/embed/0dFIZX_RXuU">Tribute to the Fallen</a></td>
<td><p align=center><strong><font size=+1><a href="1navyindex.html">Our Navy Today</a></tr></td></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="http://www.youtube.com/watch?v=hV7k4FCUOXI&playnext=1&list=PLEC31C697305DDB8C&index=9">7th Fleet Band</a><br>Playing in Yokosuka, Japan</strong></font></td>
<td><p align=center><strong><font size=+1><a href="https://www.wwiimemorial.com/Registry/Default.aspx">National WWII Memorial Registry</a><br>Washington, DC</strong></font></td>
<td><p align=center><strong><font size=+1><a href="vetsong2.mp3">Veterans Tribute</a><br>1 minute 40 seconds (mp3 file)</tr></td></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="wayne.html">John Wayne's " America - Why I Love Her"</a></strong></font></td>
<td><p align=center><strong><font size=+1><a href="borgnine.html">Ernest Borgnine " I Am The American sailor"</a></strong></font></tr></td></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
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<td><p align=center><strong><font size=+1><a href="ww2bootcamp.html">Pre WWII Boot Camp?</a></strong></td>
<td><p align=center><strong><font size=+1><a href="http://www.archives.gov/veterans/military-service-records/">The National Archives</a></td>
<td><p align=center><strong><font size=+1><a href="mtmuseum.html"><font color="#008000">Support "The Montana Military Museum"</a></strong></font></font></td>
<td><p align=center><strong><font size=+1><a href="helenamontana.html">Helena, MT</a></strong></td>
<td><p align=center><strong><font size=+1><strong><a href="tigercruise.html">Tiger Cruise</a></strong></tr></td></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="navyman2.html">Navy Man</a></td>
<td><p align=center><strong><font size=+1><a href="maritimeflags2.html"><strong>Maritime Flags</a></strong></font></td>
<td><p align=center><strong><font size=+1><a href="patches.html">Patches and Stickers</a></strong></font></td>
<td><p align=center><strong><font size=+1><a href="time.html"><strong>Time using bells</strong></font></a></td>
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<td><p align=center><strong><font size=+1> <a href="paintingsindex.html">Paintings</a></font></strong></td>
<td><p align=center><strong><font size=+1><a href="http://www.navycruisers.org/">U.S. Navy C. S. A.</a></font></strong></td>
<td><p align=center><strong><font size=+1><a href="baseclosingsindex.html">Base Closings</a></strong></font></tr></td></table>
<pre>
</pre>
<table border=1 bordercolor=blue bgcolor=white cellspacing=0 cellpadding=3 align=center>
<tr>
<td><p align=center><strong><font size=+1><a href="sailorknot.html">Sailor's Knot</a></td>
<td><p align=center><strong><font size=+1><a href="seastories2.html">Seastories </strong></a></td>
<td><p align=center><strong><font size=+1><a href="ships.html">Ships</a></td>
<td><p align=center><strong><font size=+1><a href="navy.html">Navy</a></td>
<td><p align=center><strong><font size=+1><a href="sounds.html">Music and Sounds</a></td>
<td><p align=center><strong><font size=+1><a href="toko-ri.html">The Bridges at TOKO-RI</a></td>
<td><p align=center><strong><font size=+1><a href="awardshel.html">Our Awards</a</td></strong>
<td><p align=center><strong><font size=+1><a href="author2.html">Author's Link</a></td>
<td><p align=center><strong><font size=+1><a href="ourlinks.html">More Pages</a></strong></td></tr></table>
<pre>
</pre>
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|
helena
| | | |
| --- | --- | --- |
| |
```
```
| |
```
```
| | | |
| --- | --- | --- |
| **[TRADITIONS of the NAVY](traditions-navy-index.html)** | **[US Navy Museums](museum.html)** | **[Ships of the Memorial Fleet](memorialfleetindex.html)** |
```
```
| | | |
| --- | --- | --- |
| [**Organization Officers**](officers.html) | [**Organization Bylaws**](bylaws.html) | [**UNITED STATES NAVAL HERITAGE**](navalheritage.html) |
```
```
| | | |
| --- | --- | --- |
| [**Taps**](memoriam.html) | [**Satellite Page**](http://www.exciteableitalian.com/HelenaSatellite/satellite.htm) [**Association Objectives**](objectives.html) | |
```
```
| | | | | | |
| --- | --- | --- | --- | --- | --- |
| **[**US Navy Seal**](navyseal.html)** | **[Questions](questions.html)** | **[**Navy Credo**](navycredo.html)** | **[**US Navy Core Values**](corevalues.html)** | **[**The Sailors Creed**](sailorscreed.html)** | **[**Oath of Enlistment**](enlistedoath.html)** |
```
```
| | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- |
| **[**What's New**](new.html)** | **[**Announcements**](announcement.html)** | **[**Ship's Store**](helstore.html)** | **[**Reunions Past**](reunionpastindex.html)** | **[**Reunion 2017**](reunion2017-2.html)** | **[**Newsletter**](newsletterarchive.html)** | **[**2019 Reunion Information**](reunion2019.html)** | **[**Membership**](applicationform.html)** |
**For more information, click on the ship picture of choice.**
| | | | |
| --- | --- | --- | --- |
| **USS Helena PG9** | **USS Helena CL-50** | **USS Helena CA-75** | **USS Helena (SSN 725)** |
```
```
| | | |
| --- | --- | --- |
| **[The FLAG!!](https://www.acuity.com/about/flagpole)
**[War History On Line](https://www.warhistoryonline.com/)** |
**[The USS Gerald R. Ford (CVN 78) Commissioning.](ford.html)** |** |
```
```
| | | | |
| --- | --- | --- | --- |
| **[Tomb of the Unknown](http://www.theunknownsmovie.com/)** | **[Silent Hero](williams-r.html)
**[Medal Of Honor. LT Thomas R. Norris](norris.html)** |
**[One Life. One Flag. One Mile.](https://www.youtube.com/embed/GJokaiyJNVA)** |** |
```
```
| | | | |
| --- | --- | --- | --- |
| **[Pearl Harbor - A Story of Survival](biernacki.html)** | **["Silver Service Set"](silverset.html)** | **[Tribute to the Fallen](http://www.youtube.com/embed/0dFIZX_RXuU)** | **[Our Navy Today](1navyindex.html)** |
```
```
| | | |
| --- | --- | --- |
| **[7th Fleet Band](http://www.youtube.com/watch?v=hV7k4FCUOXI&playnext=1&list=PLEC31C697305DDB8C&index=9)Playing in Yokosuka, Japan** | **[National WWII Memorial Registry](https://www.wwiimemorial.com/Registry/Default.aspx)Washington, DC** | **[Veterans Tribute](vetsong2.mp3)1 minute 40 seconds (mp3 file)** |
```
```
| | |
| --- | --- |
| **[John Wayne's " America - Why I Love Her"](wayne.html)** | **[Ernest Borgnine " I Am The American sailor"](borgnine.html)** |
```
```
| | | | | |
| --- | --- | --- | --- | --- |
| **[Pre WWII Boot Camp?](ww2bootcamp.html)** | **[The National Archives](http://www.archives.gov/veterans/military-service-records/)** | **[Support "The Montana Military Museum"](mtmuseum.html)** | **[Helena, MT](helenamontana.html)** | ****[Tiger Cruise](tigercruise.html)**** |
```
```
| | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| **[Navy Man](navyman2.html)** | **[**Maritime Flags**](maritimeflags2.html)** | **[Patches and Stickers](patches.html)** | **[**Time using bells**](time.html)** | **[Radio Call Signs](phonetic.html)** | **[Books](booksindex.html)** | **[Paintings](paintingsindex.html)** | **[U.S. Navy C. S. A.](http://www.navycruisers.org/)** | **[Base Closings](baseclosingsindex.html)** |
```
```
| | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| **[Sailor's Knot](sailorknot.html)** | **[Seastories](seastories2.html)** | **[Ships](ships.html)** | **[Navy](navy.html)** | **[Music and Sounds](sounds.html)** | **[The Bridges at TOKO-RI](toko-ri.html)** | **[Our Awards](awardshel.html)**
**[Author's Link](author2.html)** |
**[More Pages](ourlinks.html)** | |
```
```
| http://www.usshelena.org/ |
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<FONT color="#FFFFFF"> Michael & Ruth Bower Family Home Page</FONT><p>
<FONT color="#FFFFFF"> Last Edited 10/24/04</FONT>
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Ashburn, VA (near Dulles Airport/Washington, D.C.)
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<TD valign=center><A href="michael.html">Michael
Fletcher</A></TD>
<TD valign=center>Computer Geek, Photographer & Ham Radio Operator; EMT;
Book Lover</TD>
</TR>
<TR>
<TD valign=center><A href="ruth.html">Ruth
Elaine</A></TD>
<TD>Mother, Weaver & Gardener</TD>
</TR>
<TR>
<TD valign=center><A href="beth.html">Beth
Elaine</A></TD>
<TD>Animal Lover, Violinist & Artist</TD>
</TR>
<TR>
<TD valign=center><A href="emily.html">Emily
Elizabeth</A></TD>
<TD>Pianist, Athlete & Reader</TD>
</TR>
<TR>
<TD valign=center><A href="charles.html">Charles
Andrew</A></TD>
<TD>Artist, Scientist & Reader</TD>
</TR>
<TR>
<TD valign=center><A href="stephen.html">Stephen
Nicholas</A></TD>
<TD>Reader, Friend & Artist</TD>
</TR>
<TR>
<TD valign=center><A href="sam.html">Samantha
(Sam)</A></TD>
<TD>Border Collie, Herder & Escapee</TD>
</TR>
</TABLE>
<P>
<BR>
<BR>
<TABLE border=1>
<TR>
<TH><STRONG><FONT color = "#FFFFFF">Interesting Links from our Net
Travels</FONT></STRONG></TH>
</TR>
<TR>
<TD align="center"><A href="http://www.subclub.org" >Subminiature
Photography Club</A></TD>
</TR>
<TR>
<TD align="center"><A href="http://www.minox.org" >Minox Historical Society</A></TD>
</TR>
<TR>
<TD align="center"><A href="http://www.ashburnfirerescue.org" >Ashburn Fire/Rescue (Ashburn, VA)</A></TD>
</TR>
<TR>
<TD align="center"><A href="http://www.dpreview.com" >Digital Photography Reviews</A></TD>
</TR>
</TABLE>
</CENTER>
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Bower Bunch Home Page
##
Michael & Ruth Bower Family Home Page
Last Edited 10/24/04
###
Ashburn, VA (near Dulles Airport/Washington, D.C.)
| **Person** | **Interests** |
| --- | --- |
| [Michael
Fletcher](michael.html) | Computer Geek, Photographer & Ham Radio Operator; EMT;
Book Lover |
| [Ruth
Elaine](ruth.html) | Mother, Weaver & Gardener |
| [Beth
Elaine](beth.html) | Animal Lover, Violinist & Artist |
| [Emily
Elizabeth](emily.html) | Pianist, Athlete & Reader |
| [Charles
Andrew](charles.html) | Artist, Scientist & Reader |
| [Stephen
Nicholas](stephen.html) | Reader, Friend & Artist |
| [Samantha
(Sam)](sam.html) | Border Collie, Herder & Escapee |
| **Interesting Links from our Net
Travels** |
| --- |
| [Subminiature
Photography Club](http://www.subclub.org) |
| [Minox Historical Society](http://www.minox.org) |
| [Ashburn Fire/Rescue (Ashburn, VA)](http://www.ashburnfirerescue.org) |
| [Digital Photography Reviews](http://www.dpreview.com) |
---
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<p><font SIZE="6"><i><b> </p>
<p><font color="#FF0000">Jim’s Hospital Journal</font></b></i></font><font SIZE="4"></p>
<p>Seems like I’m always making excuses for not been so active on the "Funnies
List" and some folks tell me they actually miss their "fix" of funnies.
Circumstances sometimes do not allow for providing an advanced warning of problems which
pop up…… problems which take a person completely out of the picture, funnies and
all. Some of the folks on my list discovered my disappearance and the reason but others
just saw me disappear. </p>
<p>Suffice it to say, I have been in the hospital from Monday, June 30, until Thursday,
July 17. For someone who has seldom been in a hospital, this was quite an eye-opening
experience. These have not been happy times, however, I’ve tried to put together a
semi-detailed description of my past couple of week’s activities. Being the
strange-humored person that I am, I tried to find the funnier things in my visit and to
place a humorous twist on events, which were neither pleasant nor funny. I just happen to
believe that humor can be found in the most humorless events of a person’s life. My
journal was not meant to be a fine-tuned piece of literary magic but rather a reminder to
me that there really were some funny things in my 17-day vacation of mucho pain. I plan to
upload it to the following spot on my web page. </font><font SIZE="2"></p>
</font><font SIZE="4">
<p><font color="#FF0000"> ****************************************************************************************************** </font></p>
<p>It was a dark and stormy night, late on Saturday, June 29; I began feeling less than
chipper. I had quite a pain in my stomach area and since that’s a rather large area,
it was a rather large pain. I decided to go to bed earlier than usual, hoping to
"sleep it off." </p>
<p>Next morning in church, I was hurting so badly that I was unable to stand during all
the times they asked. Gloria and I had arranged to meet an old high school friend and his
wife for lunch. I told them I was off my feed a bit but did manage to get down a smaller
salad and visit with them at the house, afterward. After a good visit and we said our
good-byes, I knew things were getting "more worser and more worser." As
each hour went by, I didn’t think I could feel any worse, however, each hour I knew I
had been wrong.</p>
<p>From that point on, I got to be on very good terms with anything which was either food
or drink since I was able to see it twice. Everything that crossed my mouth did so
bi-directionally. I became the poster child for nausea, and served that position as well
as anyone had ever done before.</p>
<p> Sunday evening, Gloria offered, several times, to take me to the hospital
emergency room. I declined…….. I was wrong…….. I have learned my
lesson . On Monday morning I called my doctor and he seemed much more concerned than with
any of the other few times I have called him. His instructions were to get to the
emergency room ASAP. Hmmmmmm where had I heard those same instructions……?</p>
<p>Tests all day……. <i><b>"What do you mean, I can’t have anything for
my pain?"</b></i> "Not until the tests have been completed," was their
unwelcome response. </p>
<p>I had been in the emergency room all day and was finally checked into the hospital as a
patient on Monday night the 30<sup>th</sup> of June where I stayed until my release on the
17<sup>th</sup> of July.</p>
<p>For several days after I was admitted, I was not given anything to eat or drink. I did
have an IV providing nourishment (they said) and I really was not the least bit hungry.
The previous days’ experience with food did not leave a very pleasant memory but boy,
was I ever thirsty? It’s interesting that I’ve never been to the point of thirst
so badly (and hope I never do again.) It has given me a whole new perspective on the story
in the Book of Luke where the rich young ruler, while in hell, ask that a finger just be
dipped in water and touched to his tongue to quench is terrible thirst. I was in that same
position (thirst…… not hell). I won’t say that some of the hospital staff
are like those from hell but I suspect some might have studied under the same instructors.</font><i><font SIZE="5"></p>
<p> </p>
<p><strong><font color="#FF0000">Tests…….. Tests……..
Tests…….</font></strong></font><font SIZE="4"></p>
<p>CAT Scans</i></p>
<p>My medical tests were no fun to live through and finding something funny in them was a
real effort. You know, the common household cat is a gentle creature. I realize that the
term "cat scan" has nothing to do with your feline friend but I now see that it
does poor kitty a real disservice to associate them with the this medical diagnostic tool.</p>
<p> </p>
<p>I had three separate CT scans, which were not quite as bad as some of the others in
that they don’t take too long to do. The preliminaries leading up to a visit to
"The CAT" are not much fun. I learned that any time the word came that I had a
CT scan coming that it meant several things:
<ol>
<li>I would have to have another IV port stuck into my hand or arm. I suppose there are some
folks who can be stuck one time and have a perfect stick. Not me……. every
time……EVERY time required multiple pokes and sometimes multiple pokes from
multiple pokers. I have become true holy man…… not a Hindu Holy Man, just a holy
man, poked full of holes. It I’d been hooked to a garden hose I could have easily
been used as a "soaker hose" like those which are deliberately made to leak.</li>
<li>I’d never had a CAT scan prior to my trip to the hospital and really didn’t
know what to think. I was vaguely aware of how one worked and basically what they looked
like. I knew it was somewhat like a doughnut where the patient is placed within the center
hole area. I was never aware of the exact size of the opening and I always thought that if
I every had to have one of these scans that the hole for the patient would be too small
for someone my size and they would have to "shoe-horn" me into the hole area. I
had the mental image that when they turned it on with me wedged in, that it might work for
a while but would ultimately start to spin me around rather violently.</li>
<li>Having a CAT Scan also meant drinking a wonderful little cocktail called "Two-Berry
Smoothie" which is about a quart of something you would NEVER intentionally pay for
to place in your mouth and certainly would never drink.</li>
<li>Nothing to eat or drink and no pain shot for at least 4 hours prior to the test. NOTE:
After several days as a patient, I was given small amounts of things to eat and
drink……. there are more comments on these gourmet menus, later in the article.</font></li>
</ol>
<p><font SIZE="5"><i> </p>
<p><font color="#FF0000"><strong>That Other Test:</strong></font></i></font><font SIZE="4"></p>
<p>The other, particularly unkind test is not one while has allowed its name to stick in
my mind. I did, however, see a couple of swastikas imprinted on the machinery and I
complimented the technician on her modern torture techniques. The thing which I do
remember about it --- I was told, shortly before being delivered to "IT" was
that it was a combination of two tests: the first would take an hour and I must remain
motionless for the full hour and the second which was 47 minutes and I must also remain
uncomfortable and motionless. The first task was easy (uncomfortable), the second not
nearly so easy. Just let me say (before all of the horrible memories rush back and causes
the keyboard to fail) that the tests (promised to take 1hour and 47minutes) took just over
4 hours and a half. </p>
<p>My wife, patiently waiting for my return to the room, was getting very nervous and had
already set up a plan with one of the floor nurses that if they didn’t hear any news
on me within the next 15 minutes that they make a trip to "the lower depths" of
the hospital and start checking Toe Tags for one with my name. I was finally returned just
prior to the expiration of that time period. It was one of the worst experiences of my
life.</p>
<p>Oddly enough, about 4 days later, the doctors said I should have a second run at this
fine piece of human torture. Same drill ---- nothing to eat, nothing to drink, no pain
shots for the 4 hours prior to the test. I was taken to the Nuclear Medicine area dreading
my next several hours and know there was nothing I could do to avoid it. In one of the
most wonderful events of fate in my entire life, the technician was just about the inject
something into my IV line when she noticed that one of my currently running IVs was
considered to be food and the test would have to be rescheduled for the next morning. Also
it was noted that the instructions had changed so now they required: nothing to eat or
drink for 8 hours prior to the test. Since I was set up to have the test as first thing in
the morning, this was not as big a problem. Late that evening, I was told that the test
had been cancelled and might be rescheduled. I was thrilled. I’m even more happy to
report that the test was never rescheduled and now that I’m out, there’s no way
I’m going back to take it.</p>
<p>I spent 17 days in the hospital and occupied a total of 4 different rooms. I had
started my stay on 5 south overlooking the heliports where I could see the helicopters
come and go. Then on July 4<sup>th</sup>, when there were only two of us patients in that
wing, they moved me to 5 west. I guess it was on Thursday the 10<sup>th</sup> that I was
suddenly packed up and moved without warning to a whole new section and on 3 north.
Several days later I was moved to 8 west where I finished my stay. I told those who
questioned why this would happen that I was actually in the "Witness Protection
Program."</p>
<p>As far as the reason for one of the moves (room 2 to room 3), that after an EKG I was
given which looked somewhat questionable, then they gave me a blood test that looked bad
(heart-wise) so the doctor wanted to monitor me. The floor on 3 north is the monitored
floor. The monitor consisted of four plain gray cables coming from a 2"x 3 1/2"
x 1" radio transmitter and running to several stick-on patches to my chest and side.
The transmitter was made by Hewlett-Packard and had the unit number HP M1400. Being the
radio nut that I am, I was curious to find the transmit frequency. I spent an hour or so
scanning frequencies with my VX-5R ham hand-held transceiver but was never able to track
it down. I asked my wife to bring my portable frequency counter from home so later in the
day, I easily found my frequency. My transmitter was on 468.3898 MHz. Now, having a good
starting place I was easily able to find it with the VX-5R. In fact, I could listen up and
down the band from there and hear the transmitters of other folks on the same floor. What
I heard was just a digital signal with no usable info for me as a listener but I enjoyed
the search.</p>
<p>The monitor transmitter was a neat idea and I’m sure it was a real improvement
over earlier monitoring schemes, which involved long wires attached between the patient
and the wall. The transmitter, however, dangled with its weight being supported by the
four sensor wires where it hung about a foot below one’s waist. That particular
location did require the wearer to be cautious and to pay particular attention to where it
was when they sleepily got up in the middle of the night.</font><font SIZE="5"><i></p>
<p> </p>
<p><font color="#FF0000"><strong>Ah…… Another Test ---- The ORCP</strong></font></i></font><font SIZE="4"></p>
<p>Later they decided that I should have a test which had been often mentioned but had
some possible "down sides." The test is identified as ORCP. I asked two
different doctors what that stood for and both told me (I think they said the same thing)
but it didn’t make any logical sense so for me to remember the true name of the test,
I couldn’t. To remember the letters I just called it, "Operating Room Chicken
Parts." </p>
<p>That test was run on Fri morning, the 11<sup>th</sup>. It involves knocking me out
(THANKFULLY) and inserting a tube down my goozle (throat), through the esophagus, past the
stomach and find the place where the gall bladder dumps into the small intestine. The test
went well and, fortunately, I had no extra problems from that and the doctor said he saw
"sludge" in that line. I asked him later if he had considered a can of BARDALL
'cause I was pretty sure I had heard it advertised as really good for sludge. The doctor
looked at me kinda funny…….. Several of my doctors look at me kinda funny, come
to think of it. </p>
<p>The general diagnosis, at this point, was Pancreaitis. Any time pancreaitis is
mentioned, to either medical or non-medical folks, the comment, which almost always
follows, is, "Oh that’s one of the most painful things you can have." I
can’t tell you what a warm fuzzy feeling that provided me but, even before those who
had shared that fine piece of medical information had done so, I was already getting
pretty suspicious. I know I had already placed it at the top of my "all time
favorites."</p>
<p>The gall bladder was also mentioned as a possible problem. There were several things
pointing to the problem but with multiple choices, none seemed to be enough to be the
definite culprit. It was still a guessing game and I was the "guessee."</p>
<p>As Saturday, the 12<sup>th</sup> arrives it looked as though they were narrowing down
the possibilities and saw a more definite plan of attack. Evidently they have heard from
my insurance company that they’re not going to pay any more so the words:
"conclusion" and "closure" are becoming more popular. Motivation seems
to take many forms.</p>
<p>As the 2<sup>nd</sup> week ended, it looked like the current plan was to remove my gall
bladder on Monday, the 14<sup>th</sup>. I asked whether they could save it for me and let
me use it for a coin purse but they say the answer is "no" and that it has to be
checked in the lab so I guess I have no response to that. I do know that if that thing
shows up for sale on E-Bay, I’m going to be really upset.</p>
<p>Mercy, the changes keep coming quickly. Now, as of Sunday morning, the 13<sup>th</sup>,
the gall bladder surgery is scheduled for one day later, on Tuesday, the Ides of July. The
doctor wants to have me run a heart stress test before I have the surgery. My temptation
was to say, "Hey, if I take my vehicle in for brakes I don’t expect to have the
transmission replaced." Thinking better of it, I chose not to make that
comment……. probably one of my wiser decisions. As physically down as I’ve
been the past couple of weeks, I hope they won’t expect me to catch up with Lance
Armstrong who is currently cycling through the French Alps.</p>
<p>As it turned out, my stress test did not involve any running or even activity on a
treadmill. It was all done as I lay pretty much flat on my back. It began with a sonogram
of my heart and I could watch it as they captured pieces of my heart’s activity.
During a slack time I asked the operator if that was actually a picture of my heart and he
assured me that it was. I asked him to identify the arrow that I see through hearts on
Valentine’s Day. He looked at kinda funny. Hmmmmmm….. I’ve seen that look
more than once before.</p>
<p>For the actual test, they introduced a drug into my system which speeded up my heart
and make it act as though I was running on the treadmill. Mighty interesting feelings as
that test ran and I really felt pooped afterward. The good news, however, was that they
gave me a good report on my heart, which was an unknown to me previously, so I began to
think that, perhaps, if I can somehow avoid stepping in front of MAC trucks that I might
still have a few more miles in me.</p>
<p>The next day, the 15<sup>th</sup>, was my day to be relieved of my gall bladder.
Nothing was definite, as far as time was concerned, as to when it would actually take
place but all were sure that it would be after 2:00 in the afternoon. Just after 11:00
that morning, I got the word that they were coming for me.</p>
<p>I recall just a few things from the operating room. I remember seeing the clock at just
about 12:00 noon before I remembered little else. I did think that I was sure going to
miss Paul Harvey on his noon radio program. My wife had told me that I would notice two
things in particular, that is, the operating room is very bright and is very cold.
Actually, what I did notice that it was very bright and was very cold.</p>
<p> The operation was done laproscopically, which means I only had about 4 small hole
in me rather than one big one. Supposed to be quicker, better, less painful and painful
for less time. With nothing to compare it with I can say that it was certainly quick but I
still don’t know about the pain part. I know it is pretty sore and hurts like crazy
to cough.</p>
<p>I heard someone say that the operation took about 53 minutes. I woke up in recovery and
was lucky to have my cousin, an RN who works in recovery, to keep a special eye out for
me. Only two memories remain with me from recovery: it was so busy that it reminded me of
a busy bus station, and I had a pain in my right shoulder that hurt about worse than
anything I’d ever seen. They explained to me what caused it and, although the reason
didn’t stick with me, it seemed to make some sense at the time. Also it only lasted
about 5-6 minutes.</p>
<p>The remainder of my hospital days saw quick improvement and I even got a few things
that were worth eating, including a hamburger on Tuesday evening. I don’t think
Burger King, Ron’s or McDonalds has to worry about the hospital food service driving
them out of business, it tasted pretty good when anything I could compare it with was
several weeks previous.</p>
<p>Today, Thursday the 17<sup>th</sup>, I know they were about to send me home when the
dietician came around and took my order for meals and even gave me some choices. It’s
a terrible game the hospital plays to plant those last thoughts in your mind that –
they let me choose what I wanted. Yeah, sure!</p>
<p>I only got to eat one of those meals I selected by myself.</p>
<p> </font><font SIZE="5"><i> </p>
<p><font color="#FF0000"><strong>Assorted Comments on a Long Hospital Stay:</strong></font></i></font><font SIZE="4"></p>
<p>One of the greatest inventions of medical science that I was able to be part of was
something called the "PICC" which stands for something like - Peripheral
Intra-venous C?? Catheter</p>
<p>It involves placing one or more tubes into a vein at the elbow and threading the tubes
up to an area just above the heart. It provides an easily accessible port for adding
"stuff" via IV or a port for drawing blood. I always thought the greatest
medical inventions would be a "skin zipper" for those who must be opened and
closed in the same area more than once. Another great invention would have been a rubber
plug added to the arm to add to and remove blood when that had to be done. The PICC is as
close to that rubber plug as you can find. When a lab tech comes in (at all times of the
day or night) and said, "Mr. Pickett…. I need to take some blood." Heck, I
just said, "Help yourself….. Take all you want……. I’ll make more.
Without the PICC, the lab tech would need to "stick" a vein (catch me if you can
[not me…. the vein]) each time a blood sample was needed. If that involves lab techs
taking blood 3 times a day (not uncommon) that’s a LOT of sticks. The PICC is
providing, essentially, a pre-poked port. The blood was removed from a plastic fitting
rather than a needle sticking in me. The PICC is such a wonderful thing that I told a
couple of the PICC techs that I thought I’d buy me a couple of them when I leave the
hospital, just to have handy. The PICC has to be checked daily to make sure both tubes
remain open and available. One is usually used for my nourishment (a milky-looking
substance, which just keeps coming and coming). The other is held open and available with
a saline solution. I’ve gotten so much saline solution during the past couple of
weeks that I keep finding myself singing old sea chanties.....many which start off with,
"Yo Ho Ho……."</p>
<p></font><font SIZE="5"><i> </p>
<p><font color="#FF0000"><strong>Assorted Observations in the Medical World:</strong></font></i></font><font SIZE="4"></p>
<p>1. Medical personnel are committed to early hours. I don’t see how they do it but
I’m glad they do.</p>
<p>2. Nurses and med. techs often like early hours and choose them because they can spend
more time with their families.</p>
<p>3. Doctors must really be committed to early hours. I suspect as a doctoral candidate
arrives at his or her first few days at that medical institute of higher learning, they
are handed a large stack of papers to read and sign. I’m quite sure one of that
documents says, in large letters, "Are you willing to get up extremely early in the
morning for 90% of the days of each week for 35 years in order to shower and leave your
family still sleeping and drive to the hospital in total darkness to see your
patients?"</p>
<p>If they cannot answer that one in the affirmative, they are automatically and
immediately washed out of the program.</p>
<p></font><font SIZE="5"><i> </p>
<p><font color="#FF0000"><strong>Other Doctor Observations:</strong></font>
<ol>
</i></font><font SIZE="4">
<li>Doctors seemed in their youth to be very much influenced by Pillsbury Doughboy
commercials.</li>
<li>When a doctor is listening with a stethoscope, to your various "body sounds"
have you noticed how often they move it to different spot, listen a while and say,
"Uh huh." Uh huh has long been regarded as an answer in the affirmative. Do you
suppose someONE is actually inside there, asking the doctor questions?</li>
<li>There were a couple of times that I was tempted to stop one of my doctors in his tracks
after he just told me that "……. Indications seem to be pointing to
‘adfsdlkjkj;ladlk;lkj askjlkjadkll;adsdslkj adfklj;lkjadfkjadf" and
say,"Can you spell that?," or "I’ll bet you can’t repeat that 5
times and say it the same way each time," or "How much seasoning is required on
that?"</li>
<li>Doctors have to be good poker players. By the time they become master doctors, they are
also master pokers.</li>
</ol>
<p></font><font SIZE="5"><i> </p>
<p><font color="#FF0000"><strong>Other Hospital Observations:</strong></font></i></font><font SIZE="4">
<ol>
<li>Could someone please check for me, the dieticians and food service folks as they’re
coming in to work and see if they are carrying their own lunch bucket? I certainly have my
opinions; I just can’t prove it, at this time.</li>
<li>When it’s 2:15AM and the nurse removes a small IV bag of depleted anti-biotic,
wouldn’t good logic tell them that when they release said debris from a height of
greater than 4 feet above a steel trash can, that the resulting clatter will tend to
awaken the patient to a higher state of consciousness than is absolutely necessary. I
suspect that the reason the nurse did this (on numerous occasions) was that she had not
been assigned her first or second choice of working hours.</li>
<li>When the hospital began sending me my "Breakfast, Lunch, and Supper" (actually
known as a liquid diet) I was flabbergasted that they always included several small
packets of Sugar, even though I am a diabetic and the doctors and nurses all knew that I
am a diabetic. They could never, however, convince the kitchen that this was not a good
idea. To add fuel to the fire, my menu, which was always included and showed each item
they included in the "shipment," not only said Sugar but also even included an
additional line for "<b>Extra Sugar</b>." I look at this kinda like placing a
person on depression-watch or suicide watch and adding to their order "<b>Extra
Bullets</b>." I spent a while trying to come up with the logic behind it and finally
concluded – there is no logic.</li>
</ol>
<p> </p>
<p>Interesting thing on Saturday, July 13.</p>
<p>Since I am diabetic and need to keep my blood sugar in check, it requires checking my
blood sugar several times a day. People who must lance their fingers to get a drop of
blood know it becomes more difficult, day by day and week by week, to find a good unstuck
place on one’s fingers. It becomes harder and harder to find a place which yields a
sufficient quantity of blood for the sample. The possibility of lancing into a nerve
becomes more possible each time you do it. (OUCH!)</p>
<p>Saturday evening, a nurse tech came in to get a blood sample. I asked her if there was
a reason she couldn’t take it from my toes since my poor old fingers were in such bad
shape. She said, "heck no, if that’s what you want. It’s all connected to
the same pipelines inside." Did I want her to do that? Absolutely! A hidden reason
was, because of my diabetes; I also have Neuropathy, which means I have good pulse and
circulation in my feet but very little feeling in my feet. She fired the lance to get a
drop of blood and it was great. Absolutely no feeling and plenty of blood for the sample.</p>
<p>I had asked several other nurses if they could use my feet instead and they had just
looked at me funny. I find lots of people here at the hospital, look at me funny. I guess
they’ve never seen a retired school teacher before. </p>
<p>When she came in in the middle of the night for a blood sugar sample, she asked if I
still wanted her to use my toes. Absolutely! Now as Sunday has come and gone and many more
samples have been made, all have been from my toes and I have not felt a single stick. I
hear the spring-loaded lance go off but feel nothing. I considered that an excellent
solution of one of my problems. From the first time they tried it, I never had another
finger touched. All samples were taken from my toes.</p>
<p>It’s also going to take me a while, once I’m home, to read through my email.
My 10 meg mailbox has taken quite a hit and seems to have filled about a week before I got
to it. If you sent me a message and it bounced, please try again. I’m not mad at
anybody and refusing their email.</p>
<p>To those who were aware of my situation and didn’t shout aloud, "Serves him
right!," I am grateful. For those who offered thoughts and prayers, thank you so
much………. it worked…….then I knew it would.</p>
<p>Thanks to all and for all,</p>
<p>Jim – K5LAD</p>
<p>July 17, 2003</font></p>
<p><font color="#800000"><strong>Comments? You can e-mail me --</strong></font>
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The Gall Bladder Story
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Jim’s Hospital Journal
Seems like I’m always making excuses for not been so active on the "Funnies
List" and some folks tell me they actually miss their "fix" of funnies.
Circumstances sometimes do not allow for providing an advanced warning of problems which
pop up…… problems which take a person completely out of the picture, funnies and
all. Some of the folks on my list discovered my disappearance and the reason but others
just saw me disappear.
Suffice it to say, I have been in the hospital from Monday, June 30, until Thursday,
July 17. For someone who has seldom been in a hospital, this was quite an eye-opening
experience. These have not been happy times, however, I’ve tried to put together a
semi-detailed description of my past couple of week’s activities. Being the
strange-humored person that I am, I tried to find the funnier things in my visit and to
place a humorous twist on events, which were neither pleasant nor funny. I just happen to
believe that humor can be found in the most humorless events of a person’s life. My
journal was not meant to be a fine-tuned piece of literary magic but rather a reminder to
me that there really were some funny things in my 17-day vacation of mucho pain. I plan to
upload it to the following spot on my web page.
\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*
It was a dark and stormy night, late on Saturday, June 29; I began feeling less than
chipper. I had quite a pain in my stomach area and since that’s a rather large area,
it was a rather large pain. I decided to go to bed earlier than usual, hoping to
"sleep it off."
Next morning in church, I was hurting so badly that I was unable to stand during all
the times they asked. Gloria and I had arranged to meet an old high school friend and his
wife for lunch. I told them I was off my feed a bit but did manage to get down a smaller
salad and visit with them at the house, afterward. After a good visit and we said our
good-byes, I knew things were getting "more worser and more worser." As
each hour went by, I didn’t think I could feel any worse, however, each hour I knew I
had been wrong.
From that point on, I got to be on very good terms with anything which was either food
or drink since I was able to see it twice. Everything that crossed my mouth did so
bi-directionally. I became the poster child for nausea, and served that position as well
as anyone had ever done before.
Sunday evening, Gloria offered, several times, to take me to the hospital
emergency room. I declined…….. I was wrong…….. I have learned my
lesson . On Monday morning I called my doctor and he seemed much more concerned than with
any of the other few times I have called him. His instructions were to get to the
emergency room ASAP. Hmmmmmm where had I heard those same instructions……?
Tests all day……. ***"What do you mean, I can’t have anything for
my pain?"*** "Not until the tests have been completed," was their
unwelcome response.
I had been in the emergency room all day and was finally checked into the hospital as a
patient on Monday night the 30th of June where I stayed until my release on the
17th of July.
For several days after I was admitted, I was not given anything to eat or drink. I did
have an IV providing nourishment (they said) and I really was not the least bit hungry.
The previous days’ experience with food did not leave a very pleasant memory but boy,
was I ever thirsty? It’s interesting that I’ve never been to the point of thirst
so badly (and hope I never do again.) It has given me a whole new perspective on the story
in the Book of Luke where the rich young ruler, while in hell, ask that a finger just be
dipped in water and touched to his tongue to quench is terrible thirst. I was in that same
position (thirst…… not hell). I won’t say that some of the hospital staff
are like those from hell but I suspect some might have studied under the same instructors.***Tests…….. Tests……..
Tests…….**
CAT Scans*
My medical tests were no fun to live through and finding something funny in them was a
real effort. You know, the common household cat is a gentle creature. I realize that the
term "cat scan" has nothing to do with your feline friend but I now see that it
does poor kitty a real disservice to associate them with the this medical diagnostic tool.
I had three separate CT scans, which were not quite as bad as some of the others in
that they don’t take too long to do. The preliminaries leading up to a visit to
"The CAT" are not much fun. I learned that any time the word came that I had a
CT scan coming that it meant several things:
1. I would have to have another IV port stuck into my hand or arm. I suppose there are some
folks who can be stuck one time and have a perfect stick. Not me……. every
time……EVERY time required multiple pokes and sometimes multiple pokes from
multiple pokers. I have become true holy man…… not a Hindu Holy Man, just a holy
man, poked full of holes. It I’d been hooked to a garden hose I could have easily
been used as a "soaker hose" like those which are deliberately made to leak.
2. I’d never had a CAT scan prior to my trip to the hospital and really didn’t
know what to think. I was vaguely aware of how one worked and basically what they looked
like. I knew it was somewhat like a doughnut where the patient is placed within the center
hole area. I was never aware of the exact size of the opening and I always thought that if
I every had to have one of these scans that the hole for the patient would be too small
for someone my size and they would have to "shoe-horn" me into the hole area. I
had the mental image that when they turned it on with me wedged in, that it might work for
a while but would ultimately start to spin me around rather violently.
3. Having a CAT Scan also meant drinking a wonderful little cocktail called "Two-Berry
Smoothie" which is about a quart of something you would NEVER intentionally pay for
to place in your mouth and certainly would never drink.
4. Nothing to eat or drink and no pain shot for at least 4 hours prior to the test. NOTE:
After several days as a patient, I was given small amounts of things to eat and
drink……. there are more comments on these gourmet menus, later in the article.
**That Other Test:**
The other, particularly unkind test is not one while has allowed its name to stick in
my mind. I did, however, see a couple of swastikas imprinted on the machinery and I
complimented the technician on her modern torture techniques. The thing which I do
remember about it --- I was told, shortly before being delivered to "IT" was
that it was a combination of two tests: the first would take an hour and I must remain
motionless for the full hour and the second which was 47 minutes and I must also remain
uncomfortable and motionless. The first task was easy (uncomfortable), the second not
nearly so easy. Just let me say (before all of the horrible memories rush back and causes
the keyboard to fail) that the tests (promised to take 1hour and 47minutes) took just over
4 hours and a half.
My wife, patiently waiting for my return to the room, was getting very nervous and had
already set up a plan with one of the floor nurses that if they didn’t hear any news
on me within the next 15 minutes that they make a trip to "the lower depths" of
the hospital and start checking Toe Tags for one with my name. I was finally returned just
prior to the expiration of that time period. It was one of the worst experiences of my
life.
Oddly enough, about 4 days later, the doctors said I should have a second run at this
fine piece of human torture. Same drill ---- nothing to eat, nothing to drink, no pain
shots for the 4 hours prior to the test. I was taken to the Nuclear Medicine area dreading
my next several hours and know there was nothing I could do to avoid it. In one of the
most wonderful events of fate in my entire life, the technician was just about the inject
something into my IV line when she noticed that one of my currently running IVs was
considered to be food and the test would have to be rescheduled for the next morning. Also
it was noted that the instructions had changed so now they required: nothing to eat or
drink for 8 hours prior to the test. Since I was set up to have the test as first thing in
the morning, this was not as big a problem. Late that evening, I was told that the test
had been cancelled and might be rescheduled. I was thrilled. I’m even more happy to
report that the test was never rescheduled and now that I’m out, there’s no way
I’m going back to take it.
I spent 17 days in the hospital and occupied a total of 4 different rooms. I had
started my stay on 5 south overlooking the heliports where I could see the helicopters
come and go. Then on July 4th, when there were only two of us patients in that
wing, they moved me to 5 west. I guess it was on Thursday the 10th that I was
suddenly packed up and moved without warning to a whole new section and on 3 north.
Several days later I was moved to 8 west where I finished my stay. I told those who
questioned why this would happen that I was actually in the "Witness Protection
Program."
As far as the reason for one of the moves (room 2 to room 3), that after an EKG I was
given which looked somewhat questionable, then they gave me a blood test that looked bad
(heart-wise) so the doctor wanted to monitor me. The floor on 3 north is the monitored
floor. The monitor consisted of four plain gray cables coming from a 2"x 3 1/2"
x 1" radio transmitter and running to several stick-on patches to my chest and side.
The transmitter was made by Hewlett-Packard and had the unit number HP M1400. Being the
radio nut that I am, I was curious to find the transmit frequency. I spent an hour or so
scanning frequencies with my VX-5R ham hand-held transceiver but was never able to track
it down. I asked my wife to bring my portable frequency counter from home so later in the
day, I easily found my frequency. My transmitter was on 468.3898 MHz. Now, having a good
starting place I was easily able to find it with the VX-5R. In fact, I could listen up and
down the band from there and hear the transmitters of other folks on the same floor. What
I heard was just a digital signal with no usable info for me as a listener but I enjoyed
the search.
The monitor transmitter was a neat idea and I’m sure it was a real improvement
over earlier monitoring schemes, which involved long wires attached between the patient
and the wall. The transmitter, however, dangled with its weight being supported by the
four sensor wires where it hung about a foot below one’s waist. That particular
location did require the wearer to be cautious and to pay particular attention to where it
was when they sleepily got up in the middle of the night.
**Ah…… Another Test ---- The ORCP**
Later they decided that I should have a test which had been often mentioned but had
some possible "down sides." The test is identified as ORCP. I asked two
different doctors what that stood for and both told me (I think they said the same thing)
but it didn’t make any logical sense so for me to remember the true name of the test,
I couldn’t. To remember the letters I just called it, "Operating Room Chicken
Parts."
That test was run on Fri morning, the 11th. It involves knocking me out
(THANKFULLY) and inserting a tube down my goozle (throat), through the esophagus, past the
stomach and find the place where the gall bladder dumps into the small intestine. The test
went well and, fortunately, I had no extra problems from that and the doctor said he saw
"sludge" in that line. I asked him later if he had considered a can of BARDALL
'cause I was pretty sure I had heard it advertised as really good for sludge. The doctor
looked at me kinda funny…….. Several of my doctors look at me kinda funny, come
to think of it.
The general diagnosis, at this point, was Pancreaitis. Any time pancreaitis is
mentioned, to either medical or non-medical folks, the comment, which almost always
follows, is, "Oh that’s one of the most painful things you can have." I
can’t tell you what a warm fuzzy feeling that provided me but, even before those who
had shared that fine piece of medical information had done so, I was already getting
pretty suspicious. I know I had already placed it at the top of my "all time
favorites."
The gall bladder was also mentioned as a possible problem. There were several things
pointing to the problem but with multiple choices, none seemed to be enough to be the
definite culprit. It was still a guessing game and I was the "guessee."
As Saturday, the 12th arrives it looked as though they were narrowing down
the possibilities and saw a more definite plan of attack. Evidently they have heard from
my insurance company that they’re not going to pay any more so the words:
"conclusion" and "closure" are becoming more popular. Motivation seems
to take many forms.
As the 2nd week ended, it looked like the current plan was to remove my gall
bladder on Monday, the 14th. I asked whether they could save it for me and let
me use it for a coin purse but they say the answer is "no" and that it has to be
checked in the lab so I guess I have no response to that. I do know that if that thing
shows up for sale on E-Bay, I’m going to be really upset.
Mercy, the changes keep coming quickly. Now, as of Sunday morning, the 13th,
the gall bladder surgery is scheduled for one day later, on Tuesday, the Ides of July. The
doctor wants to have me run a heart stress test before I have the surgery. My temptation
was to say, "Hey, if I take my vehicle in for brakes I don’t expect to have the
transmission replaced." Thinking better of it, I chose not to make that
comment……. probably one of my wiser decisions. As physically down as I’ve
been the past couple of weeks, I hope they won’t expect me to catch up with Lance
Armstrong who is currently cycling through the French Alps.
As it turned out, my stress test did not involve any running or even activity on a
treadmill. It was all done as I lay pretty much flat on my back. It began with a sonogram
of my heart and I could watch it as they captured pieces of my heart’s activity.
During a slack time I asked the operator if that was actually a picture of my heart and he
assured me that it was. I asked him to identify the arrow that I see through hearts on
Valentine’s Day. He looked at kinda funny. Hmmmmmm….. I’ve seen that look
more than once before.
For the actual test, they introduced a drug into my system which speeded up my heart
and make it act as though I was running on the treadmill. Mighty interesting feelings as
that test ran and I really felt pooped afterward. The good news, however, was that they
gave me a good report on my heart, which was an unknown to me previously, so I began to
think that, perhaps, if I can somehow avoid stepping in front of MAC trucks that I might
still have a few more miles in me.
The next day, the 15th, was my day to be relieved of my gall bladder.
Nothing was definite, as far as time was concerned, as to when it would actually take
place but all were sure that it would be after 2:00 in the afternoon. Just after 11:00
that morning, I got the word that they were coming for me.
I recall just a few things from the operating room. I remember seeing the clock at just
about 12:00 noon before I remembered little else. I did think that I was sure going to
miss Paul Harvey on his noon radio program. My wife had told me that I would notice two
things in particular, that is, the operating room is very bright and is very cold.
Actually, what I did notice that it was very bright and was very cold.
The operation was done laproscopically, which means I only had about 4 small hole
in me rather than one big one. Supposed to be quicker, better, less painful and painful
for less time. With nothing to compare it with I can say that it was certainly quick but I
still don’t know about the pain part. I know it is pretty sore and hurts like crazy
to cough.
I heard someone say that the operation took about 53 minutes. I woke up in recovery and
was lucky to have my cousin, an RN who works in recovery, to keep a special eye out for
me. Only two memories remain with me from recovery: it was so busy that it reminded me of
a busy bus station, and I had a pain in my right shoulder that hurt about worse than
anything I’d ever seen. They explained to me what caused it and, although the reason
didn’t stick with me, it seemed to make some sense at the time. Also it only lasted
about 5-6 minutes.
The remainder of my hospital days saw quick improvement and I even got a few things
that were worth eating, including a hamburger on Tuesday evening. I don’t think
Burger King, Ron’s or McDonalds has to worry about the hospital food service driving
them out of business, it tasted pretty good when anything I could compare it with was
several weeks previous.
Today, Thursday the 17th, I know they were about to send me home when the
dietician came around and took my order for meals and even gave me some choices. It’s
a terrible game the hospital plays to plant those last thoughts in your mind that –
they let me choose what I wanted. Yeah, sure!
I only got to eat one of those meals I selected by myself.
**Assorted Comments on a Long Hospital Stay:**
One of the greatest inventions of medical science that I was able to be part of was
something called the "PICC" which stands for something like - Peripheral
Intra-venous C?? Catheter
It involves placing one or more tubes into a vein at the elbow and threading the tubes
up to an area just above the heart. It provides an easily accessible port for adding
"stuff" via IV or a port for drawing blood. I always thought the greatest
medical inventions would be a "skin zipper" for those who must be opened and
closed in the same area more than once. Another great invention would have been a rubber
plug added to the arm to add to and remove blood when that had to be done. The PICC is as
close to that rubber plug as you can find. When a lab tech comes in (at all times of the
day or night) and said, "Mr. Pickett…. I need to take some blood." Heck, I
just said, "Help yourself….. Take all you want……. I’ll make more.
Without the PICC, the lab tech would need to "stick" a vein (catch me if you can
[not me…. the vein]) each time a blood sample was needed. If that involves lab techs
taking blood 3 times a day (not uncommon) that’s a LOT of sticks. The PICC is
providing, essentially, a pre-poked port. The blood was removed from a plastic fitting
rather than a needle sticking in me. The PICC is such a wonderful thing that I told a
couple of the PICC techs that I thought I’d buy me a couple of them when I leave the
hospital, just to have handy. The PICC has to be checked daily to make sure both tubes
remain open and available. One is usually used for my nourishment (a milky-looking
substance, which just keeps coming and coming). The other is held open and available with
a saline solution. I’ve gotten so much saline solution during the past couple of
weeks that I keep finding myself singing old sea chanties.....many which start off with,
"Yo Ho Ho……."
**Assorted Observations in the Medical World:**
1. Medical personnel are committed to early hours. I don’t see how they do it but
I’m glad they do.
2. Nurses and med. techs often like early hours and choose them because they can spend
more time with their families.
3. Doctors must really be committed to early hours. I suspect as a doctoral candidate
arrives at his or her first few days at that medical institute of higher learning, they
are handed a large stack of papers to read and sign. I’m quite sure one of that
documents says, in large letters, "Are you willing to get up extremely early in the
morning for 90% of the days of each week for 35 years in order to shower and leave your
family still sleeping and drive to the hospital in total darkness to see your
patients?"
If they cannot answer that one in the affirmative, they are automatically and
immediately washed out of the program.
**Other Doctor Observations:**
- Doctors seemed in their youth to be very much influenced by Pillsbury Doughboy
commercials.
- When a doctor is listening with a stethoscope, to your various "body sounds"
have you noticed how often they move it to different spot, listen a while and say,
"Uh huh." Uh huh has long been regarded as an answer in the affirmative. Do you
suppose someONE is actually inside there, asking the doctor questions?
- There were a couple of times that I was tempted to stop one of my doctors in his tracks
after he just told me that "……. Indications seem to be pointing to
‘adfsdlkjkj;ladlk;lkj askjlkjadkll;adsdslkj adfklj;lkjadfkjadf" and
say,"Can you spell that?," or "I’ll bet you can’t repeat that 5
times and say it the same way each time," or "How much seasoning is required on
that?"
- Doctors have to be good poker players. By the time they become master doctors, they are
also master pokers.
**Other Hospital Observations:**
1. Could someone please check for me, the dieticians and food service folks as they’re
coming in to work and see if they are carrying their own lunch bucket? I certainly have my
opinions; I just can’t prove it, at this time.
2. When it’s 2:15AM and the nurse removes a small IV bag of depleted anti-biotic,
wouldn’t good logic tell them that when they release said debris from a height of
greater than 4 feet above a steel trash can, that the resulting clatter will tend to
awaken the patient to a higher state of consciousness than is absolutely necessary. I
suspect that the reason the nurse did this (on numerous occasions) was that she had not
been assigned her first or second choice of working hours.
3. When the hospital began sending me my "Breakfast, Lunch, and Supper" (actually
known as a liquid diet) I was flabbergasted that they always included several small
packets of Sugar, even though I am a diabetic and the doctors and nurses all knew that I
am a diabetic. They could never, however, convince the kitchen that this was not a good
idea. To add fuel to the fire, my menu, which was always included and showed each item
they included in the "shipment," not only said Sugar but also even included an
additional line for "**Extra Sugar**." I look at this kinda like placing a
person on depression-watch or suicide watch and adding to their order "**Extra
Bullets**." I spent a while trying to come up with the logic behind it and finally
concluded – there is no logic.
Interesting thing on Saturday, July 13.
Since I am diabetic and need to keep my blood sugar in check, it requires checking my
blood sugar several times a day. People who must lance their fingers to get a drop of
blood know it becomes more difficult, day by day and week by week, to find a good unstuck
place on one’s fingers. It becomes harder and harder to find a place which yields a
sufficient quantity of blood for the sample. The possibility of lancing into a nerve
becomes more possible each time you do it. (OUCH!)
Saturday evening, a nurse tech came in to get a blood sample. I asked her if there was
a reason she couldn’t take it from my toes since my poor old fingers were in such bad
shape. She said, "heck no, if that’s what you want. It’s all connected to
the same pipelines inside." Did I want her to do that? Absolutely! A hidden reason
was, because of my diabetes; I also have Neuropathy, which means I have good pulse and
circulation in my feet but very little feeling in my feet. She fired the lance to get a
drop of blood and it was great. Absolutely no feeling and plenty of blood for the sample.
I had asked several other nurses if they could use my feet instead and they had just
looked at me funny. I find lots of people here at the hospital, look at me funny. I guess
they’ve never seen a retired school teacher before.
When she came in in the middle of the night for a blood sugar sample, she asked if I
still wanted her to use my toes. Absolutely! Now as Sunday has come and gone and many more
samples have been made, all have been from my toes and I have not felt a single stick. I
hear the spring-loaded lance go off but feel nothing. I considered that an excellent
solution of one of my problems. From the first time they tried it, I never had another
finger touched. All samples were taken from my toes.
It’s also going to take me a while, once I’m home, to read through my email.
My 10 meg mailbox has taken quite a hit and seems to have filled about a week before I got
to it. If you sent me a message and it bounced, please try again. I’m not mad at
anybody and refusing their email.
To those who were aware of my situation and didn’t shout aloud, "Serves him
right!," I am grateful. For those who offered thoughts and prayers, thank you so
much………. it worked…….then I knew it would.
Thanks to all and for all,
Jim – K5LAD
July 17, 2003
**Comments? You can e-mail me --**
<mailto:k5lad@arrl.net>
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Instant Talk Show!
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<html>
<head><title>Star Drag: The Next Degeneration</title>
</head>
<body bgcolor="#035860" text="#C0C0C0" link="#ff8000" vlink="#A4A4A4">
<h1>Star Drag: The Next Degeneration</h1>
<p>
Star Drag stories are fictional tales inspired by <em>Star Trek</em> and
Björk. They're conceived and written by <strong>Thomas Stevens</strong>.
</p>
<p>Starring in episode...</p>
<ul>
<li><em><a href="episode1.htm">The Bjork Vessel</a></em></li>
<li><em><a href="episode2.htm">The Living Universe</a></em></li>
<li><em><a href="episode3.htm">Waiting For Yesterday</a></em></li>
</ul>
<h2>Download</h2>
<table border="1" cellpadding="1">
<tr>
<th>Type</th>
<th>Format</th>
<th>Size</th>
<th>Episode Title</th>
</tr>
<tr>
<td><a href="files/sd1.htm">Text</a></td>
<td>HTML</td>
<td>057 KB</td>
<td>The Bjork Vessel</td>
</tr>
<tr>
<td><a href="files/sd2.htm">Text</a></td>
<td>HTML</td>
<td>158 KB</td>
<td>The Living Universe</td>
</tr>
<tr>
<td><a href="files/sd3.htm">Text</a></td>
<td>HTML</td>
<td>161 KB</td>
<td>Waiting For Yesterday</td>
</tr>
</table>
<h2>Pictures</h2>
<h3>Characters in 3D</h3>
<table border="1" cellpadding="1">
<tr>
<th>Type</th>
<th>Format</th>
<th>Size</th>
<th>Description</th>
</tr>
<tr>
<td><a href="files/pics/3d/beta.jpg">Picture</a></td>
<td>JPEG</td>
<td>101 KB</td>
<td>Lieutenant-Commander Beta</td>
</tr>
<tr>
<td><a href="files/pics/3d/brynn.jpg">Picture</a></td>
<td>JPEG</td>
<td>114 KB</td>
<td>Admiral Nerana Brynn</td>
</tr>
<tr>
<td><a href="files/pics/3d/brynnsoffice.jpg">Picture</a></td>
<td>JPEG</td>
<td>208 KB</td>
<td>Brynn's Office</td>
</tr>
<tr>
<td><a href="files/pics/3d/cue.jpg">Picture</a></td>
<td>JPEG</td>
<td>077 KB</td>
<td>Cue</td>
</tr>
<tr>
<td><a href="files/pics/3d/hemp.jpg">Picture</a></td>
<td>JPEG</td>
<td>101 KB</td>
<td>Holographic Emergency Medical Program</td>
</tr>
<tr>
<td><a href="files/pics/3d/lagorge.jpg">Picture</a></td>
<td>JPEG</td>
<td>104 KB</td>
<td>Lieutenant-Commander Jordi LaGorge</td>
</tr>
<tr>
<td><a href="files/pics/3d/morf.jpg">Picture</a></td>
<td>JPEG</td>
<td>106 KB</td>
<td>Lieutenant Morf</td>
</tr>
<tr>
<td><a href="files/pics/3d/myway.jpg">Picture</a></td>
<td>JPEG</td>
<td>101 KB</td>
<td>Captain Jane Myway</td>
</tr>
<tr>
<td><a href="files/pics/3d/piker.jpg">Picture</a></td>
<td>JPEG</td>
<td>100 KB</td>
<td>Commander Bill Piker</td>
</tr>
<tr>
<td><a href="files/pics/3d/ricard.jpg">Picture</a></td>
<td>JPEG</td>
<td>099 KB</td>
<td>Captain John-Luke Ricard</td>
</tr>
<tr>
<td><a href="files/pics/3d/yun.jpg">Picture</a></td>
<td>JPEG</td>
<td>105 KB</td>
<td>Ensign Bjani Yun</td>
</tr>
</table>
<h3>Other Pictures</h3>
<table border="1" cellpadding="1">
<tr>
<th>Type</th>
<th>Format</th>
<th>Size</th>
<th>Description</th>
</tr>
<tr>
<td><a href="files/pics/fight.jpg">Picture</a></td>
<td>JPEG</td>
<td>223 KB</td>
<td>Star Drag: The Slow-Motion Picture</td>
</tr>
<tr>
<td><a href="files/pics/sdcover.jpg">Picture</a></td>
<td>JPEG</td>
<td>168 KB</td>
<td>Star Drag Cover</td>
</tr>
<tr>
<td><a href="files/pics/sdlogo.jpg">Picture</a></td>
<td>JPEG</td>
<td>199 KB</td>
<td>Star Drag Logo</td>
</tr>
<tr>
<td><a href="files/pics/sdcartoon1.jpg">Picture</a></td>
<td>JPEG</td>
<td>140 KB</td>
<td>Star Drag Cartoon</td>
</tr>
<tr>
<td><a href="files/pics/sdcartoon2.jpg">Picture</a></td>
<td>JPEG</td>
<td>135 KB</td>
<td>Star Drag Cartoon</td>
</tr>
<tr>
<td><a href="files/pics/sdcartoon3.jpg">Picture</a></td>
<td>JPEG</td>
<td>145 KB</td>
<td>Star Drag Cartoon</td>
</tr>
<tr>
<td><a href="files/pics/sdcartoon4.jpg">Picture</a></td>
<td>JPEG</td>
<td>039 KB</td>
<td>Star Drag Cartoon</td>
</tr>
<tr>
<td><a href="files/pics/brynn.jpg">Picture</a></td>
<td>JPEG</td>
<td>040 KB</td>
<td>Brynn</td>
</tr>
<tr>
<td><a href="files/pics/nebula.jpg">Picture</a></td>
<td>JPEG</td>
<td>015 KB</td>
<td>Nebula</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeat.jpg">Picture</a></td>
<td>JPEG</td>
<td>188 KB</td>
<td>Lesserprize A (Top View)</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeatc.jpg">Picture</a></td>
<td>JPEG</td>
<td>288 KB</td>
<td>Lesserprize A + Comments (Top View)</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeab.jpg">Picture</a></td>
<td>JPEG</td>
<td>205 KB</td>
<td>Lesserprize A (Bottom View)</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeabc.jpg">Picture</a></td>
<td>JPEG</td>
<td>240 KB</td>
<td>Lesserprize A + Comments (Bottom View)</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeb.jpg">Picture</a></td>
<td>JPEG</td>
<td>204 KB</td>
<td>Lesserprize B</td>
</tr>
<tr>
<td><a href="files/pics/lesserprizeblogo.jpg">Picture</a></td>
<td>JPEG</td>
<td>276 KB</td>
<td>Lesserprize B + Logo</td>
</tr>
</table>
<p>back to <a href="../bfiles.htm">The Björk Files</a></p>
<p align="right"><a href="https://14142.net/bjork/about.htm">about</a></p>
</body></html>
|
Star Drag: The Next Degeneration
# Star Drag: The Next Degeneration
Star Drag stories are fictional tales inspired by *Star Trek* and
Björk. They're conceived and written by **Thomas Stevens**.
Starring in episode...
* *[The Bjork Vessel](episode1.htm)*
* *[The Living Universe](episode2.htm)*
* *[Waiting For Yesterday](episode3.htm)*
## Download
| Type | Format | Size | Episode Title |
| --- | --- | --- | --- |
| [Text](files/sd1.htm) | HTML | 057 KB | The Bjork Vessel |
| [Text](files/sd2.htm) | HTML | 158 KB | The Living Universe |
| [Text](files/sd3.htm) | HTML | 161 KB | Waiting For Yesterday |
## Pictures
### Characters in 3D
| Type | Format | Size | Description |
| --- | --- | --- | --- |
| [Picture](files/pics/3d/beta.jpg) | JPEG | 101 KB | Lieutenant-Commander Beta |
| [Picture](files/pics/3d/brynn.jpg) | JPEG | 114 KB | Admiral Nerana Brynn |
| [Picture](files/pics/3d/brynnsoffice.jpg) | JPEG | 208 KB | Brynn's Office |
| [Picture](files/pics/3d/cue.jpg) | JPEG | 077 KB | Cue |
| [Picture](files/pics/3d/hemp.jpg) | JPEG | 101 KB | Holographic Emergency Medical Program |
| [Picture](files/pics/3d/lagorge.jpg) | JPEG | 104 KB | Lieutenant-Commander Jordi LaGorge |
| [Picture](files/pics/3d/morf.jpg) | JPEG | 106 KB | Lieutenant Morf |
| [Picture](files/pics/3d/myway.jpg) | JPEG | 101 KB | Captain Jane Myway |
| [Picture](files/pics/3d/piker.jpg) | JPEG | 100 KB | Commander Bill Piker |
| [Picture](files/pics/3d/ricard.jpg) | JPEG | 099 KB | Captain John-Luke Ricard |
| [Picture](files/pics/3d/yun.jpg) | JPEG | 105 KB | Ensign Bjani Yun |
### Other Pictures
| Type | Format | Size | Description |
| --- | --- | --- | --- |
| [Picture](files/pics/fight.jpg) | JPEG | 223 KB | Star Drag: The Slow-Motion Picture |
| [Picture](files/pics/sdcover.jpg) | JPEG | 168 KB | Star Drag Cover |
| [Picture](files/pics/sdlogo.jpg) | JPEG | 199 KB | Star Drag Logo |
| [Picture](files/pics/sdcartoon1.jpg) | JPEG | 140 KB | Star Drag Cartoon |
| [Picture](files/pics/sdcartoon2.jpg) | JPEG | 135 KB | Star Drag Cartoon |
| [Picture](files/pics/sdcartoon3.jpg) | JPEG | 145 KB | Star Drag Cartoon |
| [Picture](files/pics/sdcartoon4.jpg) | JPEG | 039 KB | Star Drag Cartoon |
| [Picture](files/pics/brynn.jpg) | JPEG | 040 KB | Brynn |
| [Picture](files/pics/nebula.jpg) | JPEG | 015 KB | Nebula |
| [Picture](files/pics/lesserprizeat.jpg) | JPEG | 188 KB | Lesserprize A (Top View) |
| [Picture](files/pics/lesserprizeatc.jpg) | JPEG | 288 KB | Lesserprize A + Comments (Top View) |
| [Picture](files/pics/lesserprizeab.jpg) | JPEG | 205 KB | Lesserprize A (Bottom View) |
| [Picture](files/pics/lesserprizeabc.jpg) | JPEG | 240 KB | Lesserprize A + Comments (Bottom View) |
| [Picture](files/pics/lesserprizeb.jpg) | JPEG | 204 KB | Lesserprize B |
| [Picture](files/pics/lesserprizeblogo.jpg) | JPEG | 276 KB | Lesserprize B + Logo |
back to [The Björk Files](../bfiles.htm)
[about](https://14142.net/bjork/about.htm)
| https://14142.net/bjork/sd/sd.htm |
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<td valign="bottom" height="30" colspan="2" width="819"><font face="Verdana, Arial, sans-serif, µ¸¿òü" size="2" color="#FFFFFF">only
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| ÌÔõæ!¿ù°£Á¶¼±/5´ë
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<title>The REAL Windoze 98 Setup</title>
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<center><a href="../index.html"><img SRC="../graphics/barhome.gif" ALT="Home" NOSAVE BORDER=0 height=23 width=75></a><a href="index.html"><img SRC="../graphics/barevil.gif" ALT="IE is EVIL!" NOSAVE BORDER=0 height=23 width=121></a><a href="../guis/index.html"><img SRC="../graphics/barguis.gif" ALT="GUIs" NOSAVE BORDER=0 height=23 width=65></a><a href="../files/index.html"><img SRC="../graphics/barfiles.gif" ALT="Files" NOSAVE BORDER=0 height=23 width=70></a><a href="../about/index.html"><img SRC="../graphics/barabout.gif" ALT="About" NOSAVE BORDER=0 height=23 width=73></a><a href="../links/index.html"><img SRC="../graphics/barlinks.gif" ALT="Links" NOSAVE BORDER=0 height=23 width=74></a></center>
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<blockquote>
<br><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Welcome
to Microsoft Windows 98</font></font></font>
<p><font color="#FF6666"><font size=+1>Welcome to my comments about what
a piece of crap Windows 98 is.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Please sit back and
relax while Windows 98 installs on your computer.</font></font>
<p><font color="#FF6666"><font size=+1>Translation: Sit back and relax
while we force you to install IE 4 and otherwise frack up your system.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">During this automated
installation process, you'll learn about some of the enhancements to Windows
98 and a few of its exciting new features. After Windows 98 is installed,
you are invited to take the Discover Windows 98 tours to learn more.</font></font></blockquote>
<table BORDER=0 CELLSPACING=0 CELLPADDING=0 COLS=1 WIDTH="100%" BGCOLOR="#FFFFFF" BACKGROUND="subackln.gif" >
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<td>
<blockquote><font color="#FF6666"><font size=+1>During this install you
will hear a bunch of Microsoft propoganda that will make you believe that
Windows 98 is the best thing since sliced bread.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Windows
Just Got Better</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 helps
you get the most out of your computer by making it easier to use, more
reliable, faster, and more entertaining.</font></font>
<p><font color="#FF6666"><font size=+1>Easier to use: Folder options and
utilities out the wazoo, toolbars and usless help descriptions all over
the place? Too many options makes the user interface confusing and difficult
to use. Oh, and those scrolling pop up menus handle like crap.</font></font>
<p><font color="#FF6666"><font size=+1>More reliable: Bullshit. IE 4 adds
a huge pile of bugs so it is not more reliable than Windows 95.</font></font>
<p><font color="#FF6666"><font size=+1>Faster: LIE! Only an idiot
(and there are plenty of them) could possibly believe that Microsoft would
ever make anything that is faster than the previous version, and only Microsoft
could get away with saying that it is so! Actually, if it weren't
for IE 4 it might actually be a hair faster.</font></font>
<p><font color="#FF6666"><font size=+1>More entertaining: True, the Windows
98 user interface gives me a good laugh.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>More
Innovative</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">This new release
includes hundreds of enhancements and new features based on customer requests
and product support experiences.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Like its predecessor,
Windows 98 supports new, cutting-edge technologies, while at the same time
providing the best support for your current hardware and programs.</font></font>
<p><font color="#FF6666"><font size=+1>What customer asked for IE 4 to
be forced, uninstallably, on to the user interface? Microsoft doesn't listen
to customers! Jeze.</font></font>
<p><font color="#FF6666"><font size=+1>Cutting edge technologies? What
the hell are they talking about? There is nothing in Windows 98 that hasn't
been done elsewhere, earlier, and better.</font></font>
<p><font color="#FF6666"><font size=+1>"for your current hardware" means
NEW hardware bought from the store that has USB devices and TV tuner crap
in it. Win 98 won't improve shit on your old P90 who's only add-on was
a CD-ROM drive.</font></font>
<p><font color="#FF6666"><font size=+1>Best support for current programs:
True, because to force people to "upgrade" to Windows 98 many new Microsoft
programs, and progrograms written by companies that are in bed with M$,
will no longer work on Windows 95 or at least without IE 4.</font></font>
<br>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Easier
to Use</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Your computer and
the Internet are easier to use than ever before. Simplified navigation
features like the Back, Forward, and Favorites buttons make it easier to
move among files, programs, and Internet sites.</font></font>
<p><font color="#FF6666"><font size=+1>Many people, including myself find
this more awkward.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 also makes
it easier for you to select and open files and programs. You can select
a file simply by moving the mouse pointer over it, and you can open a file
or program with a single click.</font></font>
<p><font color="#FF6666"><font size=+1>Oh whoopee.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Easier
to Get Help</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">If you have questions
about using Windows 98, it's easy to get answers. Windows 98 has
a built-in Help system that is informative and easy to use.</font></font>
<p><font color="#FF6666"><font size=+1>So does Windows 3.0. Actually, I
liked Windows 3.0's help system better.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">If you have access
to the Internet, you can visit the new Windows Update site, a Web-based
extension of Windows 98 that includes the latest product assistance information.</font></font>
<p><font color="#FF6666"><font size=+1>And let Bill know what is on your
hard drive while you are at it. And since it is all automatic, who knows
what Bill will do to "update" your system... such as remove competitors
programs.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Connects
You to the Web</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">If you want to use
the Internet, its never been easier or faster.</font></font>
<p><font color="#FF6666"><font size=+1>It's never been easier or faster
for Bill to take your money. Sign up for the Microscrew Network today!</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The Internet Connection
wizard helps you configure your system and sign up with an Internet service
provider of your choice.</font></font>
<p><font color="#FF6666"><font size=+1>But not with the browser of your
choice. While we are at it, does everybody and their mother *really* need
to be on the Internet?</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">For fast Web access,
link several modems or quickly set up your ISDN connection by using the
new wizard.</font></font>
<p><font color="#FF6666"><font size=+1>I don't think everybody and his
mother is going to do that.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Brings
the Web to Your Desktop</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The integration of
Windows 98 and Internet Explorer gives you the most rewarding way to use
the Web.</font></font>
<p><font color="#FF6666"><font size=+1>Rewarding to Microsoft as they crush
their competition.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">New Explorer Bars,
like Search, History, and Favorites, make it easier to find information.</font></font>
<p><font color="#FF6666"><font size=+1>And slow down your system and clutter
up your desktop making it harder to find information.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">You can schedule
automatic content delivery to your desktop. You can customize your Windows
desktop by using a Web page as a background. You can easily create
your own Web pages by using FrontPage Express.</font></font>
<p><font color="#FF6666"><font size=+1>A web page... as a background....
why? Somebody please tell me why!</font></font>
<p><font color="#FF6666"><font size=+1>Front page express blows.</font></font>
<br>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Enhances
Communication</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 gives
you exciting tools that help you communicate and collaborate with family
and colleagues worldwide.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">You can e-mail family,
meet face-to-face online with business associates, or watch a live presentation
using the Internet.</font></font>
<p><font color="#FF6666"><font size=+1>Face to Face? Even if neither of
you have a vidcam on your computer? Microsoft says Windows 98 will magically
provide new hardware for you.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>New
Communication Tools</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Using Outlook Express,
not only can you send and receive e-mail messages and participate in newsgroups,
you can also manage multiple e-mail accounts.</font></font>
<p><font color="#FF6666"><font size=+1>So you can receive twice as much
spam from Microsoft</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Using NetShow, you
can experience events as they're happening because your computer can receive
live or streaming multimedia from the Internet.</font></font>
<p><font color="#FF6666"><font size=+1>There are many other applications
that can do that, and better.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">You can hold online
videoconferences, chat, and share resources by using NetMeeting.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Faster
Performance</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 helps
you get top-notch performance without adding new hardware. Programs start
and run faster.</font></font>
<p><font color="#FF6666"><font size=+1>But thanks to IE 4 you will need
to get at least another 16 megs of ram, you will probably need a larger
hard drive to hold that huge ass mandatory browser, you will want faster
video because of all of the animated menus and smooth scrolling list boxes.
If you don't have a modem, all of that advertising on the desktop will
pretty much convince you that you need one because every idiot needs to
be on the internet. You will need a bigger monitor to fit all of those
oversized droolbars and extra fluff. You will need a faster CPU to keep
overactive desktop happy.</font></font>
<p><font color="#FF6666"><font size=+1>Programs run faster: They would
run faster because of a slightly better defragger, but IE 4 slows that
all down to a crawl, so any speed improvements get flushed down the toilet.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The Maintenance wizard
suggests ways to improve your computer's performance and schedules regular
disk maintenance.</font></font>
<p><font color="#FF6666"><font size=+1>The maintenance wizard suggest that
to improve your computers performance you uninstall Windows 98.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Many new computers
start instantly using the OnNow power management feature.</font></font>
<p><font color="#FF6666"><font size=+1>How about OffNow?</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>More
Storage Space</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Gain extra disk space
by converting your hard disk to the FAT32 file system.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">This file system
also supports large capacity drives.</font></font>
<p><font color="#FF6666"><font size=+1>This is all supported in Windows
95 OSR2. Not that Bill would ever sell anyone a copy of OSR 2 directly
because he knew that would decrease the sales of IE 4, er, I mean Windows
98.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Increased
Dependability</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">With hundreds of
enhancements and a new suite of wizards and smart tools, Windows 98 helps
you keep your computer running smoothly.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The new Registry
Checker monitors registry files and automatically repairs and restores
the files as necessary.</font></font>
<p><font color="#FF6666"><font size=+1>Oh, super! Utilities to work around
bugs and design flaws in Windows. Just what we need.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 is year
2000 ready.</font></font>
<p><font color="#FF6666"><font size=+1>Microsoft has purchased the year
2000 and has made sure it is compatible with Windows 98.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Increased
Reliability</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">System File Checker
automatically locates modified or corrupted system files and then repairs
and restores them.</font></font>
<p><font color="#FF6666"><font size=+1>Another utility to work around bugs
and design flaws in Windows.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">If your system is
shut down improperly or there is a hard disk error, ScanDisk runs automatically
to ensure that your hard disk is in good working condition.</font></font>
<p><font color="#FF6666"><font size=+1>So does Windows 95 OSR2</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>More
Entertaining</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">By converging real-time
2-D and 3-D graphics, digital video and audio, and the Internet, Windows
98 redefines the role of the computer as an entertainment platform.</font></font>
<p><font color="#FF6666"><font size=+1>In other words, your computer is
now a *fancy* toy.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">With support for
DVD, digital audio, and processors with MMX technology, you can watch
full-motion, full-screen multimedia titles on your computer. With support
for multiple monitors, you can extend your Windows desktop onto several
monitors.</font></font>
<p><font color="#FF6666"><font size=+1>Watch movies on your stupid TV,
that's what it is there for.</font></font>
<p><font color="#FF6666"><font size=+1>Multiple monitors? You have to have
Windows 98 to do that? I have seen PC/XTs with multiple monitors!</font></font>
<p><font face="Arial,Helvetica"> <font color="#000000">
* MMX is a trademark of Intel Corporation</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Better
Games</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Games are more engaging
and exciting with DirectX 5 capabilities, including digital audio, support
for force feedback joysticks, and enhanced graphics and 3D.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">DirectX 5 provides
the fastest graphics and video performance for computer games.</font></font>
<p><font color="#FF6666"><font size=+1>DirectX 5 is available for Windows
95.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Supports
New Hardware</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 supports
more than a thousand new printers, modems, monitors, network adapters,
and other hardware devices.</font></font>
<p><font color="#FF6666"><font size=+1>That are also supported on every
other operating system.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Support for the new
Universal Serial Bus (USB) provides a universal connection for many of
the most popular devices like scanners and cameras. You simply plug in
a USB device, and your system reconfigures itself. You don't even need
to restart your computer.</font></font>
<p><font color="#FF6666"><font size=+1>Of course, Microsoft has conspired
with hardware vendors to make sure that Microsoft is the only provider
of drivers for USB and that it only works right in Windows 98. I suppose
this is for the good of the consumer as well.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>More
Accessible</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Windows 98 provides
new accessibility features that make it easier for people to interact with
computers.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Microsoft Magnifier
enlarges a portion of your screen up to nine times its normal size. You
can invert colors and use a high-contrast color scheme.</font></font>
<p><font color="#FF6666"><font size=+1>As if the toolbars weren't large
enough already...</font></font>
<p><font color="#FF6666"><font size=+1>Color schemes could be changed as
far back as... well, Windows 1.0!</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>More
Customizable</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The new Accessibility
wizard helps you customize your computer screen, keyboard, and mouse to
fit your needs.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">To make items easier
to see, you can increase the contrast, switch to a larger text size, and
have your mouse pointer leave a trail. You can customize keyboard options
and replace computer sounds with visual alerts.</font></font>
<p><font color="#FF6666"><font size=+1>Visual alerts like that big blue
screen that tells you that an exception 0E has occurred in some weird place?</font></font>
<p><font face="Arial,Helvetica"><font color="#000000"><font size=+1>Check
Out Windows Update</font></font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Stay up-to-date with
this Web-based extension of Windows 98.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The Update wizard
reviews your system, recommends the updates you need, and can install the
updates you select.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Using Windows Update,
you can quickly find answers to your questions about Windows 98 and get
access to online product assistance.</font></font>
<p><font color="#FF6666"><font size=+1>I have a question about Windows
98.. If I put it on a computer that is not going to be connected to the
internet, I will not need a web browser. How do I uninstall Internet Explorer
4? I won't need this application at all and I do not see it listed in add/remove
programs. Why is that?</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Thank You</font></font>
<p><font color="#FF6666"><font size=+1>Fuck you.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">Please register your
copy of Windows 98.</font></font>
<p><font color="#FF6666"><font size=+1>If you don't we will hunt you down
and make your life a living hell.</font></font>
<p><font face="Arial,Helvetica"><font color="#000000">The Microsoft Windows
98 Team</font></font>
<p><font color="#FF6666"><font size=+1>The Borg.</font></font></blockquote>
</td>
</tr>
<tr>
<td><img SRC="borgs.gif" height=205 width=435></td>
</tr>
</table>
</td>
</tr>
</table>
<p><a href="index.html"><img SRC="../graphics/back.gif" NOSAVE BORDER=0 height=42 width=46 align=ABSCENTER></a><b><a href="index.html">
Back to Internet Explorer is Evil</a></b>
<br>
</body>
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|
The REAL Windoze 98 Setup
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| --- | --- | --- | --- |
| |
Welcome
to Microsoft Windows 98
Welcome to my comments about what
a piece of crap Windows 98 is.
Please sit back and
relax while Windows 98 installs on your computer.
Translation: Sit back and relax
while we force you to install IE 4 and otherwise frack up your system.
During this automated
installation process, you'll learn about some of the enhancements to Windows
98 and a few of its exciting new features. After Windows 98 is installed,
you are invited to take the Discover Windows 98 tours to learn more.
| |
| --- |
| During this install you
will hear a bunch of Microsoft propoganda that will make you believe that
Windows 98 is the best thing since sliced bread.
Windows
Just Got Better
Windows 98 helps
you get the most out of your computer by making it easier to use, more
reliable, faster, and more entertaining.
Easier to use: Folder options and
utilities out the wazoo, toolbars and usless help descriptions all over
the place? Too many options makes the user interface confusing and difficult
to use. Oh, and those scrolling pop up menus handle like crap.
More reliable: Bullshit. IE 4 adds
a huge pile of bugs so it is not more reliable than Windows 95.
Faster: LIE! Only an idiot
(and there are plenty of them) could possibly believe that Microsoft would
ever make anything that is faster than the previous version, and only Microsoft
could get away with saying that it is so! Actually, if it weren't
for IE 4 it might actually be a hair faster.
More entertaining: True, the Windows
98 user interface gives me a good laugh.
More
Innovative
This new release
includes hundreds of enhancements and new features based on customer requests
and product support experiences.
Like its predecessor,
Windows 98 supports new, cutting-edge technologies, while at the same time
providing the best support for your current hardware and programs.
What customer asked for IE 4 to
be forced, uninstallably, on to the user interface? Microsoft doesn't listen
to customers! Jeze.
Cutting edge technologies? What
the hell are they talking about? There is nothing in Windows 98 that hasn't
been done elsewhere, earlier, and better.
"for your current hardware" means
NEW hardware bought from the store that has USB devices and TV tuner crap
in it. Win 98 won't improve shit on your old P90 who's only add-on was
a CD-ROM drive.
Best support for current programs:
True, because to force people to "upgrade" to Windows 98 many new Microsoft
programs, and progrograms written by companies that are in bed with M$,
will no longer work on Windows 95 or at least without IE 4.
Easier
to Use
Your computer and
the Internet are easier to use than ever before. Simplified navigation
features like the Back, Forward, and Favorites buttons make it easier to
move among files, programs, and Internet sites.
Many people, including myself find
this more awkward.
Windows 98 also makes
it easier for you to select and open files and programs. You can select
a file simply by moving the mouse pointer over it, and you can open a file
or program with a single click.
Oh whoopee.
Easier
to Get Help
If you have questions
about using Windows 98, it's easy to get answers. Windows 98 has
a built-in Help system that is informative and easy to use.
So does Windows 3.0. Actually, I
liked Windows 3.0's help system better.
If you have access
to the Internet, you can visit the new Windows Update site, a Web-based
extension of Windows 98 that includes the latest product assistance information.
And let Bill know what is on your
hard drive while you are at it. And since it is all automatic, who knows
what Bill will do to "update" your system... such as remove competitors
programs.
Connects
You to the Web
If you want to use
the Internet, its never been easier or faster.
It's never been easier or faster
for Bill to take your money. Sign up for the Microscrew Network today!
The Internet Connection
wizard helps you configure your system and sign up with an Internet service
provider of your choice.
But not with the browser of your
choice. While we are at it, does everybody and their mother \*really\* need
to be on the Internet?
For fast Web access,
link several modems or quickly set up your ISDN connection by using the
new wizard.
I don't think everybody and his
mother is going to do that.
Brings
the Web to Your Desktop
The integration of
Windows 98 and Internet Explorer gives you the most rewarding way to use
the Web.
Rewarding to Microsoft as they crush
their competition.
New Explorer Bars,
like Search, History, and Favorites, make it easier to find information.
And slow down your system and clutter
up your desktop making it harder to find information.
You can schedule
automatic content delivery to your desktop. You can customize your Windows
desktop by using a Web page as a background. You can easily create
your own Web pages by using FrontPage Express.
A web page... as a background....
why? Somebody please tell me why!
Front page express blows.
Enhances
Communication
Windows 98 gives
you exciting tools that help you communicate and collaborate with family
and colleagues worldwide.
You can e-mail family,
meet face-to-face online with business associates, or watch a live presentation
using the Internet.
Face to Face? Even if neither of
you have a vidcam on your computer? Microsoft says Windows 98 will magically
provide new hardware for you.
New
Communication Tools
Using Outlook Express,
not only can you send and receive e-mail messages and participate in newsgroups,
you can also manage multiple e-mail accounts.
So you can receive twice as much
spam from Microsoft
Using NetShow, you
can experience events as they're happening because your computer can receive
live or streaming multimedia from the Internet.
There are many other applications
that can do that, and better.
You can hold online
videoconferences, chat, and share resources by using NetMeeting.
Faster
Performance
Windows 98 helps
you get top-notch performance without adding new hardware. Programs start
and run faster.
But thanks to IE 4 you will need
to get at least another 16 megs of ram, you will probably need a larger
hard drive to hold that huge ass mandatory browser, you will want faster
video because of all of the animated menus and smooth scrolling list boxes.
If you don't have a modem, all of that advertising on the desktop will
pretty much convince you that you need one because every idiot needs to
be on the internet. You will need a bigger monitor to fit all of those
oversized droolbars and extra fluff. You will need a faster CPU to keep
overactive desktop happy.
Programs run faster: They would
run faster because of a slightly better defragger, but IE 4 slows that
all down to a crawl, so any speed improvements get flushed down the toilet.
The Maintenance wizard
suggests ways to improve your computer's performance and schedules regular
disk maintenance.
The maintenance wizard suggest that
to improve your computers performance you uninstall Windows 98.
Many new computers
start instantly using the OnNow power management feature.
How about OffNow?
More
Storage Space
Gain extra disk space
by converting your hard disk to the FAT32 file system.
This file system
also supports large capacity drives.
This is all supported in Windows
95 OSR2. Not that Bill would ever sell anyone a copy of OSR 2 directly
because he knew that would decrease the sales of IE 4, er, I mean Windows
98.
Increased
Dependability
With hundreds of
enhancements and a new suite of wizards and smart tools, Windows 98 helps
you keep your computer running smoothly.
The new Registry
Checker monitors registry files and automatically repairs and restores
the files as necessary.
Oh, super! Utilities to work around
bugs and design flaws in Windows. Just what we need.
Windows 98 is year
2000 ready.
Microsoft has purchased the year
2000 and has made sure it is compatible with Windows 98.
Increased
Reliability
System File Checker
automatically locates modified or corrupted system files and then repairs
and restores them.
Another utility to work around bugs
and design flaws in Windows.
If your system is
shut down improperly or there is a hard disk error, ScanDisk runs automatically
to ensure that your hard disk is in good working condition.
So does Windows 95 OSR2
More
Entertaining
By converging real-time
2-D and 3-D graphics, digital video and audio, and the Internet, Windows
98 redefines the role of the computer as an entertainment platform.
In other words, your computer is
now a \*fancy\* toy.
With support for
DVD, digital audio, and processors with MMX technology, you can watch
full-motion, full-screen multimedia titles on your computer. With support
for multiple monitors, you can extend your Windows desktop onto several
monitors.
Watch movies on your stupid TV,
that's what it is there for.
Multiple monitors? You have to have
Windows 98 to do that? I have seen PC/XTs with multiple monitors!
\* MMX is a trademark of Intel Corporation
Better
Games
Games are more engaging
and exciting with DirectX 5 capabilities, including digital audio, support
for force feedback joysticks, and enhanced graphics and 3D.
DirectX 5 provides
the fastest graphics and video performance for computer games.
DirectX 5 is available for Windows
95.
Supports
New Hardware
Windows 98 supports
more than a thousand new printers, modems, monitors, network adapters,
and other hardware devices.
That are also supported on every
other operating system.
Support for the new
Universal Serial Bus (USB) provides a universal connection for many of
the most popular devices like scanners and cameras. You simply plug in
a USB device, and your system reconfigures itself. You don't even need
to restart your computer.
Of course, Microsoft has conspired
with hardware vendors to make sure that Microsoft is the only provider
of drivers for USB and that it only works right in Windows 98. I suppose
this is for the good of the consumer as well.
More
Accessible
Windows 98 provides
new accessibility features that make it easier for people to interact with
computers.
Microsoft Magnifier
enlarges a portion of your screen up to nine times its normal size. You
can invert colors and use a high-contrast color scheme.
As if the toolbars weren't large
enough already...
Color schemes could be changed as
far back as... well, Windows 1.0!
More
Customizable
The new Accessibility
wizard helps you customize your computer screen, keyboard, and mouse to
fit your needs.
To make items easier
to see, you can increase the contrast, switch to a larger text size, and
have your mouse pointer leave a trail. You can customize keyboard options
and replace computer sounds with visual alerts.
Visual alerts like that big blue
screen that tells you that an exception 0E has occurred in some weird place?
Check
Out Windows Update
Stay up-to-date with
this Web-based extension of Windows 98.
The Update wizard
reviews your system, recommends the updates you need, and can install the
updates you select.
Using Windows Update,
you can quickly find answers to your questions about Windows 98 and get
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<p class="MsoNormal" align="center"><B><FONT SIZE="+3"> Simplified Music Chord
Theory<img border="0" src="images/sheetmusic.jpg" width="65" height="51"></FONT></B></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">Scale in key of C</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">
Understanding chords really begins with understanding a scale. Let us use the
key of C for our scale since that will yield simplest results. A scale is
generally taken as 8 notes, which is also considered one octave. The scale
begins on a note and ends when it reaches that same type of note. Let us look
at a simple C scale looking at it three different ways:</span></p>
<p class="MsoNormal"><font color="#0000FF">
<span style="font-size: 11.0pt; font-family: Arial; font-weight: 700">Scale, Key
of C to a Singer</span></font></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">Do, re,
mi, fa, so, la, ti, do! (note that it has 8 notes, and begins and ends on do)</span></p>
<p class="MsoNormal"><font color="#0000FF">
<span style="font-size: 11.0pt; font-family: Arial; font-weight: 700">Scale, Key
of C by name</span></font></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">C, D,
E, F, G, A, B, C (8 notes again, and begins and ends on C)</span></p>
<p class="MsoNormal"><font color="#0000FF">
<span style="font-size: 11.0pt; font-family: Arial; font-weight: 700">Scale, Key
of C by number</span></font></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">1, 2,
3, 4, 5, 6, 7, 8 (8 notes again, but this time we called the 8<sup>th</sup>
note 8)</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">The
above three representations are all really the same. How do we use this for
chords? Well let us start with a simple major chord. A major chord is always
made up of the first, 3<sup>rd</sup>, and 5<sup>th</sup> notes of its scale. So
C Major is simply C, E, and G. Not so hard, eh? </span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">What
would a sixth be? Can you guess? Well we begin with a major chord, and then
add the sixth note. So a major sixth (normal sixth) would be: C, E, G, A.</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">Chromatic Scales</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">Now the
C scale above is not all of the possible notes. It is merely the 8 notes making
up the C scale. If we think in terms of a piano, the C scale is all of the
white keys. It does not use any of the shorter black keys, which are sharps and
flats. When we look at all of the possible notes, we call that a chromatic
scale. All of the possible notes in a chromatic scale, not counting any
repeats, not even one, are 12 total. They are:</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">
<font color="#0000FF"><span style="font-weight: 700">C, C#, D, D#, E, F, F#, G,
G#, A, A#, B,</span></font> (and then C would repeat next)</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">Of
course, that shows the chromatic scale using all sharps. A sharp sign # means
to raise a tone one half step. So C# is one half step higher than C. For every
sharp representation, there is also a flat representation possible. Instead of
raising C one half step to get C#, we could have also lowered D one half step to
get a Db. The b sign is for flat just as the # sign is for sharp. C# is
the same note as Db. There are just two ways of showing it. Sometimes it s
more convenient to show it as a sharp, and sometimes as a flat.</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">Minor chords, Dominant 7ths</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">It was
necessary to talk about chromatic scales before talking about some chords, such
as minors and dominant 7ths, since they go off of the normal C scale and involve
half steps. We had said that a major chord was made up of the first, third and
fifth notes of the scale, C, E and G. A minor is close, but it flats the
third. So a C minor chord would be: C, Eb, G. Note that we could have shown
this also as: C, D#,G since D# and Eb again are the same note.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">When we
talk about 7<sup>th</sup> chords, one would think that we take a major chord
such as C,E, and G, and add the seventh note of the scale, which would be B.
That in fact is exactly what we do for a C major 7<sup>th</sup> chord. However,
when we just write 7<sup>th</sup>, it is taken to mean a dominant 7<sup>th</sup>
which flats the 7<sup>th</sup> note. So, C 7<sup>th</sup> is: C, E, G, and Bb.
This again can also be written as C, E, G, A#.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">So, the
above covers the 7<sup>th</sup> chord. The C major 7<sup>th</sup> chord would in
fact be what you would have guessed: C, E, G, B - where B is clearly the 7<sup>th</sup>
note of the scale. </span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">Now,
how about a minor 7<sup>th</sup> chord? Let us begin with the minor, which
flats the third, and then add the 7<sup>th</sup>. So, let us begin with C minor
which is C, Eb, G and we will add the 7<sup>th</sup> which again is Bb and we
get: C, Eb, G, Bb. Recall that when we just say 7<sup>th</sup> it refers to
the dominant 7<sup>th</sup>, which is a flatted 7<sup>th</sup> of the scale.
There is a version of a minor chord that uses the major 7<sup>th</sup>, it is
called mmaj7th. It is a somewhat confusing name, being a minor, major7th.
I would agree that minor-major in the same sentence seems like a contradiction
of terms, but they refer to two different parts of the chord. The minor refers to the first three notes, C Eb, G. The major 7<sup>th</sup>
means that we do not flat the 7<sup>th</sup> note of the scale. So, therefore a
C mmaj7th would be: C, Eb, G, B.</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">More</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">Well,
if you follow all of that, many of the rest of the chords should make sense. An
augmented chord is also called a + chord, or a +5 chord. You can probably guess
what that chord does. It raises the fifth note of the scale one half step. So
a C major chord again is C, E, and G, which are the first, third and fifth notes
of the scale. So, a +5 would cause the chord to become C, E, G#.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">On the
other hand there is a -5 chord. So, a C-5 would be C, E, Gb or C, E, F#.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">One
strange chord is simply called a 5. It really is only two notes, the first
and the the fifth of the scale. So, a C5 is merely C and G. Note that this
chord is also sometimes called C major no 3<sup>rd</sup>. Can you see that? If
C major is C, E, G, then C major with no 3<sup>rd</sup> is simply C and G.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">9ths,
11ths and 13ths are somewhat understandable, but they do add some confusion.
The understandable part is that they do in fact add the note that one would
think. They also add a few more however. But let us start with the reasonable
part. A C 9<sup>th</sup> would add a D as one might expect - the ninth note
in the scale. A C 11<sup>th</sup> does add an F, the 11<sup>th</sup> note in
the scale, and a C 13<sup>th</sup> does add an A which is the 13<sup>th</sup>
note in the scale. However, C9th also adds a dominant 7<sup>th</sup> and
therefore is: C, E, G, Bb, D. The 11<sup>th</sup> adds not only the dominant 7<sup>th</sup>
but also the 9<sup>th</sup> and therefore is: C, E, G, Bb, D, F. The 13<sup>th</sup>
is similar to the 11<sup>th</sup> and becomes: C, E, G, Bb, D, A.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">The
minor versions of 9<sup>th</sup>, 11<sup>th</sup> and 13<sup>th</sup>? They
really follow the same formula but begin with the minor rather than the major
chord. So C minor 9<sup>th</sup> is: C, Eb, G, Bb, D.</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">Scales / Chords other than C</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">If the
above makes sense to you, you are getting close to understanding the basic make
up of chords. Some is simple mathematics, and some is convention, established
years ago. Of course you could say that all this is in the scale and key of C.
Other keys are harder. Well, yes and no. The other keys may have odder looking
sequencing, but they follow all of the same rules. This is where the
mathematics come in. To look at a D scale, for example, note that a D is two
half steps in the chromatic scale higher than C. Use that then to calculate all
of the notes of the D scale. Doing that a D scale is:</span></p>
<p class="MsoNormal">
<span style="font-size: 11.0pt; font-family: Arial; font-weight: 700">
<font color="#0000FF">D, E, F#, G, A, B, C#, D</font></span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">A D
major chord is still the first, third and fifth of the scale, and is: D, F#, A.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">D minor
is similar with the third flatted and would be: D, F, A.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">D 7<sup>th</sup>
would be D, F#, A, C since flatting C#, the 7th note in the D scale is really just
C.</span></p>
<p class="MsoNormal"><span style="font-size: 11.0pt; font-family: Arial">D major
7<sup>th</sup> would be D, F#, A, C# (the 1st, 3rd, 5th and 7th notes of
the scale)</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-weight: 700">
<font size="5">Summary</font></span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-size: 11pt">If you
understand the above, you may in fact be able to even figure out some of the
unique chords that guitar players continue to come up with. I just noted a
new one in one of my song books. It was a D major add 2. What?
we might say? But then we would get a grip on ourselves. We would put
together the D major chord of D, F# and A, and then merely add the 2nd note of
the scale, an E. Then we would get D, E, F#, A. Voila ! See?
not so bad.</span></p>
<p class="MsoNormal"><span style="font-family: Arial; font-size: 11pt">If you
are like me and appreciate the mathematics, but then have a hard time memorizing
28 chords versus 12 notes of the chromatic scale, 336 possibilities. And
even less likely to memorize the guitar fingerings for those 336 down 12 frets
making 4032 possibilities, then you might need a simple aid. The software
program being marketed by rpsoft 2000, called <b><a href="rps_utility.htm">musicord</a></b>, is reasonably priced and serves as a simple reference for most of those
common chords,</span></p>
<P ALIGN="left"><a href="rps_musicinfo.htm"><font size="5"><b>return</b></font></a></P>
<P ALIGN="left"><font size="5"><a href="ebooks/becoming-a-one-person-band.htm">Recommended eBook on One Person Band Music Making and Recording</a></font></P>
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**Simplified Music Chord
Theory**
Scale in key of C
Understanding chords really begins with understanding a scale. Let us use the
key of C for our scale since that will yield simplest results. A scale is
generally taken as 8 notes, which is also considered one octave. The scale
begins on a note and ends when it reaches that same type of note. Let us look
at a simple C scale looking at it three different ways:
Scale, Key
of C to a Singer
Do, re,
mi, fa, so, la, ti, do! (note that it has 8 notes, and begins and ends on do)
Scale, Key
of C by name
C, D,
E, F, G, A, B, C (8 notes again, and begins and ends on C)
Scale, Key
of C by number
1, 2,
3, 4, 5, 6, 7, 8 (8 notes again, but this time we called the 8th
note 8)
The
above three representations are all really the same. How do we use this for
chords? Well let us start with a simple major chord. A major chord is always
made up of the first, 3rd, and 5th notes of its scale. So
C Major is simply C, E, and G. Not so hard, eh?
What
would a sixth be? Can you guess? Well we begin with a major chord, and then
add the sixth note. So a major sixth (normal sixth) would be: C, E, G, A.
Chromatic Scales
Now the
C scale above is not all of the possible notes. It is merely the 8 notes making
up the C scale. If we think in terms of a piano, the C scale is all of the
white keys. It does not use any of the shorter black keys, which are sharps and
flats. When we look at all of the possible notes, we call that a chromatic
scale. All of the possible notes in a chromatic scale, not counting any
repeats, not even one, are 12 total. They are:
C, C#, D, D#, E, F, F#, G,
G#, A, A#, B, (and then C would repeat next)
Of
course, that shows the chromatic scale using all sharps. A sharp sign # means
to raise a tone one half step. So C# is one half step higher than C. For every
sharp representation, there is also a flat representation possible. Instead of
raising C one half step to get C#, we could have also lowered D one half step to
get a Db. The b sign is for flat just as the # sign is for sharp. C# is
the same note as Db. There are just two ways of showing it. Sometimes it s
more convenient to show it as a sharp, and sometimes as a flat.
Minor chords, Dominant 7ths
It was
necessary to talk about chromatic scales before talking about some chords, such
as minors and dominant 7ths, since they go off of the normal C scale and involve
half steps. We had said that a major chord was made up of the first, third and
fifth notes of the scale, C, E and G. A minor is close, but it flats the
third. So a C minor chord would be: C, Eb, G. Note that we could have shown
this also as: C, D#,G since D# and Eb again are the same note.
When we
talk about 7th chords, one would think that we take a major chord
such as C,E, and G, and add the seventh note of the scale, which would be B.
That in fact is exactly what we do for a C major 7th chord. However,
when we just write 7th, it is taken to mean a dominant 7th
which flats the 7th note. So, C 7th is: C, E, G, and Bb.
This again can also be written as C, E, G, A#.
So, the
above covers the 7th chord. The C major 7th chord would in
fact be what you would have guessed: C, E, G, B - where B is clearly the 7th
note of the scale.
Now,
how about a minor 7th chord? Let us begin with the minor, which
flats the third, and then add the 7th. So, let us begin with C minor
which is C, Eb, G and we will add the 7th which again is Bb and we
get: C, Eb, G, Bb. Recall that when we just say 7th it refers to
the dominant 7th, which is a flatted 7th of the scale.
There is a version of a minor chord that uses the major 7th, it is
called mmaj7th. It is a somewhat confusing name, being a minor, major7th.
I would agree that minor-major in the same sentence seems like a contradiction
of terms, but they refer to two different parts of the chord. The minor refers to the first three notes, C Eb, G. The major 7th
means that we do not flat the 7th note of the scale. So, therefore a
C mmaj7th would be: C, Eb, G, B.
More
Well,
if you follow all of that, many of the rest of the chords should make sense. An
augmented chord is also called a + chord, or a +5 chord. You can probably guess
what that chord does. It raises the fifth note of the scale one half step. So
a C major chord again is C, E, and G, which are the first, third and fifth notes
of the scale. So, a +5 would cause the chord to become C, E, G#.
On the
other hand there is a -5 chord. So, a C-5 would be C, E, Gb or C, E, F#.
One
strange chord is simply called a 5. It really is only two notes, the first
and the the fifth of the scale. So, a C5 is merely C and G. Note that this
chord is also sometimes called C major no 3rd. Can you see that? If
C major is C, E, G, then C major with no 3rd is simply C and G.
9ths,
11ths and 13ths are somewhat understandable, but they do add some confusion.
The understandable part is that they do in fact add the note that one would
think. They also add a few more however. But let us start with the reasonable
part. A C 9th would add a D as one might expect - the ninth note
in the scale. A C 11th does add an F, the 11th note in
the scale, and a C 13th does add an A which is the 13th
note in the scale. However, C9th also adds a dominant 7th and
therefore is: C, E, G, Bb, D. The 11th adds not only the dominant 7th
but also the 9th and therefore is: C, E, G, Bb, D, F. The 13th
is similar to the 11th and becomes: C, E, G, Bb, D, A.
The
minor versions of 9th, 11th and 13th? They
really follow the same formula but begin with the minor rather than the major
chord. So C minor 9th is: C, Eb, G, Bb, D.
Scales / Chords other than C
If the
above makes sense to you, you are getting close to understanding the basic make
up of chords. Some is simple mathematics, and some is convention, established
years ago. Of course you could say that all this is in the scale and key of C.
Other keys are harder. Well, yes and no. The other keys may have odder looking
sequencing, but they follow all of the same rules. This is where the
mathematics come in. To look at a D scale, for example, note that a D is two
half steps in the chromatic scale higher than C. Use that then to calculate all
of the notes of the D scale. Doing that a D scale is:
D, E, F#, G, A, B, C#, D
A D
major chord is still the first, third and fifth of the scale, and is: D, F#, A.
D minor
is similar with the third flatted and would be: D, F, A.
D 7th
would be D, F#, A, C since flatting C#, the 7th note in the D scale is really just
C.
D major
7th would be D, F#, A, C# (the 1st, 3rd, 5th and 7th notes of
the scale)
Summary
If you
understand the above, you may in fact be able to even figure out some of the
unique chords that guitar players continue to come up with. I just noted a
new one in one of my song books. It was a D major add 2. What?
we might say? But then we would get a grip on ourselves. We would put
together the D major chord of D, F# and A, and then merely add the 2nd note of
the scale, an E. Then we would get D, E, F#, A. Voila ! See?
not so bad.
If you
are like me and appreciate the mathematics, but then have a hard time memorizing
28 chords versus 12 notes of the chromatic scale, 336 possibilities. And
even less likely to memorize the guitar fingerings for those 336 down 12 frets
making 4032 possibilities, then you might need a simple aid. The software
program being marketed by rpsoft 2000, called **[musicord](rps_utility.htm)**, is reasonably priced and serves as a simple reference for most of those
common chords,
[**return**](rps_musicinfo.htm)
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<HTML>
<HEAD>
<TITLE>Neuroscience for Kids - Pokemon on the Brain </TITLE>
<META NAME="keywords" CONTENT="brain, pokemon, seizures, epilepsy, Japan,
pocket monster, consciousness, neuron, photosensitivity">
<META NAME="description" CONTENT="pokemon on the brain">
<META NAME="ROBOTS" CONTENT="ALL"></HEAD>
<BODY background="bback2.gif">
<center>
<table bgcolor="#ffffcc" cellspacing=0 cellpadding=10 border=0>
<tr><td align=center colspan=3>
<applet codebase="java" code="NavigatorTicker11.class" width=300
height=28>
<param name=count value=1>
<param name=msg0 value=
"Pokemon Characters - Weedle Gastly Haunter Jynx Squirtle
Mewtwo Tangela Drowzee Magmar Arcanine Machamp Magnemite Pikachu
Abra Kadabra Charmander Charmeleon Growlithe Kakuna Tentacool
Beedrill Dratini Ponyta Diglett Machop Machoke Rattata Wartortle
Venusaus Charizard Blastoise Caterpie Metapod Butterfree Pidgey
Ekans Arbok Raichu Sandshrew Sandslash Nidoran Nidorina Nidoqueen
Vulpix Zubat Golbat Oddish Vieplume Paras Parasect Venonat
Doduo Muk Onix Hypno Krabby Kingler Voltorb Weezing Chansey
Dugtrio Meoth Psyduck Mankey Primeape Polywhirl Alakazam
Gyarados Poliwag Raticate Jigglypuff Porygon Hitmonchan Bulbasaur
Ivysaur Dewgong Staryu Weedle *** \\Pokemon">
<param name=speed value=8>
<param name=bgco value=50,0,200>
<param name=txtco value=250,250,0>
</applet>
</td></tr>
<tr>
<td align=center><img src = "./gif/pokemon2.gif" width="100"
height="90"></td>
<td align=center><font size = "+3" color=red><strong><u>Pokemon on the
Brain</u></font></strong></td>
<td align=center><img src = "./gif/pokemon1.gif" width="92"
height="100"></td></tr>
<tr><td colspan=3>
March 11, 2000<p>
Pokemon is the popular Japanese cartoon show that has
swept across
the world. Is watching Pokemon dangerous to your health? In 1997, one
episode caused some serious problems for viewers in Japan and now
scientists have an idea why.</td></tr></table><p>
<table border=0 cellpadding=10 cellspacing =0><tr><td bgcolor=ffffcc>
<h2>Pokemon (episode #38) Packs a Punch</h2>
On the evening of December 16, 1997, millions of people all over Japan
gathered in their homes to watch Pokemon (episode #38). About 20 minutes
into the program there was a scene of a rocket explosion that flashed
<font color=red>red</font> and <font color=blue>blue</font> lights at a
rate of about 12 times per second.
<img src = "./gif/ambul.gif" width="125" vspace=15 hspace=15 height = "86"
align=left>
This explosion scene was mixed with about five seconds of flashing lights
from the eyes of "Pikachu," a popular Pokemon character. Suddenly,
viewers started to complain of blurred vision, headaches, dizziness and
nausea. Some people even had seizures, convulsions and lost
consciousness. A total of 685 children (310 boys, 375 girls) were taken
to hospitals by ambulances. Although many children recovered during the
ambulance trip, more than 150 of them were admitted to hospitals. Two
people stayed in the hospital for over 2 weeks!</td> <td bgcolor="#ffffcc"
align=center><img src = "./gif/japan1.gif" width="58" height =
"68"><P><b>JAPAN</b> </td></tr></table>
<table border=0 cellpadding=10 cellspacing =0><tr><td bgcolor=ffffcc>
<h2>The Cause and Solution</h2>
<img src = "./gif/litbulb2.gif" width="75" height = "94" align=left
vspace=20 hspace=20>
Scientists believe that the flashing
lights triggered <font color=red>"photosensitive seizures"</font> in which
visual stimuli such as flashing lights can cause altered consciousness.
Although scientists know that approximately 1 in 4000 people (0.5
- 0.8% of children between 4-14 years old) are susceptible to these types
of seizures, the number of people affected by this Pokemon episode was
unprecedented.<p>
<img src = "./gif/tvbrain.gif" width="75" height = "67" align=right
vspace=20 hspace=20>
Soon after this unfortunate incident, Japanese television broadcasters and
medical officials got together to find ways to make sure this never
happened again. They established the following guidelines for future
animated programs:<P>
<ul>
<li>Flashing images, especially those with red, should not flicker
faster than three times per second. If the image does not have red, it
still should not flicker faster than five times per second. <P>
<li>Flashing images should be displayed for a total duration of less than
two seconds.<p>
<li>Stripes, whorls and concentric circles should not take up a large part
of a TV screen.<p>
</ul>
<h2>New Experiments from Italy</h2>
<img src = "./gif/pisa.gif" hspace=15 align=left width="65" height="150">
<img src = "./gif/photopic.gif" hspace =15 align=right width="175"
height="145"> Italian scientists have detailed an abnormal brain response
to flashing lights in people who suffer from photosensitive seizures.
For both normal volunteers (average age, 15.2 years) and photosensitive
volunteers (average age, 18 years), they examined the brain's electrical
response to changing light patterns. The researchers found that in normal
volunteers, as the flickering lights increased in contrast, the response
of the brain increased. At high contrast levels, the brain's response
leveled out. The brain response in photosensitive people also increased
with higher contrasts, but it <font color=red>did not level out</font> at
the highest contrast levels (see figure on the right; data adapted from
Porciatti et al., 2000). This was especially apparent when the lights
flashed at rates between 4 and 10 times per second. The scientists
believe that the brains of photosensitive people have a defective or
absent mechanism that controls the reaction to visual information. This
may have caused the seizures associated with the Pokemon episode
(#38).</TD></TR></TABLE><P>
<table border=0 cellpadding=10 cellspacing =0><tr><td bgcolor=ffffcc><img
src = "./gif/ptrainer.gif" align=center width="184" height="75"></td>
<td bgcolor="#ffffcc">If you have absolutely no idea what Pokemon is
all about, visit the <a href = "http://www.pokemon.com">official
Pokemon Web Site</A>.</td></tr></table><p>
<table border=0 bgcolor="#ccffff" cellspacing=0 cellpadding=10><tr><td>
References and further information:<p>
<ol>
<li>Enoki, H., et al., Photosensitive fits elicited by TV animation: An
electroencephalographic study, <I>Acta Paediatrica Japonica</i>,
40:626-630, 1998.
<li>Ishida, S., et al., Photosensitive seizures provoked while viewing
"Pocket Monsters," a made-for-television animation program in Japan,
<I>Epilepsia</i>, 39:1340-1344, 1998.
<li>Niijima, S-I., et al., Clinical electroencephalographic study of nine
pediatric patients with convulsion induced by the TV animation, Pocket
Monster, <I>Acta Paediatrica Japonica</i>, 40:544-549, 1998.
<li>Porciatti, V. et al., Lack of cortical contrast gain control in human
photosensitive epilepsy, Nature Neuroscience, 3:259-263, 2000.
<li>Takada, H., et al., Epileptic seizures induced by animated cartoon,
"Pocket Monster," <i>Epilepsia</i>, 40:997-1002, 1999.
<li>Takahashi, T. and Tsukahara, Y., Pocket Monster incident and low
luminance visual stimuli: Special reference to deep red flicker
stimulation, <I>Acta Paediatrica Japonica</i>, 40:631-637, 1998.
<li><a href =
"http://www.cnn.com/WORLD/9712/17/japan.cartoon/index.html">CNN report -
12/17/1997</A> </ol>
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Neuroscience for Kids - Pokemon on the Brain
| |
| --- |
|
|
| | **Pokemon on the
Brain** | |
|
March 11, 2000
Pokemon is the popular Japanese cartoon show that has
swept across
the world. Is watching Pokemon dangerous to your health? In 1997, one
episode caused some serious problems for viewers in Japan and now
scientists have an idea why. |
| | |
| --- | --- |
| Pokemon (episode #38) Packs a Punch
On the evening of December 16, 1997, millions of people all over Japan
gathered in their homes to watch Pokemon (episode #38). About 20 minutes
into the program there was a scene of a rocket explosion that flashed
red and blue lights at a
rate of about 12 times per second.
This explosion scene was mixed with about five seconds of flashing lights
from the eyes of "Pikachu," a popular Pokemon character. Suddenly,
viewers started to complain of blurred vision, headaches, dizziness and
nausea. Some people even had seizures, convulsions and lost
consciousness. A total of 685 children (310 boys, 375 girls) were taken
to hospitals by ambulances. Although many children recovered during the
ambulance trip, more than 150 of them were admitted to hospitals. Two
people stayed in the hospital for over 2 weeks! | **JAPAN** |
| |
| --- |
| The Cause and Solution
Scientists believe that the flashing
lights triggered "photosensitive seizures" in which
visual stimuli such as flashing lights can cause altered consciousness.
Although scientists know that approximately 1 in 4000 people (0.5
- 0.8% of children between 4-14 years old) are susceptible to these types
of seizures, the number of people affected by this Pokemon episode was
unprecedented.
Soon after this unfortunate incident, Japanese television broadcasters and
medical officials got together to find ways to make sure this never
happened again. They established the following guidelines for future
animated programs:
* Flashing images, especially those with red, should not flicker
faster than three times per second. If the image does not have red, it
still should not flicker faster than five times per second.
* Flashing images should be displayed for a total duration of less than
two seconds.
* Stripes, whorls and concentric circles should not take up a large part
of a TV screen.
New Experiments from Italy
Italian scientists have detailed an abnormal brain response
to flashing lights in people who suffer from photosensitive seizures.
For both normal volunteers (average age, 15.2 years) and photosensitive
volunteers (average age, 18 years), they examined the brain's electrical
response to changing light patterns. The researchers found that in normal
volunteers, as the flickering lights increased in contrast, the response
of the brain increased. At high contrast levels, the brain's response
leveled out. The brain response in photosensitive people also increased
with higher contrasts, but it did not level out at
the highest contrast levels (see figure on the right; data adapted from
Porciatti et al., 2000). This was especially apparent when the lights
flashed at rates between 4 and 10 times per second. The scientists
believe that the brains of photosensitive people have a defective or
absent mechanism that controls the reaction to visual information. This
may have caused the seizures associated with the Pokemon episode
(#38). |
| | |
| --- | --- |
| | If you have absolutely no idea what Pokemon is
all about, visit the [official
Pokemon Web Site](http://www.pokemon.com). |
| |
| --- |
|
References and further information:
1. Enoki, H., et al., Photosensitive fits elicited by TV animation: An
electroencephalographic study, *Acta Paediatrica Japonica*,
40:626-630, 1998.
- Ishida, S., et al., Photosensitive seizures provoked while viewing
"Pocket Monsters," a made-for-television animation program in Japan,
*Epilepsia*, 39:1340-1344, 1998.
- Niijima, S-I., et al., Clinical electroencephalographic study of nine
pediatric patients with convulsion induced by the TV animation, Pocket
Monster, *Acta Paediatrica Japonica*, 40:544-549, 1998.
- Porciatti, V. et al., Lack of cortical contrast gain control in human
photosensitive epilepsy, Nature Neuroscience, 3:259-263, 2000.
- Takada, H., et al., Epileptic seizures induced by animated cartoon,
"Pocket Monster," *Epilepsia*, 40:997-1002, 1999.
- Takahashi, T. and Tsukahara, Y., Pocket Monster incident and low
luminance visual stimuli: Special reference to deep red flicker
stimulation, *Acta Paediatrica Japonica*, 40:631-637, 1998.
- [CNN report -
12/17/1997](http://www.cnn.com/WORLD/9712/17/japan.cartoon/index.html)
|
| | | |
| --- | --- | --- |
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Contents](neurok.html) |
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<h1>Eventually You'll Get Pretend Cancer:
<br />
The Bizarre World of Candy Cigarettes
</h1>
<sub>-or-
<br> "Reach For A Lucky Instead Of A Sweet
<br />
Unless That Sweet Is A Lucky Or Something Like That"</sub>
</center>
<p>
<p>
For the past 100 years, a variety of chocolate, candy, and bubble-gum
confections have been manufactured that simulate the appearance of actual
cigarettes. For the first 65 or so years, the major cigarette corporations
either looked the other way or took an active part in ensuring that the
candy package reproductions were "faithful" to their less-appealing
tobacco brothers.
For some reason, a lot of people believe candy cigarettes were
"totally outlawed" in the United States sometime in the past,
when in actuality, the major players have remained one step ahead of
governmental regulation via sluggish self-policing and a strong
commitment to what ESPN would call "Extreme Hiding."
The links below will take you on a magical tour through the world of the
only candy product that sells so much more than itself.
</p>
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<a href="usa.htm">U.S.</a>
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<a href="usaprof.htm">company profiles</a>
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<a href="foreign.htm">non-U.S.</a>
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<a href="foreign/forprof.htm">company profiles</a>
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<a href="timeline.htm">Timeline</a> |
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<a href="letters.htm">Letters</a> |
<a href="links.htm">Links</a>
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<hr noshade>
<p>
If you have an extremely macho connection, you could look at the
big thumbnail page and see all of the candy cigarettes at one time.
The people who hang around here have gotten used to calling it the
<a href="bigthumb.htm">BIG CANDY SMOKIN' THUMB</a>.
<p><hr noshade><p>
<a href="foreign/f61.htm">The Case Of The Mysterious Candy Cigarette Case With
The Mysterious Two Hands That Was Terribly, Terribly Mysterious And Weird
Also</a>
</blockquote>
<p><hr noshade><p>
Special thanks to
Max, Marci,
<!-- Marci/Max: Supersonic, Dinosaurs -->
<a href="http://www.mollykiely.com">Molly</a>,
<!-- Molly: spiderman/popeye -->
Trixie,
<!-- Trixie: Round Up -->
<a href="http://www.deuceofclubs.com">Deuce</a>,
<!-- Deuce: Princess, Liberty, Mustang, etc -->
Hannah C,
<!-- Hannah: UK (5) -->
Soosan,
<!-- Soosan: Guns, Manhattan, mini-versions of World, pretty color cigars -->
<a href="http://www.lahosken.san-francisco.ca.us">Larry H</a>,
<!-- Larry H: brazil kids, Thompson cigars, Lexington, Duquesa,St Georges,Mild Heaven, Castle, Future, Future10, Orion's, Orange. Yeesh! -->
Tom L,
<!-- Tom L: Friend of Larry H, got Orion's/Orange -->
<a href="http://www.superbad.com">Super B</a>,
<a href="http://www.bigrigindustries.org">Bigrig</a>,
<!-- Bigrig: Western, Gondola -->
Paul L,
<!-- Paul L: Fads, Fags -->
Julie W,
<!-- Julie W: Guns, Manhattan, bomb scare -->
<a href="http://www.tikifish.com">Fishstick</a>,
<!-- Fishstick: San Francisco, New York, Mexico, Paris, London -->
<a href="http://www.hoopla.com">Leslie H</a>,
<!-- Leslie H: Kings, etc -->
<a href="../../berk/berk.htm">Scott B,</a>,
<!-- Scott: California, ? -->
<a href="http://www.rotodesign.com">Roto D</a>,
<!-- Rotodesign: tips -->
Marc T,
<!-- Marc T: London Mall, Castle, St. Georges, Royer -->
Krishna,
<!-- Krishna: Paris, Chicago -->
<a href="http://www.cockeyed.com">Cock I</a>,
<!-- Rob: Gorbatchow -->
and anyone else I've forgotten.
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# Eventually You'll Get Pretend Cancer:
The Bizarre World of Candy Cigarettes
-or-
"Reach For A Lucky Instead Of A Sweet
For the past 100 years, a variety of chocolate, candy, and bubble-gum
confections have been manufactured that simulate the appearance of actual
cigarettes. For the first 65 or so years, the major cigarette corporations
either looked the other way or took an active part in ensuring that the
candy package reproductions were "faithful" to their less-appealing
tobacco brothers.
For some reason, a lot of people believe candy cigarettes were
"totally outlawed" in the United States sometime in the past,
when in actuality, the major players have remained one step ahead of
governmental regulation via sluggish self-policing and a strong
commitment to what ESPN would call "Extreme Hiding."
The links below will take you on a magical tour through the world of the
only candy product that sells so much more than itself.
---
[U.S.](usa.htm)
[](usa.htm)
[company profiles](usaprof.htm)
[non-U.S.](foreign.htm)
[](foreign.htm)
[company profiles](foreign/forprof.htm)
[Timeline](timeline.htm) |
[Purchasing](buying.htm) |
[Letters](letters.htm) |
[Links](links.htm)
---
If you have an extremely macho connection, you could look at the
big thumbnail page and see all of the candy cigarettes at one time.
The people who hang around here have gotten used to calling it the
[BIG CANDY SMOKIN' THUMB](bigthumb.htm).
---
[The Case Of The Mysterious Candy Cigarette Case With
The Mysterious Two Hands That Was Terribly, Terribly Mysterious And Weird
Also](foreign/f61.htm)
---
Special thanks to
Max, Marci,
[Molly](http://www.mollykiely.com),
Trixie,
[Deuce](http://www.deuceofclubs.com),
Hannah C,
Soosan,
[Larry H](http://www.lahosken.san-francisco.ca.us),
Tom L,
[Super B](http://www.superbad.com),
[Bigrig](http://www.bigrigindustries.org),
Paul L,
Julie W,
[Fishstick](http://www.tikifish.com),
[Leslie H](http://www.hoopla.com),
[Scott B,](../../berk/berk.htm),
[Roto D](http://www.rotodesign.com),
Marc T,
Krishna,
[Cock I](http://www.cockeyed.com),
and anyone else I've forgotten.
[
[home](../../home.htm) |
[contact](../../contact/contact.htm) |
[archive](../../a/archive.htm)
]
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<font size="+3">Hermetic Symbolism in a Masonic Engraving</font><br>
Article by Adam McLean originally published in the <i>Hermetic Journal</i> Winter 1987.<br>
<HR>
<div align="center"><img src="images/bamberg01.gif" width=598 height=634 border=0 alt=""></div>
<br>
I reproduce here the final plate in a set of six copperplate engravings found in the archives of a masonic lodge in Bamberg in Germany. These were however of English origin, being engraved by P. Lambert R.A. and published in London in 1789. This sixth plate from the series is especially rich in symbolism and as much of which has obvious hermetic undertones it especially attracted my interest. I am grateful to Joscelyn Godwin for bringing this item to my attention. I am not a masonic scholar so am in no sense qualified to analyse the symbolism from that standpoint, however, there are so many hermetic resonances that I think it may be instructive to examine the symbolic content from the hermetic viewpoint. At the very least we can see how hermetic ideas were woven into the complex symbolism of late 18th century Masonry in England.<br>
<br>
This engraving shows an egg-shaped space set within a square frame, here stylised into an architectural form. Around three sides of this square setting is a message spelt out in the Royal Arch cipher or secret masonic script. The key to this is given in the top left and right hand corners of the square<br>
<div align="center"><img src="images/bamberg02.gif" width=310 height=140 border=0 alt=""></div>
<br>
Thus taking the angles of the relevant square C is <img src="images/cipher01.gif" width=11 height=11 border=0 alt=""> , E (since it is dotted) is
<img src="images/cipher02.gif" width=11 height=12 border=0 alt=""> , F is
<img src="images/cipher03.gif" width=13 height=11 border=0 alt=""> , G (dotted) is
<img src="images/cipher04.gif" width=15 height=11 border=0 alt=""> , and so on, K is
<img src="images/cipher05.gif" width=11 height=12 border=0 alt=""> , S is
<img src="images/cipher06.gif" width=11 height=13 border=0 alt=""> , while from the central square we see that B is
<img src="images/cipher07.gif" width=14 height=12 border=0 alt=""> , D is
<img src="images/cipher08.gif" width=15 height=12 border=0 alt=""> , and O is notated
<img src="images/cipher09.gif" width=14 height=13 border=0 alt=""> . This particular arrangement of the letters is a blind however, and does not decipher the text, but merely serves to illustrate the principle of the cipher without giving away the secret message too easily. I have not taken the time to work out the cipher, there being barely enough text to do a letter frequency analysis, but there seem to be three separate encipherings each section being separated by a key
<img src="images/cipher10.gif" width=12 height=17 border=0 alt=""> symbol. I understand, however, that the texts were decoded in an article in <i>Ars Quatuor Coronatorum</i>, Vol III, 1890, pp. 36-37, though I have not been able to consult this in preparing this article.<br>
<br>
The lower side of the square has in English "Nothing without the V point and the true Name of
", while below this on the plinth is written "This is to certify that the Name of
is written in the Cubical Stone K". In the circular radiance that appears from behind the square setting we have the Latin phrase "If you can comprehend these things, you know enough", and in the centre at the bottom of the plinth we have "Unless the Key is not missing". Such teasing statements are of course found on early hermetic and alchemical emblems, a well known example being Khunrath's Amphitheatre Engravings which use similar phrases to taunt the reader, but this was a common device in many earlier works. I understand that these particular phrases are found inscribed on the regalia of a Companion of the Royal Arch.<br>
<br>
Around the circumference of the oval space we find a much more comprehensible statement:<br>
<br>
Who teaches us to write and speak,<br>
To speak in fair and soft terms,<br>
To distinguish truth from falsehood,<br>
To reckon and count all manners of numbers,<br>
The mensuration of lines, superfices, solids,<br>
The proportion, harmony and discords of sound,<br>
The motion of luminaries, planets,<br>
And how to measure their magnitude<br>
and determine the distance of the Infinite.<br>
[word(s) in cipher]<br>
By the seven science of the 7 degrees of the Cubical Stone,<br>
Whatever is, is right.<br>
<br>
In the dark space within the oval, is placed:<br>
<br>
No Kadosh No Heredom<br>
No Heredom No Knights Templar<br>
<br>
No Royal Arch No Knights Templar<br>
No Symbols No Royal Arch<br>
<br>
Linking to the statement at the centre bottom of the plate<br>
<br>
"Unless the Key is not missing"<br>
<br>
The central space is taken up by a pattern of eight squares bearing elaborate symbolism. Two of these are shaded to appear as three dimensional blocks rather than flat planes-the one on the left being the Brute Stone, whilst that on the right is labelled the Cubical Stone. The six remaining squares form a pattern, which can be wrapped up to form a cube.<br>
<br>
<div align="center"><img src="images/bamberg03.gif" width=364 height=169 border=0 alt=""></div>
<br>
The panel in the lower corner of the outer square shows the Mithraic mysteries with a 'priest' celebrating at an altar formed from two flat square stones and a cube. This image is also seen on one of the squares.<br>
<br>
<div align="center"><img src="images/bamberg04.gif" width=176 height=191 border=0 alt=""><br></div>
First we will consider the 'Brute Stone' and the 'Cubical Stone'. The Cubical Stone shows the cosmic space of the planetary spheres and the realm of the stars. On the earth stands Diana the 'Queen of Heaven' bearing seven breasts. Four symbolic objects are shown-the square, compass, plumb-line and scales, suggesting the geometric patterns of harmony that are found in the cosmos. Beneath her feet is the 'Physical, Moral, Natural Philosopher's Stone'. This picture echoes the symbolism of one of Robert Fludd's well known diagrams.<br>
<br>
<div align="center"><img src="images/bamberg05.gif" width=449 height=296 border=0 alt=""></div>
<br>
Contrasting with this on the left side of the diagram is the Brute Stone. <br>
<div align="center"><img src="images/bamberg06.gif" width=177 height=180 border=0 alt=""></div>
<br>
Here a tree is seen upside down spanning the worlds, its roots in the Sun, its branches spreading downwards through the realm of the Moon towards the earth. Again this calls to mind another of Fludd's famous diagrams.<br>
<div align="center"><img src="images/bamberg07.gif" width=145 height=232 border=0 alt=""></div>
<br>
The Brute Stone also bears various masonic symbols - the pickaxe and broom, the metronome or pendulum accurately beating time, while in the lower left we see a mallet, square and level. This is the realm of the world bounded by measurement (both of space and time). At the lower centre of this is a temple with two pillars and central sanctuary and obelisk, suggesting that the spiritual can be found in this world of measurement by the right application of the cosmic spiritual principles of mensuration and proportion. At the top centre of this stone is seen a cord with tassels set across two rings. This implies a kind of veil or barrier between the cosmic world of the planetary spheres and the outer physical world below, this gulf being spanned by the inverted tree, the descent of the spiritual principles from above as a living force, rather than abstract principles.<br>
<br>
The six other squares form the surfaces of a cube when folded up, so we can suggest that this is to be placed upon the Brute Stone, representing the earthly world, and capped by the Cubical Stone, to form an altar of aspiration. This altar thus contains in a coded form the essence of the work of spiritualising the material world (the square between these two stones has at its top centre a sketch of this altar). This set of six faces of the cube seems to work especially with the symbolism of the Three, the Four and the Seven.<br>
<div align="center"><img src="images/bamberg08.gif" width=173 height=165 border=0 alt=""></div>
<br>
Thus the lowest square has a triangular pyramid, a square tower of three storeys (associated with Truth, Egality, Liberty - Hermes, Moses and Solomon) and a seven runged ladder. There are also found other archetypal symbols familiar in alchemy - the serpent, the double-headed eagle, the skull and the tetramorph.<br>
<div align="center"><img src="images/bamberg09.gif" width=175 height=174 border=0 alt=""></div>
<br>
Architectural symbols are repeated on some of the other squares. Thus, the second from bottom shows us the wall of a three-storeyed building, each storey having three arched openings or niches. Below on the left a nonagon bears nine letters possibly associated with these niches. Twin pillars, another symbolic element common to this set of squares frame the triple building, and (as we have noted earlier) in the central space above is the archetypal form of an altar formed from a cube and two slabs of stone. This has a triangle with nine letters set around it in cipher and from it radiates out beams of light, and what appears to be a rainbow (also bearing nine letters in cipher) forms an arc around the tower. In the small detail of this square we find a menorah (seven-branched candlestick) and also a chalice.<br>
<br>
<div align="center"><img src="images/bamberg10.gif" width=172 height=168 border=0 alt=""></div>
<br>
The third from bottom is a figure centred upon a radiant circular form set upon a cross like stem. The radiant form bears a triangle and square at its centre, while above flames a seven pointed star (labelled with an 'E'). To the left is seen a square obelisk upon which is a a rose above which hovers a dove. This is labelled 'support' and 'morality' while the plinth of the obelisk has 'AMO' (Love). The round castellated tower to the right is the 'sign of God's Will'. Thus Love and Will are balanced. At the top of this tower is a pillar with a book at its top
and a lunar pennant or flag with the image of the Moon. Three Templar crosses are set above. This figure recalls the form of Robert Fludd's Rose on a Cross.<br>
<br>
<div align="center"><img src="images/bamberg12.gif" width=273 height=247 border=0 alt=""></div>
<br>
The square or face to the left is openly hermetic in conception centred on the Caduceus or Mercury symbol. At its centre is an upward pointing triangle and set on top a downward pointing triangle of flames, thus forming the Seal of Solomon. This can also be seen as Sulphur, the radiating fire-principle. At each corner of this square are seen geometrical figures, triangles, square and circle, with numbers 1, 2, 3, 4 arranged so as to illustrate mirror symmetries and reflections. Thus :-<br>
<div align="center"><font size="+1"> 4 3<br>
<br>
1 2</font><p>
when mirrored become<p>
<font size="+1"> 3 4<br>
<br>
2 1<br></font></div>
<br>
<div align="center"><img src="images/bamberg13.gif" width=172 height=169 border=0 alt=""><br></div>
The square on the right seems more directly masonic in symbolism. Four towers are set in a rectangular arrangement. The square tower in the left foreground set upon a rough built plinth and crowned with fire is partnered by the obelisk on the right with a bull's head. In the background left is a circular tower on a rough built plinth, while a castellated round tower is placed in the background right. In the centre a figure seems to be offering a sacrifice at a rough built altar while above the figure of a child is seen in a Templar Cross. The masonic interpretation of this particular set of symbols are not known to me.<br>
<div align="center"><img src="images/bamberg14.gif" width=173 height=168 border=0 alt=""></div>
<br>
The final square at the top of the oval space is an elaborate symbolic statement of the operative use of this whole complex of symbolism of the Cubic stone. A heptagon set in a circular space radiates outwards beams of light, while around it is the statement familar in Rosicrucian circles 'In Hoc Signo Vinces' - 'By this sign you are successful'. A priestly figure crowned with the spirit (H.P. ='High Priest' ?) stands on a globe of the world set in front of a six-columned temple. He extends his right hand holding six stars while his left points to a triple headed dragon. Thus he attempts to unite the above and the below-the realm of the cosmic spirit with that of the inner dragon. To his right is a vessel burning incense signifying the purification of the ritual space through air and fire. Between his teeth he holds a dagger while upon his vestments is a seven sided medallion with a 'K'.
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Hermetic Symbolism in a Masonic Engraving
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| **The Alchemy web site on Levity.com**
Hermetic Symbolism in a Masonic Engraving
Article by Adam McLean originally published in the *Hermetic Journal* Winter 1987.
---
I reproduce here the final plate in a set of six copperplate engravings found in the archives of a masonic lodge in Bamberg in Germany. These were however of English origin, being engraved by P. Lambert R.A. and published in London in 1789. This sixth plate from the series is especially rich in symbolism and as much of which has obvious hermetic undertones it especially attracted my interest. I am grateful to Joscelyn Godwin for bringing this item to my attention. I am not a masonic scholar so am in no sense qualified to analyse the symbolism from that standpoint, however, there are so many hermetic resonances that I think it may be instructive to examine the symbolic content from the hermetic viewpoint. At the very least we can see how hermetic ideas were woven into the complex symbolism of late 18th century Masonry in England.
This engraving shows an egg-shaped space set within a square frame, here stylised into an architectural form. Around three sides of this square setting is a message spelt out in the Royal Arch cipher or secret masonic script. The key to this is given in the top left and right hand corners of the square
Thus taking the angles of the relevant square C is , E (since it is dotted) is
, F is
, G (dotted) is
, and so on, K is
, S is
, while from the central square we see that B is
, D is
, and O is notated
. This particular arrangement of the letters is a blind however, and does not decipher the text, but merely serves to illustrate the principle of the cipher without giving away the secret message too easily. I have not taken the time to work out the cipher, there being barely enough text to do a letter frequency analysis, but there seem to be three separate encipherings each section being separated by a key
symbol. I understand, however, that the texts were decoded in an article in *Ars Quatuor Coronatorum*, Vol III, 1890, pp. 36-37, though I have not been able to consult this in preparing this article.
The lower side of the square has in English "Nothing without the V point and the true Name of
", while below this on the plinth is written "This is to certify that the Name of
is written in the Cubical Stone K". In the circular radiance that appears from behind the square setting we have the Latin phrase "If you can comprehend these things, you know enough", and in the centre at the bottom of the plinth we have "Unless the Key is not missing". Such teasing statements are of course found on early hermetic and alchemical emblems, a well known example being Khunrath's Amphitheatre Engravings which use similar phrases to taunt the reader, but this was a common device in many earlier works. I understand that these particular phrases are found inscribed on the regalia of a Companion of the Royal Arch.
Around the circumference of the oval space we find a much more comprehensible statement:
Who teaches us to write and speak,
To speak in fair and soft terms,
To distinguish truth from falsehood,
To reckon and count all manners of numbers,
The mensuration of lines, superfices, solids,
The proportion, harmony and discords of sound,
The motion of luminaries, planets,
And how to measure their magnitude
and determine the distance of the Infinite.
[word(s) in cipher]
By the seven science of the 7 degrees of the Cubical Stone,
Whatever is, is right.
In the dark space within the oval, is placed:
No Kadosh No Heredom
No Heredom No Knights Templar
No Royal Arch No Knights Templar
No Symbols No Royal Arch
Linking to the statement at the centre bottom of the plate
"Unless the Key is not missing"
The central space is taken up by a pattern of eight squares bearing elaborate symbolism. Two of these are shaded to appear as three dimensional blocks rather than flat planes-the one on the left being the Brute Stone, whilst that on the right is labelled the Cubical Stone. The six remaining squares form a pattern, which can be wrapped up to form a cube.
The panel in the lower corner of the outer square shows the Mithraic mysteries with a 'priest' celebrating at an altar formed from two flat square stones and a cube. This image is also seen on one of the squares.
First we will consider the 'Brute Stone' and the 'Cubical Stone'. The Cubical Stone shows the cosmic space of the planetary spheres and the realm of the stars. On the earth stands Diana the 'Queen of Heaven' bearing seven breasts. Four symbolic objects are shown-the square, compass, plumb-line and scales, suggesting the geometric patterns of harmony that are found in the cosmos. Beneath her feet is the 'Physical, Moral, Natural Philosopher's Stone'. This picture echoes the symbolism of one of Robert Fludd's well known diagrams.
Contrasting with this on the left side of the diagram is the Brute Stone.
Here a tree is seen upside down spanning the worlds, its roots in the Sun, its branches spreading downwards through the realm of the Moon towards the earth. Again this calls to mind another of Fludd's famous diagrams.
The Brute Stone also bears various masonic symbols - the pickaxe and broom, the metronome or pendulum accurately beating time, while in the lower left we see a mallet, square and level. This is the realm of the world bounded by measurement (both of space and time). At the lower centre of this is a temple with two pillars and central sanctuary and obelisk, suggesting that the spiritual can be found in this world of measurement by the right application of the cosmic spiritual principles of mensuration and proportion. At the top centre of this stone is seen a cord with tassels set across two rings. This implies a kind of veil or barrier between the cosmic world of the planetary spheres and the outer physical world below, this gulf being spanned by the inverted tree, the descent of the spiritual principles from above as a living force, rather than abstract principles.
The six other squares form the surfaces of a cube when folded up, so we can suggest that this is to be placed upon the Brute Stone, representing the earthly world, and capped by the Cubical Stone, to form an altar of aspiration. This altar thus contains in a coded form the essence of the work of spiritualising the material world (the square between these two stones has at its top centre a sketch of this altar). This set of six faces of the cube seems to work especially with the symbolism of the Three, the Four and the Seven.
Thus the lowest square has a triangular pyramid, a square tower of three storeys (associated with Truth, Egality, Liberty - Hermes, Moses and Solomon) and a seven runged ladder. There are also found other archetypal symbols familiar in alchemy - the serpent, the double-headed eagle, the skull and the tetramorph.
Architectural symbols are repeated on some of the other squares. Thus, the second from bottom shows us the wall of a three-storeyed building, each storey having three arched openings or niches. Below on the left a nonagon bears nine letters possibly associated with these niches. Twin pillars, another symbolic element common to this set of squares frame the triple building, and (as we have noted earlier) in the central space above is the archetypal form of an altar formed from a cube and two slabs of stone. This has a triangle with nine letters set around it in cipher and from it radiates out beams of light, and what appears to be a rainbow (also bearing nine letters in cipher) forms an arc around the tower. In the small detail of this square we find a menorah (seven-branched candlestick) and also a chalice.
The third from bottom is a figure centred upon a radiant circular form set upon a cross like stem. The radiant form bears a triangle and square at its centre, while above flames a seven pointed star (labelled with an 'E'). To the left is seen a square obelisk upon which is a a rose above which hovers a dove. This is labelled 'support' and 'morality' while the plinth of the obelisk has 'AMO' (Love). The round castellated tower to the right is the 'sign of God's Will'. Thus Love and Will are balanced. At the top of this tower is a pillar with a book at its top
and a lunar pennant or flag with the image of the Moon. Three Templar crosses are set above. This figure recalls the form of Robert Fludd's Rose on a Cross.
The square or face to the left is openly hermetic in conception centred on the Caduceus or Mercury symbol. At its centre is an upward pointing triangle and set on top a downward pointing triangle of flames, thus forming the Seal of Solomon. This can also be seen as Sulphur, the radiating fire-principle. At each corner of this square are seen geometrical figures, triangles, square and circle, with numbers 1, 2, 3, 4 arranged so as to illustrate mirror symmetries and reflections. Thus :-
4 3
1 2
when mirrored become
3 4
2 1
The square on the right seems more directly masonic in symbolism. Four towers are set in a rectangular arrangement. The square tower in the left foreground set upon a rough built plinth and crowned with fire is partnered by the obelisk on the right with a bull's head. In the background left is a circular tower on a rough built plinth, while a castellated round tower is placed in the background right. In the centre a figure seems to be offering a sacrifice at a rough built altar while above the figure of a child is seen in a Templar Cross. The masonic interpretation of this particular set of symbols are not known to me.
The final square at the top of the oval space is an elaborate symbolic statement of the operative use of this whole complex of symbolism of the Cubic stone. A heptagon set in a circular space radiates outwards beams of light, while around it is the statement familar in Rosicrucian circles 'In Hoc Signo Vinces' - 'By this sign you are successful'. A priestly figure crowned with the spirit (H.P. ='High Priest' ?) stands on a globe of the world set in front of a six-columned temple. He extends his right hand holding six stars while his left points to a triple headed dragon. Thus he attempts to unite the above and the below-the realm of the cosmic spirit with that of the inner dragon. To his right is a vessel burning incense signifying the purification of the ritual space through air and fire. Between his teeth he holds a dagger while upon his vestments is a seven sided medallion with a 'K'.
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<h1>Cargo Cult Science</h1>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>by RICHARD P. FEYNMAN</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoBodyText2>Some remarks on science, pseudoscience, and learning how
to not fool yourself. CaltechÕs 1974 commencement address.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>During the Middle Ages there were
all kinds of crazy ideas, such as that a piece of rhinoceros horn would
increase potency.<span style="mso-spacerun: yes"> </span>(Another crazy
idea of the Middle Ages is these hats we have on todayÑwhich is too loose in my
case.)<span style="mso-spacerun: yes"> </span>Then a method was
discovered for separating the ideasÑwhich was to try one to see if it worked,
and if it didnÕt work, to eliminate it.<span style="mso-spacerun: yes">
</span>This method became organized, of course, into science.<span
style="mso-spacerun: yes"> </span>And it developed very well, so that we
are now in the scientific age.<span style="mso-spacerun: yes"> </span>It
is such a scientific age, in fact, that we have difficulty in understanding how­
witch doctors could <i>ever</i><span style='font-style:normal'> have existed,
when nothing that they proposed ever really workedÑor very little of it did.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>But even today I meet lots of
people who sooner or later get me into a conversation about UFOÕs, or
astrology, or some form of mysticism, expanded consciousness, new types of
awareness, ESP, and so forth.<span style="mso-spacerun: yes"> </span>And
IÕve concluded that itÕs <i>not </i><span style='font-style:normal'>a
scientific world.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Most people believe so many
wonderful things that I decided to investigate why they did.<span
style="mso-spacerun: yes"> </span>And what has been referred to as my
curiosity for investigation has landed me in a difficulty where I found so much
junk to talk about that I canÕt do it in this talk.<span style="mso-spacerun:
yes"> </span>IÕm overwhelmed.<span style="mso-spacerun: yes">
</span>First I started out by investigating various ideas of mysticism, and
mystic experiences.<span style="mso-spacerun: yes"> </span>I went into
isolation tanks (theyÕre dark and quiet and you float in Epsom salts) and got
many hours of hallucinations, so I know something about that.<span
style="mso-spacerun: yes"> </span>Then I went to Esalen, which is a
hotbed of this kind of thought (itÕs a wonderful place; you should go visit there).
Then I became overwhelmed. I didnÕt realize how <i>much </i><span
style='font-style:normal'>there was.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I was sitting, for example, in a
hot bath and thereÕs another guy and a girl in the bath.<span
style="mso-spacerun: yes"> </span>He says to the girl, ÒIÕm learning
massage and I wonder if I could practice on you?Ó<span style="mso-spacerun:
yes"> </span>She says OK, so she gets up on a table and he starts off on
her footÑworking on her big toe and pushing it around.<span
style="mso-spacerun: yes"> </span>Then he turns to what is apparently his
instructor, and says, ÒI feel a kind of dent.<span style="mso-spacerun:
yes"> </span>Is that the pituitary?Ó<span style="mso-spacerun:
yes"> </span>And she says, ÒNo, thatÕs not the way it feels.Ó I say,
ÒYouÕre a hell of a long way from the pituitary, man.Ó<span
style="mso-spacerun: yes"> </span>And they both looked at meÑI had blown
my cover, you seeÑand she said, ÒItÕs reflexology.Ó<span style="mso-spacerun:
yes"> </span>So I closed my eyes and appeared to be meditating.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>ThatÕs just an example of the
kind of things that overwhelm me.<span style="mso-spacerun: yes">
</span>I also looked into extrasensory perception and PSI phenomena, and the
latest craze there was Uri Geller, a man who is supposed to be able to bend
keys by rubbing them with his finger.<span style="mso-spacerun: yes">
</span>So I went to his hotel room, on his invitation, to see a
demonstration of
both mind reading and bending keys.<span style="mso-spacerun: yes">
</span>He didnÕt do any mind reading that succeeded; nobody can read my mind, I
guess.<span style="mso-spacerun: yes"> </span>And my boy held a key and
Geller rubbed it, and nothing happened.<span style="mso-spacerun: yes">
</span>Then he told us it works better under water, and so you can picture all
of us standing in the bathroom with the water turned on and the key under it,
and him rubbing the key with his finger.<span style="mso-spacerun: yes">
</span>Nothing happened.<span style="mso-spacerun: yes"> </span>So I was
unable to investigate that phenomenon.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>But then I began to think, what
else is there that we believe?<span style="mso-spacerun: yes">
</span>(And I thought then about the witch doctors, and how easy it would have
been to check on them by noticing that nothing really worked.)<span
style="mso-spacerun: yes"> </span>So I found things that even more people
believe, such as that we have some knowledge of how to educate.<span
style="mso-spacerun: yes"> </span>There are big schools of reading methods
and mathematics methods, and so forth, but if you notice, youÕll see the
reading scores keep going downÑor hardly going upÑin spite of the fact that we
continually use these same people to improve the methods.<span
style="mso-spacerun: yes"> </span><i>ThereÕs</i><span style='font-style:
normal'> a witch doctor remedy that doesnÕt work.<span style="mso-spacerun:
yes"> </span>It ought to be looked into: how do they know that their
method should work?<span style="mso-spacerun: yes"> </span>Another
example is how to treat criminals.<span style="mso-spacerun: yes">
</span>We obviously have made no progressÑlots of theory, but no progressÑin
decreasing the amount of crime by the method that we use to handle criminals.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoBodyText3>Yet these things are said to be scientific.<span
style="mso-spacerun: yes"> </span>We study them.<span
style="mso-spacerun: yes"> </span>And I think ordinary people with
commonsense ideas are intimidated by this pseudoscience.<span
style="mso-spacerun: yes"> </span>A teacher who has some good idea of how
to teach her children to read is forced by the school system to do it some
other wayÑor is even fooled by the school system into thinking that her method
is not necessarily a good one.<span style="mso-spacerun: yes"> </span>Or
a parent of bad boys, after disciplining them in one way or another, feels
guilty for the rest of her life because she didnÕt do Òthe right thing,Ó
according to the experts.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>So we really ought to look into
theories that donÕt work, and science that isnÕt science.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I tried to find a principle for
discovering more of these kinds of things, and came up with the following
system.<span style="mso-spacerun: yes"> </span>Any time you find yourself
in a conversation at a cocktail partyÑin which you do not feel uncomfortable
that the hostess might come around and say, ÒWhy are you fellows talking
shop?ÕÕ or that your wife will come around and say, ÒWhy are you flirting
again?ÓÑthen you can be sure you are talking about something about which nobody
knows anything.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Using this method, I discovered a
few more topics that I had forgottenÑamong them the efficacy of various forms
of psychotherapy.<span style="mso-spacerun: yes"> </span>So I began to
investigate through the library, and so on, and I have so much to tell you that
I canÕt do it at all.<span style="mso-spacerun: yes"> </span>I will have
to limit myself to just a few little things.<span style="mso-spacerun:
yes"> </span>IÕll concentrate on the things more people believe in.<span
style="mso-spacerun: yes"> </span>Maybe I will give a series of speeches
next year on all these subjects.<span style="mso-spacerun: yes">
</span>It will take a long time.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I think the educational and
psychological studies I mentioned are examples of what I would like to call
Cargo Cult Science.<span style="mso-spacerun: yes"> </span>In the South
Seas there is a Cargo Cult of people.<span style="mso-spacerun: yes">
</span>During the war they saw airplanes land with lots of good materials, and
they want the same thing to happen now.<span style="mso-spacerun: yes">
</span>So theyÕve arranged to make things like runways, to put fires along the
sides of the runways, to make a wooden hut for a man to sit in, with two wooden
pieces on his head like headphones and bars of bamboo sticking out like
antennasÑheÕs the controllerÑand they wait for the airplanes to land.<span
style="mso-spacerun: yes"> </span>TheyÕre doing everything right.<span
style="mso-spacerun: yes"> </span>The form is perfect.<span
style="mso-spacerun: yes"> </span>It looks exactly the way it looked
before.<span style="mso-spacerun: yes"> </span>But it doesnÕt work.<span
style="mso-spacerun: yes"> </span>No airplanes land.<span
style="mso-spacerun: yes"> </span>So I call these things Cargo Cult
Science, because they follow all the apparent precepts and forms of scientific
investigation, but theyÕre missing something essential, because the planes donÕt
land.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Now it behooves me, of course, to
tell you what theyÕre missing.<span style="mso-spacerun: yes"> </span>But
it would he just about as difficult to explain to the South Sea Islanders how
they have to arrange things so that they get some wealth in their system.<span
style="mso-spacerun: yes"> </span>It is not something simple like telling
them how to improve the shapes of the earphones.<span style="mso-spacerun:
yes"> </span>But there is <i>one</i><span style='font-style:normal'>
feature I notice that is generally missing in Cargo Cult Science.<span
style="mso-spacerun: yes"> </span>That is the idea that we all hope you
have learned in studying science in schoolÑwe never explicitly say what this </span><i>is</i><span
style='font-style:normal'>, but just hope that you catch on by all the examples
of scientific investigation.<span style="mso-spacerun: yes"> </span>It is
interesting, therefore, to bring it out now and speak of it explicitly.<span
style="mso-spacerun: yes"> </span>ItÕs a kind of scientific integrity, a
principle of scientific thought that corresponds to a kind of utter honestyÑa
kind of leaning over backwards.<span style="mso-spacerun: yes">
</span>For example, if youÕre doing an experiment, you should report everything
that you think might make it invalidÑnot only what you think is right about it:
other causes that could possibly explain your results; and things you thought of
that youÕve eliminated by some other experiment, and how they workedÑto make
sure the other fellow can tell they have been eliminated.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Details that could throw doubt on
your interpretation must be given, if you know them.<span style="mso-spacerun:
yes"> </span>You must do the best you canÑif you know anything at all
wrong, or possibly wrongÑto explain it.<span style="mso-spacerun: yes">
</span>If you make a theory, for example, and advertise it, or put it out, then
you must also put down all the facts that disagree with it, as well as those
that agree with it.<span style="mso-spacerun: yes"> </span>There is also
a more subtle problem.<span style="mso-spacerun: yes"> </span>When you
have put a lot of ideas together to make an elaborate theory, you want to make
sure, when explaining what it fits, that those things it fits are not just the
things that gave you the idea for the theory; but that the finished theory
makes something else come out right, in addition.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>In summary, the idea is to try to
give <i>all</i><span style='font-style:normal'> of the information to help
others to judge the value of your contribution; not just the information that
leads to judgment in one particular direction or another.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>The easiest way to explain this
idea is to contrast it, for example, with advertising.<span
style="mso-spacerun: yes"> </span>Last night I heard that Wesson Oil
doesnÕt soak through food.<span style="mso-spacerun: yes"> </span>Well,
thatÕs true.<span style="mso-spacerun: yes"> </span>ItÕs not dishonest;
but the thing IÕm talking about is not just a matter of not being dishonest,
itÕs a matter of scientific integrity, which is another level.<span
style="mso-spacerun: yes"> </span>The fact that should be added to that
advertising statement is that <i>no</i><span style='font-style:normal'> oils
soak through food, if operated at a certain temperature.<span
style="mso-spacerun: yes"> </span>If operated at another temperature, they
</span><i>all </i><span style='font-style:normal'>willÑincluding Wesson
Oil.<span style="mso-spacerun: yes"> </span>So itÕs the implication which
has been conveyed, not the fact, which is true, and the difference is what we
have to deal with.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>WeÕve learned from experience
that the truth will out.<span style="mso-spacerun: yes"> </span>Other
experimenters will repeat your experiment and find out whether you were wrong
or right.<span style="mso-spacerun: yes"> </span>NatureÕs phenomena will
agree or theyÕll disagree with your theory.<span style="mso-spacerun:
yes"> </span>And, although you may gain some temporary fame and
excitement, you will not gain a good reputation as a scientist if you havenÕt
tried to be very careful in this kind of work.<span style="mso-spacerun:
yes"> </span>And itÕs this type of integrity, this kind of care not to
fool yourself, that is missing to a large extent in much of the research in
Cargo Cult Science.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>A great deal of their difficulty
is, of course, the difficulty of the subject and the inapplicability of the
scientific method to the subject.<span style="mso-spacerun: yes">
</span>Nevertheless, it should be remarked that this is not the only
difficulty.<span style="mso-spacerun: yes"> </span>ThatÕs <i>why</i><span
style='font-style:normal'> the planes donÕt landÑbut they donÕt land.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoBodyText3>We have learned a lot from experience about how to handle
some of the ways we fool ourselves.<span style="mso-spacerun: yes">
</span>One example: Millikan measured the charge on an electron by an
experiment with falling oil drops and got an answer which we now know not to be
quite right.<span style="mso-spacerun: yes"> </span>ItÕs a little bit
off, because he had the incorrect value for the viscosity of air.<span
style="mso-spacerun: yes"> </span>ItÕs interesting to look at the history
of measurements of the charge of the electron, after Millikan.<span
style="mso-spacerun: yes"> </span>If you plot them as a function of time,
you find that one is a little bigger than MillikanÕs, and the next oneÕs a
little bit bigger than that, and the next oneÕs a little bit bigger than that,
until finally they settle down to a number which is higher.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Why didnÕt they discover that the
new number was higher right away?<span style="mso-spacerun: yes">
</span>ItÕs a thing that scientists are ashamed ofÑthis historyÑbecause itÕs
apparent that people did things like this: When they got a number that was too
high above MillikanÕs, they thought something must be wrongÑand they would look
for and find a reason why something might be wrong.<span style="mso-spacerun:
yes"> </span>When they got a number closer to MillikanÕs value they
didnÕt look so hard.<span style="mso-spacerun: yes"> </span>And so they
eliminated the numbers that were too far off, and did other things like
that.<span style="mso-spacerun: yes"> </span>WeÕve learned those tricks
nowadays, and now we donÕt have that kind of a disease.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>But this long history of learning
how to not fool ourselvesÑof having utter scientific integrityÑis, IÕm sorry to
say, something that we havenÕt specifically included in any particular course
that I know of.<span style="mso-spacerun: yes"> </span>We just hope youÕve
caught on by osmosis.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>The first principle is that you
must not fool yourselfÑand you are the easiest person to fool.<span
style="mso-spacerun: yes"> </span>So you have to be very careful about
that.<span style="mso-spacerun: yes"> </span>After youÕve not fooled
yourself, itÕs easy not to fool other scientists.<span style="mso-spacerun:
yes"> </span>You just have to be honest in a conventional way after that.<span
style="mso-spacerun: yes"> </span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I would like to add something
thatÕs not essential to the science, but something I kind of believe, which is
that you should not fool the layman when youÕre talking as a scientist. IÕm not
trying to tell you what to do about cheating on your wife, or fooling your
girlfriend, or something like that, when youÕre not trying to be a scientist,
but just trying to be an ordinary human being.<span style="mso-spacerun:
yes"> </span>WeÕll leave those problems up to you and your rabbi.<span
style="mso-spacerun: yes"> </span>IÕm talking about a specific, extra
type of integrity that is not lying, but bending over backwards to show how
youÕre maybe wrong, that you ought to do when acting as a scientist.<span
style="mso-spacerun: yes"> </span>And this is our responsibility as
scientists, certainly to other scientists, and I think to laymen.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>For example, I was a little
surprised when I was talking to a friend who was going to go on the radio.<span
style="mso-spacerun: yes"> </span>He does work on cosmology and
astronomy, and he wondered how he would explain what the applications of this
work were.<span style="mso-spacerun: yes"> </span>ÒWell,Ó I said, Òthere
arenÕt any.Ó<span style="mso-spacerun: yes"> </span>He said, ÒYes, but
then we wonÕt get support for more research of this kind.Ó<span
style="mso-spacerun: yes"> </span>I think thatÕs kind of dishonest.<span
style="mso-spacerun: yes"> </span>If youÕre representing yourself as a
scientist, then you should explain to the layman what youÕre doingÑand if they
donÕt want to support you under those circumstances, then thatÕs their
decision.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>One example of the principle is
this: If youÕve made up your mind to test a theory, or you want to explain some
idea, you should always decide to publish it whichever way it comes out.<span
style="mso-spacerun: yes"> </span>If we only publish results of a certain
kind, we can make the argument look good.<span style="mso-spacerun: yes">
</span>We must publish <i>both </i><span style='font-style:normal'>kinds of
result.<span style="mso-spacerun: yes"> </span>For exampleÑletÕs take
advertising againÑsuppose some particular cigarette has some particular
property, like low nicotine.<span style="mso-spacerun: yes"> </span>ItÕs
published widely by the company that this means it is good for youÑthey donÕt
say, for instance, that the tars are a different proportion, or that something
else is the matter with the cigarette.<span style="mso-spacerun: yes">
</span>In other words, publication probability depends upon the answer.<span
style="mso-spacerun: yes"> </span>That should not be done.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I say thatÕs also important in
giving certain types of government advice. Supposing a senator asked you for
advice about whether drilling a hole should be done in his state; and you
decide it would he better in some other state.<span style="mso-spacerun:
yes"> </span>If you donÕt publish such a result, it seems to me youÕre
not giving scientific advice.<span style="mso-spacerun: yes">
</span>YouÕre being used.<span style="mso-spacerun: yes"> </span>If your
answer happens to come out in the direction the government or the politicians
like, they can use it as an argument in their favor; if it comes out the other
way, they donÕt publish it at all.<span style="mso-spacerun: yes">
</span>ThatÕs not giving scientific advice.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Other kinds of errors are more
characteristic of poor science.<span style="mso-spacerun: yes">
</span>When I was at Cornell.<span style="mso-spacerun: yes"> </span>I
often talked to the people in the psychology department.<span
style="mso-spacerun: yes"> </span>One of the students told me she wanted
to do an experiment that went something like thisÑI donÕt remember it in
detail, but it had been found by others that under certain circumstances, X,
rats did something, A.<span style="mso-spacerun: yes"> </span>She was
curious as to whether, if she changed the circumstances to Y, they would still
do, A.<span style="mso-spacerun: yes"> </span>So her proposal was to do
the experiment under circumstances Y and see if they still did A.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I explained to her that it was
necessary first to repeat in her laboratory the experiment of the other
personÑto do it under condition X to see if she could also get result AÑand
then change to Y and see if A changed.<span style="mso-spacerun: yes">
</span>Then she would know that the real difference was the thing she thought
she had under control.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>She was very delighted with this
new idea, and went to her professor.<span style="mso-spacerun: yes">
</span>And his reply was, no, you cannot do that, because the experiment has
already been done and you would be wasting time.<span style="mso-spacerun:
yes"> </span>This was in about 1935 or so, and it seems to have been the
general policy then to not try to repeat psychological experiments, but only
to
change the conditions and see what happens.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Nowadays thereÕs a certain danger
of the same thing happening, even in the famous field of physics.<span
style="mso-spacerun: yes"> </span>I was shocked to hear of an experiment
done at the big accelerator at the National Accelerator Laboratory, where a
person used deuterium.<span style="mso-spacerun: yes"> </span>In order to
compare his heavy hydrogen results to what might happen to light hydrogen he
had to use data from someone elseÕs experiment on light hydrogen, which was
done on different apparatus.<span style="mso-spacerun: yes"> </span>When
asked he said it was because he couldnÕt get time on the program (because
thereÕs so little time and itÕs such expensive apparatus) to do the experiment
with light hydrogen on this apparatus because there wouldnÕt be any new
result.<span style="mso-spacerun: yes"> </span>And so the men in charge
of programs at NAL are so anxious for new results, in order to get more money
to keep the thing going for public relations purposes, they are
destroyingÑpossiblyÑthe value of the experiments themselves, which is the whole
purpose of the thing.<span style="mso-spacerun: yes"> </span>It is often
hard for the experimenters there to complete their work as their scientific
integrity demands.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>All experiments in psychology are
not of this type, however.<span style="mso-spacerun: yes"> </span>For
example, there have been many experiments running rats through all kinds of
mazes, and so onÑwith little clear result.<span style="mso-spacerun:
yes"> </span>But in 1937 a man named Young did a very interesting
one.<span style="mso-spacerun: yes"> </span>He had a long corridor with
doors all along one side where the rats came in, and doors along the other side
where the food was.<span style="mso-spacerun: yes"> </span>He wanted to see
if he could train the rats to go in at the third door down from wherever he
started them off.<span style="mso-spacerun: yes"> </span>No.<span
style="mso-spacerun: yes"> </span>The rats went immediately to the door
where the food had been the time before.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>The question was, how did the
rats know, because the corridor was so beautifully built and so uniform, that
this was the same door as before?<span style="mso-spacerun: yes">
</span>Obviously there was something about the door that was different from the
other doors.<span style="mso-spacerun: yes"> </span>So he painted the
doors very carefully, arranging the textures on the faces of the doors exactly
the same.<span style="mso-spacerun: yes"> </span>Still the rats could
tell.<span style="mso-spacerun: yes"> </span>Then he thought maybe the
rats were smelling the food, so he used chemicals to change the smell after
each run.<span style="mso-spacerun: yes"> </span>Still the rats could
tell.<span style="mso-spacerun: yes"> </span>Then he realized the rats
might be able to tell by seeing the lights and the arrangement in the
laboratory like any commonsense person.<span style="mso-spacerun: yes">
</span>So he covered the corridor, and, still the rats could tell.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>He finally found that they could
tell by the way the floor sounded when they ran over it.<span
style="mso-spacerun: yes"> </span>And he could only fix that by putting
his corridor in sand.<span style="mso-spacerun: yes"> </span>So he
covered one after another of all possible clues and finally was able to fool
the rats so that they had to learn to go in the third door.<span
style="mso-spacerun: yes"> </span>If he relaxed any of his conditions,
the rats could tell.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>Now, from a scientific
standpoint, that is an A‑Number‑l experiment. That is the
experiment that makes rat‑running experiments sensible, because it
uncovers the clues that the rat is really usingÑnot what you think itÕs
using.<span style="mso-spacerun: yes"> </span>And that is the experiment
that tells exactly what conditions you have to use in order to be careful and
control everything in an experiment with rat‑running.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>I looked into the subsequent
history of this research.<span style="mso-spacerun: yes"> </span>The
subsequent experiment, and the one after that, never referred to Mr.
Young.<span style="mso-spacerun: yes"> </span>They never used any of his
criteria of putting the corridor on sand, or being very careful.<span
style="mso-spacerun: yes"> </span>They just went right on running rats in
the same old way, and paid no attention to the great discoveries of Mr. Young,
and his papers are not referred to, because he didnÕt discover anything about
the rats.<span style="mso-spacerun: yes"> </span>In fact, he discovered <i>all</i><span
style='font-style:normal'> the things you have to do to discover something
about rats.<span style="mso-spacerun: yes"> </span>But not paying
attention to experiments like that is a characteristic of Cargo Cult Science.</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoBodyText3>Another example is the ESP experiments of Mr. Rhine, and
other people.<span style="mso-spacerun: yes"> </span>As various people
have made criticismsÑand they themselves have made criticisms of their own
experimentsÑthey improve the techniques so that the effects are smaller, and
smaller, and smaller until they gradually disappear.<span style="mso-spacerun:
yes"> </span>All the parapsychologists are looking for some experiment
that can be repeatedÑthat you can do again and get the same
effectÑstatistically, even.<span style="mso-spacerun: yes"> </span>They
run a million ratsÑno, itÕs people this timeÑthey do a lot of things and get a
certain statistical effect.<span style="mso-spacerun: yes"> </span>Next
time they try it they donÕt get it any more.<span style="mso-spacerun:
yes"> </span>And now you find a man saying that it is an irrelevant
demand to expect a repeatable experiment.<span style="mso-spacerun: yes">
</span>This is <i>science</i><span style='font-style:normal'>?</span></p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal style='text-align:justify'>This man also speaks about a new
institution, in a talk in which he was resigning as Director of the Institute
of Parapsychology.<span style="mso-spacerun: yes"> </span>And, in telling
people what to do next, he says that one of the things they have to do is be
sure they only train students who have shown their ability to get PSI results
to an acceptable extentÑnot to waste their time on those ambitious and
interested students who get only chance results.<span style="mso-spacerun:
yes"> </span>It is very dangerous to have such a policy in teachingÑto
teach students only how to get certain results, rather than how to do an
experiment with scientific integrity.</p>
<p class=MsoNormal style='text-align:justify'><![if !supportEmptyParas]> <![endif]><o:p></o:p></p>
<p class=MsoNormal>So I wish to youÑI have no more time, so I have just one
wish for youÑthe good luck to be somewhere where you are free to maintain the
kind of integrity I have described, and where you do not feel forced by a need
to maintain your position in the organization, or financial support, or so on,
to lose your integrity.<span style="mso-spacerun: yes"> </span>May you
have that freedom.<span style="mso-spacerun: yes"> </span>May I also give
you one last bit of advice: Never say that youÕll give a talk unless you know
clearly what youÕre going to talk about and more or less what youÕre going to
say.</p>
</div>
</body>
</h | Cargo Cult Science
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# Cargo Cult Science
if !supportEmptyParas endif
by RICHARD P. FEYNMAN
if !supportEmptyParas endif
Some remarks on science, pseudoscience, and learning how
to not fool yourself. CaltechÕs 1974 commencement address.
if !supportEmptyParas endif
if !supportEmptyParas endif
During the Middle Ages there were
all kinds of crazy ideas, such as that a piece of rhinoceros horn would
increase potency. (Another crazy
idea of the Middle Ages is these hats we have on todayÑwhich is too loose in my
case.) Then a method was
discovered for separating the ideasÑwhich was to try one to see if it worked,
and if it didnÕt work, to eliminate it.
This method became organized, of course, into science. And it developed very well, so that we
are now in the scientific age. It
is such a scientific age, in fact, that we have difficulty in understanding how
witch doctors could *ever* have existed,
when nothing that they proposed ever really workedÑor very little of it did.
if !supportEmptyParas endif
But even today I meet lots of
people who sooner or later get me into a conversation about UFOÕs, or
astrology, or some form of mysticism, expanded consciousness, new types of
awareness, ESP, and so forth. And
IÕve concluded that itÕs *not* a
scientific world.
if !supportEmptyParas endif
Most people believe so many
wonderful things that I decided to investigate why they did. And what has been referred to as my
curiosity for investigation has landed me in a difficulty where I found so much
junk to talk about that I canÕt do it in this talk. IÕm overwhelmed.
First I started out by investigating various ideas of mysticism, and
mystic experiences. I went into
isolation tanks (theyÕre dark and quiet and you float in Epsom salts) and got
many hours of hallucinations, so I know something about that. Then I went to Esalen, which is a
hotbed of this kind of thought (itÕs a wonderful place; you should go visit there).
Then I became overwhelmed. I didnÕt realize how *much* there was.
if !supportEmptyParas endif
I was sitting, for example, in a
hot bath and thereÕs another guy and a girl in the bath. He says to the girl, ÒIÕm learning
massage and I wonder if I could practice on you?Ó She says OK, so she gets up on a table and he starts off on
her footÑworking on her big toe and pushing it around. Then he turns to what is apparently his
instructor, and says, ÒI feel a kind of dent. Is that the pituitary?Ó And she says, ÒNo, thatÕs not the way it feels.Ó I say,
ÒYouÕre a hell of a long way from the pituitary, man.Ó And they both looked at meÑI had blown
my cover, you seeÑand she said, ÒItÕs reflexology.Ó So I closed my eyes and appeared to be meditating.
if !supportEmptyParas endif
ThatÕs just an example of the
kind of things that overwhelm me.
I also looked into extrasensory perception and PSI phenomena, and the
latest craze there was Uri Geller, a man who is supposed to be able to bend
keys by rubbing them with his finger.
So I went to his hotel room, on his invitation, to see a
demonstration of
both mind reading and bending keys.
He didnÕt do any mind reading that succeeded; nobody can read my mind, I
guess. And my boy held a key and
Geller rubbed it, and nothing happened.
Then he told us it works better under water, and so you can picture all
of us standing in the bathroom with the water turned on and the key under it,
and him rubbing the key with his finger.
Nothing happened. So I was
unable to investigate that phenomenon.
if !supportEmptyParas endif
But then I began to think, what
else is there that we believe?
(And I thought then about the witch doctors, and how easy it would have
been to check on them by noticing that nothing really worked.) So I found things that even more people
believe, such as that we have some knowledge of how to educate. There are big schools of reading methods
and mathematics methods, and so forth, but if you notice, youÕll see the
reading scores keep going downÑor hardly going upÑin spite of the fact that we
continually use these same people to improve the methods. *ThereÕs* a witch doctor remedy that doesnÕt work. It ought to be looked into: how do they know that their
method should work? Another
example is how to treat criminals.
We obviously have made no progressÑlots of theory, but no progressÑin
decreasing the amount of crime by the method that we use to handle criminals.
if !supportEmptyParas endif
Yet these things are said to be scientific. We study them. And I think ordinary people with
commonsense ideas are intimidated by this pseudoscience. A teacher who has some good idea of how
to teach her children to read is forced by the school system to do it some
other wayÑor is even fooled by the school system into thinking that her method
is not necessarily a good one. Or
a parent of bad boys, after disciplining them in one way or another, feels
guilty for the rest of her life because she didnÕt do Òthe right thing,Ó
according to the experts.
if !supportEmptyParas endif
So we really ought to look into
theories that donÕt work, and science that isnÕt science.
if !supportEmptyParas endif
I tried to find a principle for
discovering more of these kinds of things, and came up with the following
system. Any time you find yourself
in a conversation at a cocktail partyÑin which you do not feel uncomfortable
that the hostess might come around and say, ÒWhy are you fellows talking
shop?ÕÕ or that your wife will come around and say, ÒWhy are you flirting
again?ÓÑthen you can be sure you are talking about something about which nobody
knows anything.
if !supportEmptyParas endif
Using this method, I discovered a
few more topics that I had forgottenÑamong them the efficacy of various forms
of psychotherapy. So I began to
investigate through the library, and so on, and I have so much to tell you that
I canÕt do it at all. I will have
to limit myself to just a few little things. IÕll concentrate on the things more people believe in. Maybe I will give a series of speeches
next year on all these subjects.
It will take a long time.
if !supportEmptyParas endif
I think the educational and
psychological studies I mentioned are examples of what I would like to call
Cargo Cult Science. In the South
Seas there is a Cargo Cult of people.
During the war they saw airplanes land with lots of good materials, and
they want the same thing to happen now.
So theyÕve arranged to make things like runways, to put fires along the
sides of the runways, to make a wooden hut for a man to sit in, with two wooden
pieces on his head like headphones and bars of bamboo sticking out like
antennasÑheÕs the controllerÑand they wait for the airplanes to land. TheyÕre doing everything right. The form is perfect. It looks exactly the way it looked
before. But it doesnÕt work. No airplanes land. So I call these things Cargo Cult
Science, because they follow all the apparent precepts and forms of scientific
investigation, but theyÕre missing something essential, because the planes donÕt
land.
if !supportEmptyParas endif
Now it behooves me, of course, to
tell you what theyÕre missing. But
it would he just about as difficult to explain to the South Sea Islanders how
they have to arrange things so that they get some wealth in their system. It is not something simple like telling
them how to improve the shapes of the earphones. But there is *one*
feature I notice that is generally missing in Cargo Cult Science. That is the idea that we all hope you
have learned in studying science in schoolÑwe never explicitly say what this *is*, but just hope that you catch on by all the examples
of scientific investigation. It is
interesting, therefore, to bring it out now and speak of it explicitly. ItÕs a kind of scientific integrity, a
principle of scientific thought that corresponds to a kind of utter honestyÑa
kind of leaning over backwards.
For example, if youÕre doing an experiment, you should report everything
that you think might make it invalidÑnot only what you think is right about it:
other causes that could possibly explain your results; and things you thought of
that youÕve eliminated by some other experiment, and how they workedÑto make
sure the other fellow can tell they have been eliminated.
if !supportEmptyParas endif
Details that could throw doubt on
your interpretation must be given, if you know them. You must do the best you canÑif you know anything at all
wrong, or possibly wrongÑto explain it.
If you make a theory, for example, and advertise it, or put it out, then
you must also put down all the facts that disagree with it, as well as those
that agree with it. There is also
a more subtle problem. When you
have put a lot of ideas together to make an elaborate theory, you want to make
sure, when explaining what it fits, that those things it fits are not just the
things that gave you the idea for the theory; but that the finished theory
makes something else come out right, in addition.
if !supportEmptyParas endif
In summary, the idea is to try to
give *all* of the information to help
others to judge the value of your contribution; not just the information that
leads to judgment in one particular direction or another.
if !supportEmptyParas endif
The easiest way to explain this
idea is to contrast it, for example, with advertising. Last night I heard that Wesson Oil
doesnÕt soak through food. Well,
thatÕs true. ItÕs not dishonest;
but the thing IÕm talking about is not just a matter of not being dishonest,
itÕs a matter of scientific integrity, which is another level. The fact that should be added to that
advertising statement is that *no* oils
soak through food, if operated at a certain temperature. If operated at another temperature, they
*all* willÑincluding Wesson
Oil. So itÕs the implication which
has been conveyed, not the fact, which is true, and the difference is what we
have to deal with.
if !supportEmptyParas endif
WeÕve learned from experience
that the truth will out. Other
experimenters will repeat your experiment and find out whether you were wrong
or right. NatureÕs phenomena will
agree or theyÕll disagree with your theory. And, although you may gain some temporary fame and
excitement, you will not gain a good reputation as a scientist if you havenÕt
tried to be very careful in this kind of work. And itÕs this type of integrity, this kind of care not to
fool yourself, that is missing to a large extent in much of the research in
Cargo Cult Science.
if !supportEmptyParas endif
A great deal of their difficulty
is, of course, the difficulty of the subject and the inapplicability of the
scientific method to the subject.
Nevertheless, it should be remarked that this is not the only
difficulty. ThatÕs *why* the planes donÕt landÑbut they donÕt land.
if !supportEmptyParas endif
We have learned a lot from experience about how to handle
some of the ways we fool ourselves.
One example: Millikan measured the charge on an electron by an
experiment with falling oil drops and got an answer which we now know not to be
quite right. ItÕs a little bit
off, because he had the incorrect value for the viscosity of air. ItÕs interesting to look at the history
of measurements of the charge of the electron, after Millikan. If you plot them as a function of time,
you find that one is a little bigger than MillikanÕs, and the next oneÕs a
little bit bigger than that, and the next oneÕs a little bit bigger than that,
until finally they settle down to a number which is higher.
if !supportEmptyParas endif
Why didnÕt they discover that the
new number was higher right away?
ItÕs a thing that scientists are ashamed ofÑthis historyÑbecause itÕs
apparent that people did things like this: When they got a number that was too
high above MillikanÕs, they thought something must be wrongÑand they would look
for and find a reason why something might be wrong. When they got a number closer to MillikanÕs value they
didnÕt look so hard. And so they
eliminated the numbers that were too far off, and did other things like
that. WeÕve learned those tricks
nowadays, and now we donÕt have that kind of a disease.
if !supportEmptyParas endif
But this long history of learning
how to not fool ourselvesÑof having utter scientific integrityÑis, IÕm sorry to
say, something that we havenÕt specifically included in any particular course
that I know of. We just hope youÕve
caught on by osmosis.
if !supportEmptyParas endif
The first principle is that you
must not fool yourselfÑand you are the easiest person to fool. So you have to be very careful about
that. After youÕve not fooled
yourself, itÕs easy not to fool other scientists. You just have to be honest in a conventional way after that.
if !supportEmptyParas endif
I would like to add something
thatÕs not essential to the science, but something I kind of believe, which is
that you should not fool the layman when youÕre talking as a scientist. IÕm not
trying to tell you what to do about cheating on your wife, or fooling your
girlfriend, or something like that, when youÕre not trying to be a scientist,
but just trying to be an ordinary human being. WeÕll leave those problems up to you and your rabbi. IÕm talking about a specific, extra
type of integrity that is not lying, but bending over backwards to show how
youÕre maybe wrong, that you ought to do when acting as a scientist. And this is our responsibility as
scientists, certainly to other scientists, and I think to laymen.
if !supportEmptyParas endif
For example, I was a little
surprised when I was talking to a friend who was going to go on the radio. He does work on cosmology and
astronomy, and he wondered how he would explain what the applications of this
work were. ÒWell,Ó I said, Òthere
arenÕt any.Ó He said, ÒYes, but
then we wonÕt get support for more research of this kind.Ó I think thatÕs kind of dishonest. If youÕre representing yourself as a
scientist, then you should explain to the layman what youÕre doingÑand if they
donÕt want to support you under those circumstances, then thatÕs their
decision.
if !supportEmptyParas endif
One example of the principle is
this: If youÕve made up your mind to test a theory, or you want to explain some
idea, you should always decide to publish it whichever way it comes out. If we only publish results of a certain
kind, we can make the argument look good.
We must publish *both* kinds of
result. For exampleÑletÕs take
advertising againÑsuppose some particular cigarette has some particular
property, like low nicotine. ItÕs
published widely by the company that this means it is good for youÑthey donÕt
say, for instance, that the tars are a different proportion, or that something
else is the matter with the cigarette.
In other words, publication probability depends upon the answer. That should not be done.
if !supportEmptyParas endif
I say thatÕs also important in
giving certain types of government advice. Supposing a senator asked you for
advice about whether drilling a hole should be done in his state; and you
decide it would he better in some other state. If you donÕt publish such a result, it seems to me youÕre
not giving scientific advice.
YouÕre being used. If your
answer happens to come out in the direction the government or the politicians
like, they can use it as an argument in their favor; if it comes out the other
way, they donÕt publish it at all.
ThatÕs not giving scientific advice.
if !supportEmptyParas endif
Other kinds of errors are more
characteristic of poor science.
When I was at Cornell. I
often talked to the people in the psychology department. One of the students told me she wanted
to do an experiment that went something like thisÑI donÕt remember it in
detail, but it had been found by others that under certain circumstances, X,
rats did something, A. She was
curious as to whether, if she changed the circumstances to Y, they would still
do, A. So her proposal was to do
the experiment under circumstances Y and see if they still did A.
if !supportEmptyParas endif
I explained to her that it was
necessary first to repeat in her laboratory the experiment of the other
personÑto do it under condition X to see if she could also get result AÑand
then change to Y and see if A changed.
Then she would know that the real difference was the thing she thought
she had under control.
if !supportEmptyParas endif
She was very delighted with this
new idea, and went to her professor.
And his reply was, no, you cannot do that, because the experiment has
already been done and you would be wasting time. This was in about 1935 or so, and it seems to have been the
general policy then to not try to repeat psychological experiments, but only
to
change the conditions and see what happens.
if !supportEmptyParas endif
Nowadays thereÕs a certain danger
of the same thing happening, even in the famous field of physics. I was shocked to hear of an experiment
done at the big accelerator at the National Accelerator Laboratory, where a
person used deuterium. In order to
compare his heavy hydrogen results to what might happen to light hydrogen he
had to use data from someone elseÕs experiment on light hydrogen, which was
done on different apparatus. When
asked he said it was because he couldnÕt get time on the program (because
thereÕs so little time and itÕs such expensive apparatus) to do the experiment
with light hydrogen on this apparatus because there wouldnÕt be any new
result. And so the men in charge
of programs at NAL are so anxious for new results, in order to get more money
to keep the thing going for public relations purposes, they are
destroyingÑpossiblyÑthe value of the experiments themselves, which is the whole
purpose of the thing. It is often
hard for the experimenters there to complete their work as their scientific
integrity demands.
if !supportEmptyParas endif
All experiments in psychology are
not of this type, however. For
example, there have been many experiments running rats through all kinds of
mazes, and so onÑwith little clear result. But in 1937 a man named Young did a very interesting
one. He had a long corridor with
doors all along one side where the rats came in, and doors along the other side
where the food was. He wanted to see
if he could train the rats to go in at the third door down from wherever he
started them off. No. The rats went immediately to the door
where the food had been the time before.
if !supportEmptyParas endif
The question was, how did the
rats know, because the corridor was so beautifully built and so uniform, that
this was the same door as before?
Obviously there was something about the door that was different from the
other doors. So he painted the
doors very carefully, arranging the textures on the faces of the doors exactly
the same. Still the rats could
tell. Then he thought maybe the
rats were smelling the food, so he used chemicals to change the smell after
each run. Still the rats could
tell. Then he realized the rats
might be able to tell by seeing the lights and the arrangement in the
laboratory like any commonsense person.
So he covered the corridor, and, still the rats could tell.
if !supportEmptyParas endif
He finally found that they could
tell by the way the floor sounded when they ran over it. And he could only fix that by putting
his corridor in sand. So he
covered one after another of all possible clues and finally was able to fool
the rats so that they had to learn to go in the third door. If he relaxed any of his conditions,
the rats could tell.
if !supportEmptyParas endif
Now, from a scientific
standpoint, that is an A‑Number‑l experiment. That is the
experiment that makes rat‑running experiments sensible, because it
uncovers the clues that the rat is really usingÑnot what you think itÕs
using. And that is the experiment
that tells exactly what conditions you have to use in order to be careful and
control everything in an experiment with rat‑running.
if !supportEmptyParas endif
I looked into the subsequent
history of this research. The
subsequent experiment, and the one after that, never referred to Mr.
Young. They never used any of his
criteria of putting the corridor on sand, or being very careful. They just went right on running rats in
the same old way, and paid no attention to the great discoveries of Mr. Young,
and his papers are not referred to, because he didnÕt discover anything about
the rats. In fact, he discovered *all* the things you have to do to discover something
about rats. But not paying
attention to experiments like that is a characteristic of Cargo Cult Science.
if !supportEmptyParas endif
Another example is the ESP experiments of Mr. Rhine, and
other people. As various people
have made criticismsÑand they themselves have made criticisms of their own
experimentsÑthey improve the techniques so that the effects are smaller, and
smaller, and smaller until they gradually disappear. All the parapsychologists are looking for some experiment
that can be repeatedÑthat you can do again and get the same
effectÑstatistically, even. They
run a million ratsÑno, itÕs people this timeÑthey do a lot of things and get a
certain statistical effect. Next
time they try it they donÕt get it any more. And now you find a man saying that it is an irrelevant
demand to expect a repeatable experiment.
This is *science*?
if !supportEmptyParas endif
This man also speaks about a new
institution, in a talk in which he was resigning as Director of the Institute
of Parapsychology. And, in telling
people what to do next, he says that one of the things they have to do is be
sure they only train students who have shown their ability to get PSI results
to an acceptable extentÑnot to waste their time on those ambitious and
interested students who get only chance results. It is very dangerous to have such a policy in teachingÑto
teach students only how to get certain results, rather than how to do an
experiment with scientific integrity.
if !supportEmptyParas endif
So I wish to youÑI have no more time, so I have just one
wish for youÑthe good luck to be somewhere where you are free to maintain the
kind of integrity I have described, and where you do not feel forced by a need
to maintain your position in the organization, or financial support, or so on,
to lose your integrity. May you
have that freedom. May I also give
you one last bit of advice: Never say that youÕll give a talk unless you know
clearly what youÕre going to talk about and more or less what youÕre going to
say.
</h | http://calteches.library.caltech.edu/51/2/CargoCult.htm |
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<p align="left"><font size="2" color="#FFFFFF" face="Arial">Today
is a bittersweet day for sonic fans world wide. For today an old
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the torch is passed to a new generation We say farewell to Andre
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<!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%m/%d/%Y" startspan -->11/22/2001<!--webbot bot="Timestamp" i-checksum="12529" endspan -->
OK everyone .. here's the scoop.. most of you are sending in
hoaxes or other stuff that I simply cannot use so therefore I
have decided to eliminate the not so secretive stuff including
the theories, hoaxes, chat room, music and others. the level
maps will be moving to the level map archives soon so they'll
still be in tact for anyone who wants them. for the rest of the
stuff.. grab it while you can because as of Nov 30 I will be
taking it down. please do not E-mail me begging me to keep it up
as I will not respond. I am telling you all now so that you have
plenty of time to grab what you want. and yes.. there will be
updates made as well as the subtractions so you wont have to
worry about getting a raw deal</font></p>
<p align="center"><font size="2" color="#FFFFFF" face="Arial">Originally
Created by <b>André Dirk</b> Now Owned and Maintained by <a href="mailto:Knuckles@emulationzone.org?Subject=Secrets%20of%20Sonic%20the%20Hedgehog"><b>Knuckles
the Echidna</b></a>. If you have anything to add E-Mail me or
catch me on ICQ - 15784167.</font>
</blockquote>
</blockquote>
</td>
</tr>
</table>
</div>
</body>
<!-- Mirrored from ssrg.emulationzone.org/secret/index.html by HTTrack Website Copier/3.x [XR&CO'2002], Sat, 11 Jan 2003 15:18:57 GMT -->
</html> |
Secrets of Sonic the Hedgehog
| | |
| --- | --- |
| Choose
below
\* = Updated
**Regulars**
[Chat Room](http://www.homestead.com/sosthchat/index.html)
[Theories](theories/sosth_theories.html)
[Level
Maps](sosth_maps.html)
[Downloads](sosth_downloads.html)
\*[Links](sosth_links.html)
**Secrets**
\*[Sonic
1](sonic_1/s1p1.html)
[Sonic
2](sonic_2/s2p1.html)
\*[Sonic
+](Sonic+/sosth_sonic+.html)
[Crackers](sosth_crackers.html)
[Sonic 6](sonic6.html)
[Sonic on SNES](SonicSNES.html)
\*[Sonic CD](sosth_sonic_cd.html)
[Sonic R](SonicR.htm)
[Dreamcast](sosth_dreamcast.html)
[X-Treme](sosth_xtreme.html)
**Others**
Music
[Hoaxes](hoaxes/hoaxes01.html)
[Guest
book](http://www.guestbook.de/yasg.cgi?X=165988)
|
To see
the image map version click [here](index2.htm)
**Page
Created 6th of October 1998**
Today
is a bittersweet day for sonic fans world wide. For today an old
site is reborn but not of its original creator... For today as
the torch is passed to a new generation We say farewell to Andre
Dirk... Andre, Secrets of Sonic was a great site while you were
running it and you deserve a lot of respect for the work you
did. Thanks for everything and farewell, good luck to you in
everything you pursue You will be missed but never be
forgotten.... - 18th of February 2000
**Last Updated 20th of April 2001**
11/22/2001
OK everyone .. here's the scoop.. most of you are sending in
hoaxes or other stuff that I simply cannot use so therefore I
have decided to eliminate the not so secretive stuff including
the theories, hoaxes, chat room, music and others. the level
maps will be moving to the level map archives soon so they'll
still be in tact for anyone who wants them. for the rest of the
stuff.. grab it while you can because as of Nov 30 I will be
taking it down. please do not E-mail me begging me to keep it up
as I will not respond. I am telling you all now so that you have
plenty of time to grab what you want. and yes.. there will be
updates made as well as the subtractions so you wont have to
worry about getting a raw deal
Originally
Created by **André Dirk** Now Owned and Maintained by [**Knuckles
the Echidna**](mailto:Knuckles@emulationzone.org?Subject=Secrets%20of%20Sonic%20the%20Hedgehog). If you have anything to add E-Mail me or
catch me on ICQ - 15784167.
|
| http://2003.sonicresearch.org/ssrg.emulationzone.org/secret/ |
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<td><img src="images/wtc/wtcflag.jpg" width="250" height="296" border="0" alt=""><CENTER><FONT FACE="Arial,Helvetica" SIZE="+1" Color="white">We Will Always Remember<br>September 11, 2001.</center></td>
<td><CENTER><FONT FACE="Arial,Helvetica" SIZE="+0" Color="white">We express our deepest sympathy and condolences to all the victims, fallen emergency workers, and their families, of the September 11, 2001 terrorist attacks on the United States of America. We have created this page to give you important links to web sites providing information about all aspects of this terrible tragedy.<br>
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<center><FONT FACE="arial,helvetica" COLOR="#FFFFFF" SIZE="+2"><b>Remembering September 11th, 2001 - Links and Information</b><br><I><FONT FACE="Arial,Helvetica" SIZE="-1" COLOR="#FFFFFF"><A HREF="http://www.vexillum.com">Sponsored by Vexillum Corporation - World Wide Supplier of Flags and Flagpoles</a></i><br></center>
<FONT FACE="arial,helvetica" COLOR="#FFFFFF"><B>Charities and Relief Funds</B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
<A NAME="Charities"></A>Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
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<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="white"><img src="/images/wtc/redcross.gif">American Red Cross</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#990000" SIZE="2">
<A HREF="http://www.redcross.org">The American Red Cross Website</a> - 1-800-Help Now - 1-800-514-5103<br>
American Red Cross Disaster Relief - P.O. 3756 - Church Street Station - New York, NY 10008<br>
Blood Donations 1-800-448-3543<br>
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff"><img src="/images/wtc/crest.gif">Salvation Army</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<A HREF="http://www.redshield.org/crisis/">The Salvation Army Crisis Website</a> - 1-888-234-8888<br>
The Salvation Army - 120 West 14th Street - New York, NY 10011
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff"><img src="/images/wtc/ttfund.gif"></font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://twintowersfund.vista.com/">Twin Towers Fund Website</a><br>
Twin Towers Fund - General Post Office - P.O. Box 26999 - New York, NY 10087-6999<br>
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff"><img src="/images/wtc/unitedway.gif">United Way of NYC</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="https://september11fund.org/">United Way of New York City</a> - 1-800-710-8002<br>
United Way September 11th Fund - 2 Park Avenue- New York, NY 10016 USA
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">WTC
Police Disaster Relief Fund</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<A HREF="http://www.nysfop.org/WTCdisaster/Fund.html">WTC Police Disaster Relief Fund</a><br>
NYSFOP-Foundation - WTC Police Disaster Fund - 911 Police Plaza - Hicksville, NY 11801
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff"><img src="/images/wtc/fd.gif">NY Firefighter's 9-11 Disaster Relief Fund</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://daily.iaff.org/fund.htm">NY Firefighter's 9-11 Disaster Relief Fund</a><br>
International Association of Firefighters - PO Box 65858 - Washington DC, 20035-5858 - (202)737-8484<br>
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">Federal Emergency Management Agency</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
To Donate or Volunteer 1-800-801-8092
</FONT></TD>
</TR>
<!--SECTION TITLE-->
<TR>
<TD COLSPAN=2><FONT FACE="arial,helvetica" COLOR="#ffffff"><B><A NAME="Victim">Victim Information</a></B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
<!--SUBSECTION TITLE-->
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<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">Airlines</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://www.amrcorp.com/">American Airlines</a> 1-800-245-0999<br>
<a href="http://www.united.com/">United Airlines</a> 1-800-932-8555<br>
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">American Red Cross</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
Nationwide Information Hotline: 1-866-GET-INFO (866-438-4636) 800-526-1417 TDD
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">Armed Forces</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">Navy/Marines 1-877-663-6772<br>
US Air Force 1-800-253-9276<br>
US Army (Military District of Washington) 1-800-477-9571<br>
DOD Compassion Center for non-uniformed DOD employees at the Pentagon:
1-800-833-6622
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">The NYC Family Assistance Center</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<A HREF="http://www.nyc.gov/html/em/family_assist.html">Family Assistance Center Website</a> Hotline 646-710-6245<br>
NYC Patient Information: (212) 560-2730<br>
NYC Police Department Employees: (718) 677-8238<br>
NYC Firefighters: (718) 999-2541<br>
New York City Services Hotline (212) 221-8635<br>
</FONT></TD>
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<!--SUBSECTION TITLE-->
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<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">Building Tenants</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://www.washingtonpost.com/wp-srv/nation/articles/tower1.html">Building Tenants Listed online at the Washington Post.</a>
</FONT></TD>
</TR>
<!--SECTION TITLE-->
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<TD COLSPAN=2><FONT FACE="arial,helvetica" COLOR="#ffffff"><B><A NAME="Investigation">Investigation</A></B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
<!--SUBSECTION TITLE-->
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<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">FBI and DOJ Submit Tips</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<A href="http://www.ifccfbi.gov">FBI and DOJ Tips Submission</A> or call 1-866-483-5137
</FONT></TD>
</TR>
<!--SECTION TITLE-->
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<TD COLSPAN=2><FONT FACE="arial,helvetica" COLOR="#ffffff"><B><A NAME="News">News</A></B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
<!--SUBSECTION TITLE-->
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<TD WIDTH=100 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">News</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#FFFFFF">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<A HREF="http://www.abcnews.com/">ABC</A> |
<A HREF="http://www.newsday.com/ap/topnewsx.htm">AP Update</A> |
<A HREF="http://www.cnn.com/">CNN</A> |
<A HREF="http://www.foxnews.com/">FOX</A> |
<A HREF="http://www.newshour.org/newshour/">Lehrer Newshour</A> |
<A HREF="http://www.msnbc.com/news/default.asp">MSNBC</A> |
<A HREF="http://spyglass1.sjmercury.com/breaking/">Mercury</A> |
<A HREF="http://www2.nando.net">Nando</A> |
<A HREF="http://www.nytimes.com/">NY Times</A> |
<A HREF="http://www.yahoo.com/headlines/current/news/summary.html">Reuters</A> |
<A HREF="http://www.pathfinder.com/time/daily/">TIME Daily</A> |
<A HREF="http://www.usatoday.com/">USA Today</A> |
<A HREF="http://www.washingtonpost.com/">Washington Post</A></FONT></TD>
</TR>
<!--SECTION TITLE-->
<TR>
<TD COLSPAN=2><FONT FACE="arial,helvetica" COLOR="#ffffff"><B><A NAME="WTC">Information about the World Trade Center</A></B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
<i>"The World Trade Center is a living symbol of man's dedication to world peace." --Minoru Yamasaki, chief architect</i><br>
Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">History and Photographs</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://www.greatbuildings.com/buildings/World_Trade_Center.html">Great Buildings - Lots of photos and information</a> |
<a href="http://www.m-yamasaki.com/">Minoru Yamasaki Associates - Company that designed and built the WTC</a> |
<a href="http://www.phys.uregina.ca/sparro/huber/arch/yamasaki.html">The Architect Minoru Yamasaki</a> |
<a href="http://detnews.com/history/yamasaki/yamasaki.htm">Detroit News-Yamasaki</a> |
<a href="http://www.enr.com/new/A0816.asp">Engineering News Record</a> | <a href="http://www.skyscraper.org/tallest/t_wtc.htm">Skyscraper Museum</a> |
<a href="http://www.pbs.org/wgbh/buildingbig/wonder/structure/world_trade.html">PBS Wonders of the World</a> |
<a href="http://artarchives.si.edu/oralhist/yamasa59.htm">Smithsonian Institute Archives - interview with Yamasaki</a> |
<a href="http://www.bluffton.edu/~sullivanm/yamasaki/wtc.html">Digital Imaging Project</a>
</FONT></TD>
</TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">Memories</font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://ericdarton.net/">A Living Archive</a> |
<a href="http://www.thewtcmemorial.com/">World Trade Center Memorial Website</a> |
</FONT></TD>
</TR>
<!--SECTION TITLE-->
<TR>
<TD COLSPAN=2><FONT FACE="arial,helvetica" COLOR="#ffffff"><B><A NAME="Pentagon"></A>Information about the Pentagon</B></FONT>
<font face="Arial,helvetica" size="-3" color="#ffffff"><br>
Jump to Section: <A HREF="#TOP">TOP</A> <A HREF="#Charities">Charities</A> <A HREF="#Victims">Victims</A> <A HREF="#Investigation">Investigation</A> <A HREF="#News">News</A> <A HREF="#WTC">WTC</A> <A HREF="#Pentagon">Pentagon</A> <A HREF="#BOTTOM">BOTTOM</A></FONT></TD></TR>
<!--SUBSECTION TITLE-->
<TR>
<TD WIDTH=150 BGCOLOR="#000055"><font face="Arial,helvetica" size="2" color="ffffff">History and Photographs</b></font>
</TD>
<!--SUBSECTION LINKS-->
<TD BGCOLOR="#ffffff">
<FONT FACE="ARIAL,HELVETICA" COLOR="#BF0000" SIZE="2">
<a href="http://www.greatbuildings.com/buildings/The_Pentagon.html">Great Buildings - Lots of photos and information</a> |
<a href="http://www.defenselink.mil/pubs/pentagon/about.html">Pentagon Website</a> |
<a href="http://renovation.pentagon.mil/home.htm">Renovation site with lots facts and photographs</a> |
</FONT></TD>
</TR>
</TR>
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| We Will Always RememberSeptember 11, 2001. | We express our deepest sympathy and condolences to all the victims, fallen emergency workers, and their families, of the September 11, 2001 terrorist attacks on the United States of America. We have created this page to give you important links to web sites providing information about all aspects of this terrible tragedy.
ALIWEB LINK BUTTON
***United We Stand.
We Will Rebuild.*** |
|
**Remembering September 11th, 2001 - Links and Information**
*[Sponsored by Vexillum Corporation - World Wide Supplier of Flags and Flagpoles](http://www.vexillum.com)*
**Charities and Relief Funds**
Jump to Section: [TOP](#TOP) [Charities](#Charities) [Victims](#Victims) [Investigation](#Investigation) [News](#News) [WTC](#WTC) [Pentagon](#Pentagon) [BOTTOM](#BOTTOM)
| American Red Cross |
[The American Red Cross Website](http://www.redcross.org) - 1-800-Help Now - 1-800-514-5103
American Red Cross Disaster Relief - P.O. 3756 - Church Street Station - New York, NY 10008
Blood Donations 1-800-448-3543
|
| Salvation Army |
[The Salvation Army Crisis Website](http://www.redshield.org/crisis/) - 1-888-234-8888
The Salvation Army - 120 West 14th Street - New York, NY 10011
|
| |
[Twin Towers Fund Website](http://twintowersfund.vista.com/)
Twin Towers Fund - General Post Office - P.O. Box 26999 - New York, NY 10087-6999
|
| United Way of NYC |
[United Way of New York City](https://september11fund.org/) - 1-800-710-8002
United Way September 11th Fund - 2 Park Avenue- New York, NY 10016 USA
|
| WTC
Police Disaster Relief Fund |
[WTC Police Disaster Relief Fund](http://www.nysfop.org/WTCdisaster/Fund.html)
NYSFOP-Foundation - WTC Police Disaster Fund - 911 Police Plaza - Hicksville, NY 11801
|
| NY Firefighter's 9-11 Disaster Relief Fund |
[NY Firefighter's 9-11 Disaster Relief Fund](http://daily.iaff.org/fund.htm)
International Association of Firefighters - PO Box 65858 - Washington DC, 20035-5858 - (202)737-8484
|
| Federal Emergency Management Agency |
To Donate or Volunteer 1-800-801-8092
|
| **Victim Information**
Jump to Section: [TOP](#TOP) [Charities](#Charities) [Victims](#Victims) [Investigation](#Investigation) [News](#News) [WTC](#WTC) [Pentagon](#Pentagon) [BOTTOM](#BOTTOM) |
| Airlines |
[American Airlines](http://www.amrcorp.com/) 1-800-245-0999
[United Airlines](http://www.united.com/) 1-800-932-8555
|
| American Red Cross |
Nationwide Information Hotline: 1-866-GET-INFO (866-438-4636) 800-526-1417 TDD
|
| Armed Forces | Navy/Marines 1-877-663-6772
US Air Force 1-800-253-9276
US Army (Military District of Washington) 1-800-477-9571
DOD Compassion Center for non-uniformed DOD employees at the Pentagon:
1-800-833-6622
|
| The NYC Family Assistance Center |
[Family Assistance Center Website](http://www.nyc.gov/html/em/family_assist.html) Hotline 646-710-6245
NYC Patient Information: (212) 560-2730
NYC Police Department Employees: (718) 677-8238
NYC Firefighters: (718) 999-2541
New York City Services Hotline (212) 221-8635
|
| Building Tenants |
[Building Tenants Listed online at the Washington Post.](http://www.washingtonpost.com/wp-srv/nation/articles/tower1.html)
|
| **Investigation**
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| FBI and DOJ Submit Tips |
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| **Information about the World Trade Center**
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[Minoru Yamasaki Associates - Company that designed and built the WTC](http://www.m-yamasaki.com/) |
[The Architect Minoru Yamasaki](http://www.phys.uregina.ca/sparro/huber/arch/yamasaki.html) |
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[Smithsonian Institute Archives - interview with Yamasaki](http://artarchives.si.edu/oralhist/yamasa59.htm) |
[Digital Imaging Project](http://www.bluffton.edu/~sullivanm/yamasaki/wtc.html)
|
| Memories |
[A Living Archive](http://ericdarton.net/) |
[World Trade Center Memorial Website](http://www.thewtcmemorial.com/) |
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| **Information about the Pentagon**
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You can also go to <a href="bioframe.html">biographies
in frames</a></h3></center>
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<h2>
News</h2></center>
<font size=+1>
<li>The return key in the biographies does not work. Please use the back button on your browser while we fix the pages.
<li>STEM is central to reaching our goals whatever they may be. Support and encourage
science, technology, engineering, and mathematics.
<li>
Don't see someone you think should be here? Try "A 20th Century Woman"
or "Did you Know"
<hr></li>
<h3>
<p>
4,000 years of women in science, in technology and other altogether creative stuff!
Did you know that? Science is a traditional role for women.
Dr. Deborah Crocker at the University of Alabama and
Dr. Sethanne Howard retired from the US Naval Observatory maintain this site.
They are both astronomers. They dedicate this site to all those wonderful women of our past.
<p><i>
"No pessimist ever discovered the secrets of the stars, or sailed to an uncharted land, or
opened a new heaven to the human spirit." </i>Helen Keller
<p>
We wish we could research in depth all the women listed.
There is just too much information and too little time!
As <a href="./copyright.html">we</a> learn more, we add it to this page.
Please share what you know with us. Inventors, scholars and writers as well as mathematicians and
astronomers are welcome.
We hope you enjoy learning about some of these women, and that you use this page to
start your own interests in the history of women and their technical contributions.
</h3>
If you don't find the woman you are looking for in the historical lists,
perhaps she is
<br><a href="20th.century/20th.shtml"><img SRC="20th.century/20thwoman.gif" ></a>
<br>Follow the <a href="20th.century/20th.shtml">20th
century women link</a> and find out.
<hr>
<h3>
4000 Years of Women in Science presents the <a href="witch-of-agnesi.html">Living
Witch of Agnesi</a>. This animated GIF illustrates the curve known as the
Witch of Agnesi that was studied by <a href="AGNESI.html">Maria
Agnesi</a>.</h3>
<hr>
<h1>
Some interesting facts can be found under</h1>
<a href="didyouknow.8.html"><img SRC="didyouknow.gif" ></a>
<p><font size=+2>Updated on March 1, 2008.</font>
<hr>
<h2>
Now biographies are listed by discipline. Start at the <a href="summary.shtml">Biographies</a>
where you can branch to the newly ordered list.</h2>
<h3>
<a href="copyright.html">We</a>
also seek information from you. Please fill out a <a href="comments.html">comment
form </a>.</h3>
<h3>
In the twentieth century many more women could be added to this list. We're
in the process of deciding how to included them without overloading with
the amount of information that would add.</h3>
<center><img SRC="half.gif" align=CENTER></center>
<h3>
Try the <a href="quizintro.html">interactive
quiz</a> on the History of Women in Science. Get it all correct and win
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of fame</a></h3>
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Next try our <a href="cross.html">Crossword
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<pre>Last changes to this page: 03/2012
<a href="copyright.html">© 1997 - 2012</a></pre>
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|
4000 Years of Women in Science
| | | |
|
[Introduction](newintro.html) | |
[Photographs](Photo.html) |
|
[Biographies](summary.shtml) | |
[References](Refs.html) |
| |
| The Exultation to Inanna Tablet, Nippur
C. 1750 B. C. E." |
| from the University of Pennsylvania
Museum, Philadelphia (Neg. #S8-80401) |
##
[Introduction](newintro.html) [Biographies](summary.shtml) [References](Refs.html) [Photographs](Photo.html)
###
You can also go to [biographies
in frames](bioframe.html)
---
##
News
- The return key in the biographies does not work. Please use the back button on your browser while we fix the pages.
- STEM is central to reaching our goals whatever they may be. Support and encourage
science, technology, engineering, and mathematics.
- Don't see someone you think should be here? Try "A 20th Century Woman"
or "Did you Know"
---
###
4,000 years of women in science, in technology and other altogether creative stuff!
Did you know that? Science is a traditional role for women.
Dr. Deborah Crocker at the University of Alabama and
Dr. Sethanne Howard retired from the US Naval Observatory maintain this site.
They are both astronomers. They dedicate this site to all those wonderful women of our past.
*"No pessimist ever discovered the secrets of the stars, or sailed to an uncharted land, or
opened a new heaven to the human spirit."* Helen Keller
We wish we could research in depth all the women listed.
There is just too much information and too little time!
As [we](./copyright.html) learn more, we add it to this page.
Please share what you know with us. Inventors, scholars and writers as well as mathematicians and
astronomers are welcome.
We hope you enjoy learning about some of these women, and that you use this page to
start your own interests in the history of women and their technical contributions.
If you don't find the woman you are looking for in the historical lists,
perhaps she is
[](20th.century/20th.shtml)
Follow the [20th
century women link](20th.century/20th.shtml) and find out.
---
###
4000 Years of Women in Science presents the [Living
Witch of Agnesi](witch-of-agnesi.html). This animated GIF illustrates the curve known as the
Witch of Agnesi that was studied by [Maria
Agnesi](AGNESI.html).
---
#
Some interesting facts can be found under
[](didyouknow.8.html)
Updated on March 1, 2008.
---
##
Now biographies are listed by discipline. Start at the [Biographies](summary.shtml)
where you can branch to the newly ordered list.
###
[We](copyright.html)
also seek information from you. Please fill out a [comment
form](comments.html) .
###
In the twentieth century many more women could be added to this list. We're
in the process of deciding how to included them without overloading with
the amount of information that would add.
###
Try the [interactive
quiz](quizintro.html) on the History of Women in Science. Get it all correct and win
the ``Hypatia Award!'' You can also put your name in our [hall
of fame](hall.shtml)
###
Next try our [Crossword
Puzzle](cross.html). All the clues relate to this Web site. Your browser must have
[JAVA](http://java.sun.com) enabled (not Javascript) to run
this.
##
[Learning
Links](links.html). Follow these links to sites with lots more information.
---
This is a cookie
free zone. We don't take your name or location or ask you where
you've been or where you're going. We're not selling or buying. Just visit
and enjoy and maybe send a new crossword puzzle if you can. Read more about
this in our [Privacy
Statement](privacy.html)
| | |
| --- | --- |
| | |
---
```
Last changes to this page: 03/2012
[© 1997 - 2012](copyright.html)
```
| http://4kyws.ua.edu/ |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://www.coalregion.com/ |
<HTML>
<HEAD>
<TITLE>Neuroscience for Kids - Benham's Disk</TITLE>
<META NAME="keywords" CONTENT="brain, benham, disk, top, vision,
color, retina, experiment, nervous system">
<META NAME="description" CONTENT="benham">
<META NAME="ROBOTS" CONTENT="ALL"></HEAD>
<BODY background="bback2.gif">
<a name = "top"></A><center><table bgcolor="#ffffcc" cellspacing=0
cellpadding=15 border=0><TR><TD align=center><img src =
"./gif/disk2.gif" width="108" height="108"></td><TD
align=center><strong><font
color
= red size=+3>Be</font><font size=+3 color = blue>nh</font><font color =
green size=+3>am's</font>
<font color = orange size=+3>Di</font><font size=+3 color =
brown>sk</font></strong></td><TD align=center><img src =
"./gif/disk3.gif" width="108" height="108"></td></tr></table></center><p>
<table bgcolor="#ffffcc" cellspacing=0 cellpadding=15 border=0><TR><td>
This is my favorite visual illusion. You can spend hours playing with
this illusion and you can even make your own unique spinners too!
<img src = "./gif/benhamsa.jpg" width="121" height="150" align=right
hspace=15><P>
In 1894, toymaker Mr. C.E. Benham discovered that a spinning disk with a
particular pattern of black and white marks could cause people to see
colors. Mr. Benham called his disk an "Artificial Spectrum Top" and sold
it through Messrs. Newton and Co. Benham's Top (or Benham's Disk) has
puzzled scientists for over 100 years. <P>
Here is how to make your own Benham Top:
<table cellpadding=10 cellspacing=2>
<tr><td colspan=2><h3>1. Make the Spinner</td></tr>
<TR><td valign=top><u>Method #1</u><P>
<ol>
<li>Get an old compact disk (CD) and a penny.
<LI>Clamp a penny with pliers.
<Li>Heat the penny (I use a Bunsen burner). <font
color=red>CAUTION:</font> the penny must get
very hot. Adult supervision is required.
<li>Insert the penny halfway into the center of the CD so that the penny
is PERPENDICULAR to the CD. The hot penny will melt two slots on each
side of the center CD hole. When the penny cools, it will stick in the
middle of the CD. (See the picture below.)
<LI>Twist the penny to spin the spinner.
</ol>
</td>
<td valign=top><U>Method #2</u><P>
<ol><LI>Get the top of a plastic, round container (margarine containers
work well) and a toothpick.
<LI>Poke a very small hole in the middle of the plastic top. You may have
to use a metal nail. The hole should be smaller than the width of your
toothpick.
<LI>Break or cut the toothpick in half. Insert the pointed end of the
toothpick
through the center hole in the plastic top. The toothpick should stick in
the hole. (See the picture below)
<LI>Twist the toothpick to spin the spinner.</ol>
</td></tr>
<tr><td colspan=2 valign=top><u>Method #3</u><P>
<ol><li>Get some cardboard and a toothpick.
<li>Draw a circle (with a diameter of at least 4 inches) on the cardboard.
<li>Cut out the circle carefully. It is important that the circle is as
round as possible.
<li>Poke a hole in the center of the circle with the toothpick.
<li>Insert the toothpick into the hole. The toothpick should stick out
about half an inch. Break or cut the toothpick in half.
<LI>Twist the toothpick to spin the spinner.</ol>
</td></tr>
<tr><td colspan =2>
<h3>2. Get Benham disk graphics: Download and print out the disks.</h3>
<center>
<table cellpadding=10 border=1><TR><TD>Small Disks</td>
<td><a href = "./gif/disk2.gif">Disk #1</A> |
<a href = "./gif/disk3.gif">Disk #2</A> |
<a href = "./gif/disk4.gif">Disk #3</A> |
<a href = "./gif/disk5.gif">Disk #4</A> |
<a href = "./gif/disk.gif">Blank Disk</A><BR>
<a href = "./pdf/benham.pdf">ALL DISKS on ONE PAGE (PDF
file)</A></td></tr>
<TR><TD>Large Disks</td>
<td><a href = "./gif/disk22.gif">Disk #1</A> |
<a href = "./gif/disk33.gif">Disk #2</A> |
<a href = "./gif/disk44.gif">Disk #3</A> |
<a href = "./gif/disk55.gif">Disk #4</A> |
<a href = "./gif/diskk.gif">Blank Disk</A></td></tr></table>
</center>
</td></tr>
<tr><td colspan=2><h3>3. Add a Disk to a Spinner</h3></td></tr>
<TR><td valign=top>If you are using the CD spinner:
<ol>
<li>Carefully cut out each disk.
<li>Cut a small slot in the center of the disk.
<li>Place the disk on the spinner by putting the slot over the penny on
the spinner. The disk should lay flat on the top of the CD.
<li>SPIN THE SPINNER! Try other disks.</ol>
<center><img src = "./gif/spinner1.gif" height="288" width="208"></center>
</td>
<td valign=top>If you are using the plastic top spinner or cardboard
spinner
<ol>
<li>Carefully cut out each disk.
<li>Poke a small hole in the center of the disk.
<li>Poke the toothpick through the disk.
<li>Put the toothpick (with the disk) through the plastic top or
cardboard spinner. The disk should lay flat on the top of the spinner.
You should use a little glue from a glue stick to keep it in place.
<li>SPIN THE SPINNER! Try other disks.</ol><P>
<center><img src = "./gif/spinner2.gif" height="230" width="163"></center>
</td></tr></table></td></tr></table><p>
<table bgcolor="#ffffcc" cellpadding=10 border=1 cellspacing=2><tr><td>
<h3>Special Notes</h3>
<ol>
<li>The colors are seen best at slow speeds (between 3-5
rotations/second). Try different speeds!
<li>It is important that your spinner can spin at slow speeds. Therefore,
make sure your spinner is centered properly. Make sure you place the
penny or toothpick in the center of the spinner.
<li>Experiment! <ul> <li>Change the lighting
conditions. Test it outside in sunlight; test it under different types of
light (incandescent, fluorescent, etc.)
<li>Change the pattern. Make you own pattern using the blank disk. Use a
black marker to draw a pattern or series of arcs on the white side of the
disk.
<li>Change the color of the disk. What happens if you use a blue
disk?
<li>Spin the spinner clockwise and counter-clockwise.
</ul></ol></td>
<td align=center>
<iframe width="560" height="315" src="https://www.youtube.com/embed/Rwv9kdqHCrg" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</td> </tr>
</table>
<br />
<table bgcolor="#ffffcc" cellpadding=10 border=1 cellspacing=2><tr><td>
<p>Try these Benham-like images without a spinner. Click on one of the
images below to open a new browser window with the image. Hold your
finger about 1 inch from the image on your screen. Move your finger
from left to right. Focus on your finger as it moves. You should still
be able to see the background image. The colors of the horizontal lines
should change color. Don't move your finger too fast! Try the
experiment when you move your finger from right to left.</p>
<a href="gif/ben3line.jpg"><img src="gif/ben3line.jpg" height="42" width="196"></a>
<img src="clear.gif" height="1" width="35">
<a href="gif/ben2line.jpg"><img src="gif/ben2line.jpg" height="42" width="196"></a>
<img src="clear.gif" height="1" width="35">
<a href="gif/ben1line.jpg"><img src="gif/ben1line.jpg" height="42" width="196"></a><br />
</td></tr></table>
</td></tr></table><P>
<a name = "top"></A><center><table bgcolor="#ffffcc" cellspacing=0
cellpadding=15 border=0><TR><TD>
<h3>What's Happening? What Causes the Colors?</h3>
The <a href = "retina.html">retina of the eye</A> is composed of two types
of receptors sensitive to light: cones and rods. Cones are important for
color vision and for seeing in bright light. There are three types of
cones, each of which is most sensitive to a particular wavelength of
light. Rods are important for seeing in low light.<P>
It is possible that the colors seen in spinning Benham disks are the
result of changes that occur in the retina and other parts of the visual
system. For example, the spinning disks may activate neighboring areas of
the retina differently. In other words, the black and white areas of the
disk stimulate different parts of the retina. This alternating response
may cause some type of interaction within the nervous system that
generates colors.<p>
Another theory is that different types of cones take different times
to respond and that they stay activated for different amounts of
time. Therefore, when you spin the disk, the white color activates all
three types of cones, but then the black deactivates them. The
activation/deactivation sequence causes an imbalance because the different
types of cones take different times to respond and stay on for different
times. This imbalance in information going to the brain results in
colors.<p>
Neither of these theories explains the colors of Benham's disk completely
and the reason behind the illusion remains unsolved.
</td>
<td width=50><font color=blue size="+6">?</font></td></tr></table><P>
<center>
<img src = "bann01.gif"
alt="------------------------------------------------------"><P></center>
<table border bgcolor=ffffcc><tr><td align=center><strong><font
color=red>Did you know?</font><p></strong><img src =
"./gif/pendraw.gif"></td>
<td>The full text of the announcement of the
"Artificial Spectrum Top" in <i>Nature</i>,
51:113-114, 1894:<P>
<blockquote>An "Artificial Spectrum Top," devised by Mr. C.E. Benham, and
sold by Messrs. Newton and Co., furnishes an interesting phenomenon to
students of physiology optics. The top consists of a disc, one half of
which is black, while the other half has twelve arcs of concentric circles
drawn upon it. Each arc subtends an angle of forty-five degrees. In the
first quadrant there are three such concentric arcs, in the next three
more, and so on ; the only difference being that the arcs are parts of
circles of which the radii increase in arithmetical progression. Each
quadrant thus contains a group of arcs differing in length from those of
the other quadrants. The curious point is that when this disc is
revolved, the impression of concentric circles of different colors is
produced upon the retina. If the direction of rotation is reversed, the
order of these tints is also reversed. The cause of these appearances
does not appear to have been exactly worked out.</blockquote>
</td></tr></table><p>
<table border bgcolor=ffffcc><tr><td align=center><strong><font
color=red>Did you know?</font><p></strong><img src =
"./gif/colors1.gif"></td>
<td><ul><li>Many years before Benham's "discovery," Gustav Fechner and
Hermann von Helmholtz experimented with black and white disks. They were both
aware that spinning these disks produced the perception of colors.
<P>
<LI>The colors that you see when you spin Benham's disks have been called
"subjective colors," "Fechner-Benham colors," "Prevost-Fechner-Benham
colors," "polyphan colors," and "pattern-induced flicker colors" (PIFCs).
</ul></td></tr></table><P>
<center>
<table border bgcolor="#ccffff"><tr><td><h4>References</h4>
<ol><li><i>Nature</i>, 51:113-114, 1894.
<li>von Campenhausen, C. and Schramme, J., 100 years of Benham's top in
colour science, <i>Perception</i>, 24:695-717, 1995.
<LI><a href =
"http://psych.hanover.edu/Krantz/BenhamTop/background.html">Benham's Top
and Fechner Colors - Background</A>
<li><a href="http://www.ncbi.nlm.nih.gov/pubmed/15288897">
A theory of the Benham Top based on center-surround interactions in the
parvocellular pathway</a> - Neural New., 17:773-786, 2004.
<li><a href="http://www.ncbi.nlm.nih.gov/pubmed/20413448">Neural
correlates and effective connectivity of subjective colors during
the Benham's top illusion: a functional MRI study</a> - Cerebral Cortex,
21:124-133, 2011.
</ol></td></tr></table><P>
<img src = "bann01.gif"
alt="------------------------------------------------------"><p>
<center><table border=3><tr align=center><td bgcolor="#ffffcc"><font
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<td bgcolor="#ffffcc"><a href = "chvision.html#ben">Vision
Experiments</A></td>
<td bgcolor="#ffffcc"><a href = "chgames.html">Games</A></td>
<td bgcolor="#ffffcc"><a href = "introb.html">Exploring the
Nervous System</A></td>
<td bgcolor="#ffffcc"><a href = "neurok.html">Table of Contents</A></td>
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|
Neuroscience for Kids - Benham's Disk
| | | |
| --- | --- | --- |
| | **Benham's
Disk** | |
| | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
This is my favorite visual illusion. You can spend hours playing with
this illusion and you can even make your own unique spinners too!
In 1894, toymaker Mr. C.E. Benham discovered that a spinning disk with a
particular pattern of black and white marks could cause people to see
colors. Mr. Benham called his disk an "Artificial Spectrum Top" and sold
it through Messrs. Newton and Co. Benham's Top (or Benham's Disk) has
puzzled scientists for over 100 years.
Here is how to make your own Benham Top:
| |
| --- |
| 1. Make the Spinner |
| Method #1
1. Get an old compact disk (CD) and a penny.
- Clamp a penny with pliers.
- Heat the penny (I use a Bunsen burner). CAUTION: the penny must get
very hot. Adult supervision is required.
- Insert the penny halfway into the center of the CD so that the penny
is PERPENDICULAR to the CD. The hot penny will melt two slots on each
side of the center CD hole. When the penny cools, it will stick in the
middle of the CD. (See the picture below.)
- Twist the penny to spin the spinner.
| Method #2
1. Get the top of a plastic, round container (margarine containers
work well) and a toothpick.
- Poke a very small hole in the middle of the plastic top. You may have
to use a metal nail. The hole should be smaller than the width of your
toothpick.
- Break or cut the toothpick in half. Insert the pointed end of the
toothpick
through the center hole in the plastic top. The toothpick should stick in
the hole. (See the picture below)
- Twist the toothpick to spin the spinner.
|
| Method #3
1. Get some cardboard and a toothpick.
- Draw a circle (with a diameter of at least 4 inches) on the cardboard.
- Cut out the circle carefully. It is important that the circle is as
round as possible.
- Poke a hole in the center of the circle with the toothpick.
- Insert the toothpick into the hole. The toothpick should stick out
about half an inch. Break or cut the toothpick in half.
- Twist the toothpick to spin the spinner.
|
| 2. Get Benham disk graphics: Download and print out the disks.
| | |
| --- | --- |
| Small Disks | [Disk #1](./gif/disk2.gif) |
[Disk #2](./gif/disk3.gif) |
[Disk #3](./gif/disk4.gif) |
[Disk #4](./gif/disk5.gif) |
[Blank Disk](./gif/disk.gif)
[ALL DISKS on ONE PAGE (PDF
file)](./pdf/benham.pdf) |
| Large Disks | [Disk #1](./gif/disk22.gif) |
[Disk #2](./gif/disk33.gif) |
[Disk #3](./gif/disk44.gif) |
[Disk #4](./gif/disk55.gif) |
[Blank Disk](./gif/diskk.gif) |
|
| 3. Add a Disk to a Spinner |
| If you are using the CD spinner:
1. Carefully cut out each disk.
- Cut a small slot in the center of the disk.
- Place the disk on the spinner by putting the slot over the penny on
the spinner. The disk should lay flat on the top of the CD.
- SPIN THE SPINNER! Try other disks.
| If you are using the plastic top spinner or cardboard
spinner
1. Carefully cut out each disk.
- Poke a small hole in the center of the disk.
- Poke the toothpick through the disk.
- Put the toothpick (with the disk) through the plastic top or
cardboard spinner. The disk should lay flat on the top of the spinner.
You should use a little glue from a glue stick to keep it in place.
- SPIN THE SPINNER! Try other disks.
|
|
| | |
| --- | --- |
| Special Notes1. The colors are seen best at slow speeds (between 3-5
rotations/second). Try different speeds!
- It is important that your spinner can spin at slow speeds. Therefore,
make sure your spinner is centered properly. Make sure you place the
penny or toothpick in the center of the spinner.
- Experiment!
* Change the lighting
conditions. Test it outside in sunlight; test it under different types of
light (incandescent, fluorescent, etc.)
* Change the pattern. Make you own pattern using the blank disk. Use a
black marker to draw a pattern or series of arcs on the white side of the
disk.
* Change the color of the disk. What happens if you use a blue
disk?
* Spin the spinner clockwise and counter-clockwise.
| |
| http://faculty.washington.edu/chudler/benham.html |
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<h2 align="center">CONSTELLATION PHOTOS</h2>
<div align="center"><center>
<table border="2" width="100%" bordercolor="#0000FF" cellspacing="0" cellpadding="0">
<tr>
<td width="50%" align="left" checked="false"><h3><a href="androm.htm">Andromeda</a>, the
Chained Princess</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="lepus.htm">Lepus</a>, the Hare</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><strong><a href="aquarius.htm">Aquarius</a>,
the Water Bearer</strong></h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="libra.htm">Libra</a>, the Scales</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="aquila.htm">Aquila</a>, the
Eagle</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="lyre.htm">Lyra</a>, the Lyre</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="aries.htm">Aries</a>, the Ram</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="microsco.htm">Microscopium</a>,
the Microscope</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="auriga.htm" target="bottom">Auriga</a>,
the Charioteer</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="monoceros.htm">Monoceros</a>,
the Unicorn</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="camel.htm">Camelopardalis</a>,
the Giraffe</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="orion.htm">Orion</a>, the Hunter</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="canesven.htm">Canes Venatici</a>,
the Hunting Dogs</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="pegasus.htm">Pegasus</a>, the
Winged Horse</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="canismaj.htm">Canis Major</a>,
the Great Dog</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="perseus.htm">Perseus</a>, the
Hero</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="canisminor.htm">Canis Minor</a>,
the Little Dog</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="pisces.htm">Pisces</a>, the Fish</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="capricor.htm">Capricornus</a>,
the Sea Goat</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="piscis.htm">Piscis Austrinus</a>,
the Southern Fish</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="casiopia.htm">Cassiopeia</a>,
the Queen</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="puppyx.htm">Puppis</a>, the
Stern</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="cepheus.htm">Cepheus</a>, the
King</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="puppyx.htm">Pyxis</a>, the
Compass</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="cetus.htm">Cetus</a>, the Whale
or Sea Monster</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="arrow.htm">Sagitta</a>, the
Arrow</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="columba.htm">Columba</a>, the
Dove</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="archer.htm">Sagittarius</a>, the
Archer</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="corbor.htm">Corona Borealis</a>,
the Crown</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="scorpius.htm">Scorpius</a>, the
Scorpion</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="cygnus.htm">Cygnus</a>, the Swan</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="sculptor.htm">Sculptor</a>, the
Sculptor</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="dolphin.htm">Delphinus</a>, the
Dolphin</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="scutum.htm">Scutum</a>, the
Shield</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="dragon.htm">Draco</a>, the
Dragon</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="serphead.htm">Serpens Caput</a>,
the Serpent's Head</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="equuleus.htm">Equuleus</a>, the
Little Horse</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="taurus.htm">Taurus</a>, the Bull</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="gemini.htm">Gemini</a>, the
Twins</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="triangle.htm">Triangulum</a>,
the Triangle</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="hercules.htm">Hercules</a></h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="ursamaj.htm">Ursa Major</a>, the
Great Bear</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="lizard.htm">Lacerta</a>, the
Lizard</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="ursamin.htm">Ursa Minor</a>, the
Little Bear</h3>
</td>
</tr>
<tr>
<td width="50%" align="left" checked="false"><h3><a href="leominor.htm">Leo Minor</a>, the
Little Lion</h3>
</td>
<td width="50%" align="left" checked="false"><h3><a href="vulpecul.htm">Vulpecula</a>, the
Fox</h3>
</td>
</tr>
</table>
</center></div>
<h2 align="center">OTHER ASTROPHOTOS</h2>
<div align="center"><center>
<table border="1" width="100%" bordercolor="#0000FF" cellspacing="0" cellpadding="0">
<tr>
<th width="50%" valign="middle" align="center"><h3><a href="pleadies.htm">The Pleiades</a></h3>
</th>
<th width="50%" valign="middle" align="center"><h3><a href="polaris.htm">Polaris with star
trails</a></h3>
</th>
</tr>
<tr>
<th width="50%" valign="middle" align="center"><h3><a href="moonmars.htm">Moon and Mars</a></h3>
</th>
<th width="50%" valign="middle" align="center"><h3><a href="halebopp.htm">Hale-Bopp</a>
Photos</h3>
</th>
</tr>
</table>
</center></div>
<p align="center"><!--webbot bot="ImageMap" rectangle="(3,3) (299, 79) starbook/index.htm##_top" src="starbook/images/starmove.gif" width="293" height="71" alt="Astronomy Book Shop" border="0" startspan --><MAP NAME="FrontPageMap"><AREA SHAPE="RECT" COORDS="3, 3, 299, 79" HREF="starbook/index.htm" TARGET="_top"></MAP><a href="../_vti_bin/shtml.exe/astronomy/index.htm/map"><img src="starbook/images/starmove.gif" width="293" height="71" alt="Astronomy Book Shop" border="0" ismap usemap="#FrontPageMap"></a><!--webbot bot="ImageMap" endspan i-checksum="19352" --><br>
For books on Astronomy, please visit our online <a href="starbook/index.htm" target="_top">book
shop</a>, a Barnes and Nobel Affiliate site.</p>
<p align="left">We hope these photos help you to identify the northern constellations.
There are two pictures on each link: the actual photo of the constellation and another
with the outline and major stars and points of interest identified. Some of the
constellations are incomplete due to their size. Most photos were taken with a Minolta XG7
camera using 400ASA Fuji film and a 50mm lens. A few of the very small constellations were
taken with a 90mm lens. Obtrusive lighting effects brought to you by our next door
neighbors, Bob and Wanda. (When trying to explain to them the importance of darkness while
photographing night skies we were told, "We have two stars every night; one in the
front and one in the backyard." Members of the International Dark-Sky
Association are welcome to send them tons of literature.)</p>
<p align="left"> </p>
<h3>We invite you to visit more of our sites.</h3>
<p><a target="_top" href="../birding/index.htm">Backyard Birding</a> - the birds of
Central Indiana. Descriptions as well as photos and/or RealVideo.</p>
<p><a target="_top" href="../angels/index.htm">Death Angels</a> - a photo essay by
Ghostory.</p>
<p><a href="http://home.sprynet.com/sprynet/ghostory/" target="_top">Our Home on the Web</a>
- This site includes photos and RealVideo of our cats as well as photos from our gardens
including butterflies and flowers.</p>
<hr color="#0000FF">
<h3>Links to other astronomy sites -</h3>
<table border="0" cellpadding="2" width="100%">
<tr>
<td width="50%"><a target="_blank" href="http://www.mscs.dal.ca/~andromed/">Mike Boschat's
Astronomy Page</a></td>
<td width="50%"><a target="_blank" href="http://www.darksky.org">The International
Dark_Sky Association</a></td>
</tr>
<tr>
<td width="50%"><a target="_blank" href="http://www.cv.nrao.edu/fits/www/yp_topzone.html">Wadsworth
Astronomy Resource Center</a></td>
<td width="50%"><a target="_blank" href="http://members.aol.com/mweasner/etx.html">Meade
ETX Web</a></td>
</tr>
<tr>
<td width="50%"><a target="_blank" href="http://www.kalmbach.com/astro/astronomy.html">Astronomy
Magazine</a></td>
<td width="50%"><a target="_blank" href="http://www.skypub.com/s_t/s_t.shtml">Sky and
Telescope Magazine</a></td>
</tr>
<tr>
<td width="50%"><a target="_blank" href="http://www.astronomydigest.com">Astronomy Digest</a>
</td>
<td width="50%"></td>
</tr>
</table>
<p align="center">Last updated <!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%A, %B %d, %Y" startspan -->Saturday, May 24, 2003<!--webbot bot="Timestamp" endspan i-checksum="45497" --><br>
Copyright© All rights reserved</p>
<p align="right"> </p>
<hr color="#0000FF">
<p><a href="http://www.eclipse.st" target="_blank"><img SRC="images/awardco.gif" border="0" ALT="ECLIPSE COOL SITE" WIDTH="274" HEIGHT="134"></a></p>
</body>
</html>
|
Amateur Astronomy - Astrophotos of the northern constellations with outlines and
points of interest named.
## CONSTELLATION PHOTOS
| | |
| --- | --- |
| [Andromeda](androm.htm), the
Chained Princess | [Lepus](lepus.htm), the Hare |
| **[Aquarius](aquarius.htm),
the Water Bearer** | [Libra](libra.htm), the Scales |
| [Aquila](aquila.htm), the
Eagle | [Lyra](lyre.htm), the Lyre |
| [Aries](aries.htm), the Ram | [Microscopium](microsco.htm),
the Microscope |
| [Auriga](auriga.htm),
the Charioteer | [Monoceros](monoceros.htm),
the Unicorn |
| [Camelopardalis](camel.htm),
the Giraffe | [Orion](orion.htm), the Hunter |
| [Canes Venatici](canesven.htm),
the Hunting Dogs | [Pegasus](pegasus.htm), the
Winged Horse |
| [Canis Major](canismaj.htm),
the Great Dog | [Perseus](perseus.htm), the
Hero |
| [Canis Minor](canisminor.htm),
the Little Dog | [Pisces](pisces.htm), the Fish |
| [Capricornus](capricor.htm),
the Sea Goat | [Piscis Austrinus](piscis.htm),
the Southern Fish |
| [Cassiopeia](casiopia.htm),
the Queen | [Puppis](puppyx.htm), the
Stern |
| [Cepheus](cepheus.htm), the
King | [Pyxis](puppyx.htm), the
Compass |
| [Cetus](cetus.htm), the Whale
or Sea Monster | [Sagitta](arrow.htm), the
Arrow |
| [Columba](columba.htm), the
Dove | [Sagittarius](archer.htm), the
Archer |
| [Corona Borealis](corbor.htm),
the Crown | [Scorpius](scorpius.htm), the
Scorpion |
| [Cygnus](cygnus.htm), the Swan | [Sculptor](sculptor.htm), the
Sculptor |
| [Delphinus](dolphin.htm), the
Dolphin | [Scutum](scutum.htm), the
Shield |
| [Draco](dragon.htm), the
Dragon | [Serpens Caput](serphead.htm),
the Serpent's Head |
| [Equuleus](equuleus.htm), the
Little Horse | [Taurus](taurus.htm), the Bull |
| [Gemini](gemini.htm), the
Twins | [Triangulum](triangle.htm),
the Triangle |
| [Hercules](hercules.htm) | [Ursa Major](ursamaj.htm), the
Great Bear |
| [Lacerta](lizard.htm), the
Lizard | [Ursa Minor](ursamin.htm), the
Little Bear |
| [Leo Minor](leominor.htm), the
Little Lion | [Vulpecula](vulpecul.htm), the
Fox |
## OTHER ASTROPHOTOS
| [The Pleiades](pleadies.htm) | [Polaris with star
trails](polaris.htm) |
| --- | --- |
| [Moon and Mars](moonmars.htm) | [Hale-Bopp](halebopp.htm)
Photos |
[](../_vti_bin/shtml.exe/astronomy/index.htm/map)
For books on Astronomy, please visit our online [book
shop](starbook/index.htm), a Barnes and Nobel Affiliate site.
We hope these photos help you to identify the northern constellations.
There are two pictures on each link: the actual photo of the constellation and another
with the outline and major stars and points of interest identified. Some of the
constellations are incomplete due to their size. Most photos were taken with a Minolta XG7
camera using 400ASA Fuji film and a 50mm lens. A few of the very small constellations were
taken with a 90mm lens. Obtrusive lighting effects brought to you by our next door
neighbors, Bob and Wanda. (When trying to explain to them the importance of darkness while
photographing night skies we were told, "We have two stars every night; one in the
front and one in the backyard." Members of the International Dark-Sky
Association are welcome to send them tons of literature.)
### We invite you to visit more of our sites.
[Backyard Birding](../birding/index.htm) - the birds of
Central Indiana. Descriptions as well as photos and/or RealVideo.
[Death Angels](../angels/index.htm) - a photo essay by
Ghostory.
[Our Home on the Web](http://home.sprynet.com/sprynet/ghostory/)
- This site includes photos and RealVideo of our cats as well as photos from our gardens
including butterflies and flowers.
---
### Links to other astronomy sites -
| | |
| --- | --- |
| [Mike Boschat's
Astronomy Page](http://www.mscs.dal.ca/~andromed/) | [The International
Dark\_Sky Association](http://www.darksky.org) |
| [Wadsworth
Astronomy Resource Center](http://www.cv.nrao.edu/fits/www/yp_topzone.html) | [Meade
ETX Web](http://members.aol.com/mweasner/etx.html) |
| [Astronomy
Magazine](http://www.kalmbach.com/astro/astronomy.html) | [Sky and
Telescope Magazine](http://www.skypub.com/s_t/s_t.shtml) |
| [Astronomy Digest](http://www.astronomydigest.com) | |
Last updated Saturday, May 24, 2003
Copyright© All rights reserved
---
[](http://www.eclipse.st)
| https://www.slivoski.com/astronomy/ |
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<head><meta charset="utf-8">
<title>The Castles of Wales</title>
</head>
<body background="notebook.gif" link="#0000BB" vlink="#0000BB">
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<p><b><a href="http://www.castlewales.com/home.html">Home</a> | <a href="#Please Select">Main Menu</a> | <a href="http://www.castlewales.com/listings.html">Castle Index</a> | <a href="http://www.castlewales.com/history.html">Historical Essays</a> | <a href="http://www.castlewales.com/other.html">Related Essays</a> | <a href="http://www.castlewales.com/whatsnew.html">What's New</a> | <a href="http://www.castlewales.com/links.html">Links</a> | <a href="mailto:jltbalt1@verizon.net"> Contact</a></b></p>
<p><b> </b></p>
</center>
<h1 style="text-align: center;"><b>Welcome to the<br />
<img align="middle" src="walesfly.gif" /> <font color="#008000">Castles</font> of <font color="#FF0000">Wales</font> <img align="middle" src="walesfly.gif" /><br />
Website!</b></h1>
<p style="text-align: center;"><b><img src="1drag2grn.gif" /> </b></p>
<p><strong> </strong></p>
<center>
<table border="6">
<tbody>
<tr>
<td style="text-align: center;"><b><a href="harlech.html"><img src="harlech01.jpg" style="float: right; width: 1000px; height: 700px;" /></a></b></td>
</tr>
</tbody>
</table>
</center>
<p style="text-align: center;"><b>Above: view of the gatehouse at magnificent <a href="http://www.castlewales.com/harlech.html">Harlech Castle</a> in north-west Wales<br />
<i>Photograph copyright © by <a href="mailto:jltbalt1@verizon.net">Jeffrey Thomas</a></i> </b></p>
<blockquote>
<blockquote>
<p></p>
<p></p>
<center><b><b><img src="1drag2grn.gif" /></b></b></center>
<p></p>
<p><b><b><font color="#FF0000" size="4">Wales</font> is often called the "Land of Castles" and rightly so, as it is home to some of Europe's finest surviving examples of medieval castle construction. Over the years I've visited and explored many of the region's famous and <a href="lesser.html">lesser-known</a> castles, from mighty <a href="chepstow.html">Chepstow</a> in southeast Wales, to picturesque <a href="beaumar.html">Beaumaris</a> on the Isle of Anglesey, and charming <a href="ewloe.html">Ewloe</a> in the north. </b></b></p>
<p><b><b><font size="4">T</font>he <font color="#008000" size="4">Castles</font> of <font color="#FF0000" size="4">Wales</font> web site, launched in November of 1995, provides visitors with a lot more than simply a few photographs of the most famous Welsh castles. Our pages cover a wide range of topics related to Welsh castles and Welsh medieval history, and many of our essays are written by leading academics and historians in their respective fields of study. We provide information on over 400 different Welsh castles, accompanied by high quality photographs, as well as profiles of <a href="persons.html">the men</a> responsible for their construction and an explanation of the <a href="history.html">turbulent times</a> in which they lived. Although we provide detailed information and photographs for the most famous Welsh castles, the thing that separates the <font color="#008000" size="4">Castles</font> of <font color="#FF0000" size="4">Wales</font> web site from other sites on the net is the fact that we also provide large, high quality photographs for many of the <a href="vanished.html">lesser-known Welsh castles</a> with less impressive remains. In some instances our photographs of these forgotten castles are the only ones available on the Internet or in mainstream publications. We also feature a smaller section on Welsh <a href="abbeys.html">Abbeys and Other Religious Sites</a>, monuments that, like the Castles of Wales, represent an important component of Welsh medieval heritage and history. If you <i>take the time</i> to explore the site via the main menu below, we believe you will be pleased with both the variety and depth of information provided. </b></b></p>
<p><b><b><font size="4">T</font>he <font color="#008000" size="4">Castles</font> of <font color="#FF0000" size="4">Wales</font> survive today in a variety of conditions, ranging from completely ruined to castles that still serve as stately homes for their owners. Many are currently under the care of <a href="https://cadw.gov.wales/" onclick="window.open(this.href, '', 'resizable=no,status=no,location=no,toolbar=no,menubar=no,fullscreen=no,scrollbars=no,dependent=no'); return false;"><i>CADW: Welsh Historic Monuments</i></a>, an organization whose members are dedicated to preserving the many ancient monuments found throughout the land. </b></b></p>
<p><b><b>I would like to extend my sincere thanks to our many contributors, but particularly to our principal historians and researchers <a href="/northall.html">John Northall</a>, <a href="/remfry.html">Paul M. Remfry</a>, <a href="http://www.castles-of-britain.com/ownerprofile.htm" onclick="window.open(this.href, '', 'resizable=no,status=no,location=no,toolbar=no,menubar=no,fullscreen=no,scrollbars=no,dependent=no'); return false;">Lise Hull</a>, and <a href="/williams.html">Richard Williams</a>, for their many valuable and insightful contributions to this website. I could not have created so comprehensive a project without your help. Diolch yn fawr iawn!</b></b></p>
<p><b><b><img src="r_hand.gif" /></b><strong><em>Please note that I have decided to begin the process of updating the site (beginning July 2023), repairing or eliminating broken links and generally tidying up the pages. This will be a long process, so I ask your patience as the process unfolds. Thanks.</em></strong></b></p>
</blockquote>
<p></p>
</blockquote>
<center></center>
<center></center>
<center>
<table align="center" cellpadding="1" cellspacing="1" style="width:500px;">
<tbody>
<tr>
<td>
<h1><b><strong><a id="Please Select" name="Please Select"><img alt="" src="candl_l.gif" style="width: 60px; height: 105px;" /> Please Select a Topic<img alt="" src="candl_r.gif" style="width: 60px; height: 105px;" /></a></strong></b></h1>
</td>
</tr>
</tbody>
</table>
<p></p>
</center>
<blockquote>
<blockquote>
<center>
<table border="0" cellpadding="1" cellspacing="1" style="width:700px;">
<tbody>
<tr>
<td>
<p><b><strong><a href="listings.html"><font size="4"><em><strong><img align="middle" src="wales_button.png" /> Main Castle Index</strong></em></font></a></strong></b></p>
</td>
<td><b><strong><a href="abbeys.html"><font size="4"><em><strong><img align="middle" src="wales_button.png" /></strong></em></font></a><a href="casterms.html"><font size="4"><em><strong>Castle Terminology</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="database.html"><font size="4"><em><strong><img align="middle" src="wales_button.png" /> Complete Castle Database</strong></em></font></a></strong></b></td>
<td><b><strong><a href="other_sites.html"><font size="4"><em><strong><img align="middle" src="wales_button.png" /> </strong></em></font></a><a href="abbeys.html"><font size="4"><em><strong>Abbeys & Other Religious Sites in Wales</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="/recommended_castles.html"><img align="middle" src="wales_button.png" /> <font size="4"><em><strong>Recommended Castles</strong></em></font></a></strong></b></td>
<td><b><strong><a href="cow_art.html"><img align="middle" src="wales_button.png" /> </a><a href="other_sites.html"><font size="4"><em><strong>Pre-Medieval Historic Sites in Wales</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="casterms.html"><img align="middle" src="wales_button.png" /> </a><a href="persons.html"><font size="4"><em><strong>Castle Builders</strong></em></font></a></strong></b></td>
<td><b><strong><a href="contrib.html"><img align="middle" src="wales_button.png" /></a><a href="cow_art.html"><font size="4"><em><strong>Drawings and Illustrations of Welsh Castles</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="history.html"><img align="middle" src="wales_button.png" /> <font size="4"><em><strong>Historical Essays</strong></em></font></a></strong></b></td>
<td><b><strong><a href="whatsnew.html"><img align="middle" src="wales_button.png" /></a><a href="whatsnew.html"><font size="4"><em><strong>What's New/Contributions</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="remfry1.html"><img align="middle" src="wales_button.png" /> <font size="4"><em><strong>Welsh Castle Timeline</strong></em></font></a></strong></b></td>
<td><b><strong><a href="cym_list.html"><img align="middle" src="wales_button.png" /></a><a href="cym_list.html"><font size="4"><em><strong>Welsh Language Pages</strong></em></font></a><a href="cym_list.html"> </a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="vanished.html"><img align="middle" src="wales_button.png" /> <font size="4"><em><strong>Vanished/Lost Castles</strong></em></font></a></strong></b></td>
<td><b><strong><a href="links.html"><img align="middle" src="wales_button.png" /></a><a href="links.html"><font size="4"><em><strong>Recommended Links</strong></em></font></a></strong></b></td>
</tr>
<tr>
<td><b><strong><a href="dates.html"><img align="middle" src="wales_button.png" /></a> <span style="font-size:18px;"><em><a href="http://www.castlewales.com/pains.html">Lost Castle Spotlight</a></em></span></strong></b></td>
<td><b><strong><a href="links.html"><img align="middle" src="wales_button.png" /></a><a href="ref.html"><font size="4"><em><strong>Reference Sources</strong></em></font></a></strong></b></td>
</tr>
</tbody>
</table>
<p style="text-align: center; margin-right: 240px; margin-left: 40px;"><b><b><img src="knots.gif" /> </b></b></p>
<p style="margin-right: 240px; margin-left: 40px; text-align: center;"><b><b><i>"In a country with relatively few great churches<br />
and abbeys, and even fewer unfortified manor houses,<br />
the <font color="#008000"><font size="4">Castles</font></font> of <font color="#FF0000"><font size="4">Wales</font></font> form the most imposing group of<br />
monuments left from the Middle Ages. In terms of<br />
grandeur they are second only to the dramatic landscape."</i></b></b></p>
<p style="margin-right: 240px; margin-left: 40px; text-align: center;"><b><b><i>Adrian Pettifer - <a href="pettifer.html">Welsh Castles</a></i> </b></b></p>
<p style="text-align: center; margin-right: 240px; margin-left: 40px;"><b><b><img src="knots.gif" /> </b></b></p>
<p style="text-align: center; margin-right: 240px; margin-left: 40px;"><b><strong> </strong></b></p>
</center>
<center style="text-align: center; margin-right: 240px; margin-left: 40px;"><b><strong><img src="dragon1.gif" /><img src="dragon1.gif" /><img src="dragon1.gif" /><img src="dragon1.gif" /><img src="dragon1.gif" /> </strong> </b></center>
<center>
<p dir="rtl" style="text-align: center; margin-right: 200px;"><b><strong><img src="1drag2grn.gif" /></strong></b></p>
</center>
<p><b><strong><font size="+1">T</font>he <font color="#008000" size="4">Castles</font> of <font color="#FF0000" size="4">Wales</font> Website is non-profit, educational resource created, written and maintained by <a href="mailto:jltbalt1@verizon.net"><i>Jeffrey L. Thomas</i></a>. All text and photographs are copyrighted © by the <font color="#008000" size="4">Castles</font> of <font color="#FF0000" size="4">Wales</font> web site and/or their respective authors and contributors, with all rights reserved. You may <a href="contrib.html">follow this link</a> to view a list of principal contributors, or <a href="comments.html">this link</a> to view comments from other organizations regarding this project. </strong></b></p>
<p style="text-align: center;"><b><strong>The <font color="#008000"><font size="4">Castles</font></font> of <font color="#FF0000"><font size="4">Wales</font></font> Website is copyrighted ©1996-2023 by <a href="mailto:jltbalt1@comcast.net">Jeffrey L. Thomas</a>.</strong></b></p>
</blockquote>
<blockquote>
<p style="text-align: center;"></p>
</blockquote>
<center>
<p dir="rtl" style="text-align: center; margin-right: 240px;"></p>
</center>
<blockquote>
<p><b><strong> </strong></b></p>
</blockquote>
</blockquote>
</body>
</html> |
The Castles of Wales
**[Home](http://www.castlewales.com/home.html) | [Main Menu](#Please Select) | [Castle Index](http://www.castlewales.com/listings.html) | [Historical Essays](http://www.castlewales.com/history.html) | [Related Essays](http://www.castlewales.com/other.html) | [What's New](http://www.castlewales.com/whatsnew.html) | [Links](http://www.castlewales.com/links.html) | [Contact](mailto:jltbalt1@verizon.net)**
# **Welcome to the
Castles of Wales
Website!**
****
| |
| --- |
| |
**Above: view of the gatehouse at magnificent [Harlech Castle](http://www.castlewales.com/harlech.html) in north-west Wales
*Photograph copyright © by [Jeffrey Thomas](mailto:jltbalt1@verizon.net)***
>
>
> >
> >
> >
> > ********
> >
> > ****Wales is often called the "Land of Castles" and rightly so, as it is home to some of Europe's finest surviving examples of medieval castle construction. Over the years I've visited and explored many of the region's famous and [lesser-known](lesser.html) castles, from mighty [Chepstow](chepstow.html) in southeast Wales, to picturesque [Beaumaris](beaumar.html) on the Isle of Anglesey, and charming [Ewloe](ewloe.html) in the north.****
> >
> >
> > ****The Castles of Wales web site, launched in November of 1995, provides visitors with a lot more than simply a few photographs of the most famous Welsh castles. Our pages cover a wide range of topics related to Welsh castles and Welsh medieval history, and many of our essays are written by leading academics and historians in their respective fields of study. We provide information on over 400 different Welsh castles, accompanied by high quality photographs, as well as profiles of [the men](persons.html) responsible for their construction and an explanation of the [turbulent times](history.html) in which they lived. Although we provide detailed information and photographs for the most famous Welsh castles, the thing that separates the Castles of Wales web site from other sites on the net is the fact that we also provide large, high quality photographs for many of the [lesser-known Welsh castles](vanished.html) with less impressive remains. In some instances our photographs of these forgotten castles are the only ones available on the Internet or in mainstream publications. We also feature a smaller section on Welsh [Abbeys and Other Religious Sites](abbeys.html), monuments that, like the Castles of Wales, represent an important component of Welsh medieval heritage and history. If you *take the time* to explore the site via the main menu below, we believe you will be pleased with both the variety and depth of information provided.****
> >
> >
> > ****The Castles of Wales survive today in a variety of conditions, ranging from completely ruined to castles that still serve as stately homes for their owners. Many are currently under the care of [*CADW: Welsh Historic Monuments*](https://cadw.gov.wales/), an organization whose members are dedicated to preserving the many ancient monuments found throughout the land.****
> >
> >
> > ****I would like to extend my sincere thanks to our many contributors, but particularly to our principal historians and researchers [John Northall](/northall.html), [Paul M. Remfry](/remfry.html), [Lise Hull](http://www.castles-of-britain.com/ownerprofile.htm), and [Richard Williams](/williams.html), for their many valuable and insightful contributions to this website. I could not have created so comprehensive a project without your help. Diolch yn fawr iawn!****
> >
> >
> > *********Please note that I have decided to begin the process of updating the site (beginning July 2023), repairing or eliminating broken links and generally tidying up the pages. This will be a long process, so I ask your patience as the process unfolds. Thanks.*****
> >
> >
> >
>
>
>
>
| |
| --- |
| ****Please Select a Topic**** |
>
>
> >
> >
> >
> >
> > | | |
> > | --- | --- |
> > | ****[***Main Castle Index***](listings.html)**** | ****[***Castle Terminology***](casterms.html)**** |
> > | ****[***Complete Castle Database***](database.html)**** | ****[***Abbeys & Other Religious Sites in Wales***](abbeys.html)**** |
> > | ****[***Recommended Castles***](/recommended_castles.html)**** | ****[***Pre-Medieval Historic Sites in Wales***](other_sites.html)**** |
> > | ****[***Castle Builders***](persons.html)**** | ****[***Drawings and Illustrations of Welsh Castles***](cow_art.html)**** |
> > | ****[***Historical Essays***](history.html)**** | ****[***What's New/Contributions***](whatsnew.html)**** |
> > | ****[***Welsh Castle Timeline***](remfry1.html)**** | ****[***Welsh Language Pages***](cym_list.html)**** |
> > | ****[***Vanished/Lost Castles***](vanished.html)**** | ****[***Recommended Links***](links.html)**** |
> > | *****[Lost Castle Spotlight](http://www.castlewales.com/pains.html)***** | ****[***Reference Sources***](ref.html)**** |
> >
> >
> >
> >
> > ********
> >
> >
> > *****"In a country with relatively few great churches
> >
> > and abbeys, and even fewer unfortified manor houses,
> >
> > the Castles of Wales form the most imposing group of
> >
> > monuments left from the Middle Ages. In terms of
> >
> > grandeur they are second only to the dramatic landscape."*****
> >
> >
> > *****Adrian Pettifer - [Welsh Castles](pettifer.html)*****
> >
> >
> > ********
> >
> >
> >
> >
> > ********
> >
> >
> >
> > ********
> >
> >
> >
> > ****The Castles of Wales Website is non-profit, educational resource created, written and maintained by [*Jeffrey L. Thomas*](mailto:jltbalt1@verizon.net). All text and photographs are copyrighted © by the Castles of Wales web site and/or their respective authors and contributors, with all rights reserved. You may [follow this link](contrib.html) to view a list of principal contributors, or [this link](comments.html) to view comments from other organizations regarding this project.****
> >
> >
> > ****The Castles of Wales Website is copyrighted ©1996-2023 by [Jeffrey L. Thomas](mailto:jltbalt1@comcast.net).****
> >
> >
> >
>
>
>
> >
> >
> >
>
>
>
>
>
>
> >
> >
> >
>
>
>
| http://www.castlewales.com/home.html |
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<!--<H2 ALIGN=CENTER><FONT COLOR="BLUE">MINERALS</FONT><FONT COLOR="RED"> OF </FONT><FONT COLOR="GRAY">THE </FONT> <FONT COLOR="RED">UNITED </FONT><FONT COLOR="BLUE">STATES</FONT></H2>-->
<BLOCKQUOTE><UL><B>
<FONT SIZE="5" COLOR="BLACK">This web site has pictures of my United States Mineral Collection. These pictures are not copyrighted, so if you use any of them please give me credit for the
use of the pictures.</FONT>
</BLOCKQUOTE></B>
<BLOCKQUOTE><UL><B>
<FONT SIZE="5" COLOR="BLACK">The background picture on this page was taken at Bisbee, Arizona. Bisbee was at one time the leading producer of
copper in the state. Bisbee also gave us some of the most wonderful copper minerals ever seen during its years of
operation. Be sure to check out the Arizona page.</FONT></B>
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<td width="32%" valign="top" align="center"><IMG SRC="images/azurite.jpg" width="293" height="360">
<p><b>This is a very rare Azurite stalactite on Malachite from Morenci,
Arizona. This mineral was formally
in the Frank Imbriacco collection. </b></td>
<td width="30%" valign="top" align="center"><img border="0" src="images/azuriterose.jpg" width="347" height="360">
<p><b>This is a Azurite with very sharp clear blue crystals. This piece
was mined prior to the 1900's at Bisbee, Arizona. Specimens like this
only come into a collection once in a lifetime. This mineral was formally
in the Frank Imbriacco collection.</b></td>
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<p><b>This is a group Azurite crystals on Malachite from Bisbee, Ariz.
and was mined prior to the 1900's. This mineral was formally
in the Miguel Romero collection.</b></td>
<td width="30%" valign="top" align="center"><IMG SRC="images/minette.jpg">
<p><b>This is a killer group of Malachite after Azurite crystals from Bisbee, Ariz.
and was mined prior to the 1900's. This mineral was formally
in the Dawn and Jim Minette collection</A> and was purchased at the
2008 Tucson Show. Photo by Jeff Scovil.</b></td>
</tr>
</table>
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<H2 ALIGN=CENTER> </H2>
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<H2 ALIGN=RIGHT> <A HREF="MAILTO:tiger@tigerminerals.com"><FONT SIZE=3 COLOR="BLUE">Bob Weaver</H2></FONT></A>
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<FONT SIZE=5><BLOCKQUOTE><UL><B>
My World Wide Thumbnail collection. Just Click on the rotating world globe
below. Last update 06/05/11, all new pictures</FONT>
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</BLOCKQUOTE></UL></B><BR>
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<center><FONT SIZE="5" COLOR="BLACK">Click on any state for that states minerals<BR>
The following states have been updated with new minerals, NJ<BR>
This site was last updated on 11/08/2023.</FONT>
<FONT SIZE=5><BLOCKQUOTE><UL>
Click on the following link to see <A HREF="forsale/mainfs.htm">Minerals for Sale.</A> Last
updated 11/29/2022 and this will be the last update for a while.</FONT>
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<AREA SHAPE=POLY COORDS="120,15,225,30,225,90,135,75,120,15" HREF=mt.htm ALT="Montana">
<AREA SHAPE=POLY COORDS="300,30,315,120,345,105,345,45,300,45,300,30" HREF=mn.htm ALT="Minnesota">
<AREA SHAPE=POLY COORDS="165,90,150,135,225,150,225,90,165,90" HREF=wy.htm ALT="Wyoming">
<AREA SHAPE=POLY COORDS="360,75,345,90,360,105,375,135,405,120,390,75,360,75" HREF=wi.htm ALT="Wisconsin">
<AREA SHAPE=POLY COORDS="105,0,105,75,90,90,90,105,105,120,150,120,150,90,135,90,120,60,120,45,120,15,105,15,105,0" HREF=id.htm ALT="Idaho">
<AREA SHAPE=POLY COORDS="15,90,45,105,45,135,45,165,90,225,90,240,75,255,60,240,15,180,15,90" HREF=ca.htm ALT="California">
<AREA SHAPE=POLY COORDS="45,105,120,120,105,195,90,210,45,150,60,105,105,120,45,105" HREF=nv.htm ALT="Nevada">
<AREA SHAPE=POLY COORDS="120,120,105,195,165,195,165,150,150,150,150,120,120,120" HREF=ut.htm ALT="Utah">
<AREA SHAPE=POLY COORDS="180,150,240,150,240,210,165,195,180,150" HREF=co.htm ALT="Colorado">
<AREA SHAPE=POLY COORDS="225,120,225,150,240,150,255,165,315,165,315,135,300,135,285,120,225,120" HREF=ne.htm ALT="Nebraska">
<AREA SHAPE=RECT COORDS="240,165,330,210" HREF=ks.htm ALT="Kansas">
<AREA SHAPE=POLY COORDS="105,195,90,225,90,255,135,285,150,285,165,195,105,195" HREF=az.htm ALT="Arizona">
<AREA SHAPE=POLY COORDS="165,195,225,210,225,270,225,285,150,285,165,195" HREF=nm.htm ALT="New Mexico">
<AREA SHAPE=POLY COORDS="240,210,330,210,330,255,285,255,270,240,270,225,240,210" HREF=ok.htm ALT="Oklahoma">
<AREA SHAPE=POLY COORDS="330,165,360,165,390,210,330,225,330,165" HREF=mo.htm ALT="Missouri">
<AREA SHAPE=POLY COORDS="375,135,405,135,405,195,390,210,375,195,360,165,375,135" HREF=il.htm ALT="Illinois">
<AREA SHAPE=POLY COORDS="240,218,225,293,180,278,225,323,240,308,285,368,300,338,330,323,345,308,330,263,270,248,270,218,240,218" HREF=tx.htm ALT="Texas">
<AREA SHAPE=POLY COORDS="510,364,480,319,435,304,420,304,420,289,495,289,525,349,510,364" HREF=fl.htm ALT="Florida">
<AREA SHAPE=POLY COORDS="525,349,525,379,510,379,510,364,495,349,525,349" HREF=fl.htm ALT="Florida">
<AREA SHAPE=POLY COORDS="345,315,345,270,375,270,360,300,390,300,390,330,345,315" HREF=la.htm ALT="Louisiana">
<AREA SHAPE=POLY COORDS="330,225,390,225,375,270,345,270,330,255,330,225" HREF=ar.htm ALT="Arkansas">
<AREA SHAPE=POLY COORDS="405,135,435,135,435,165,420,195,405,195,405,135" HREF=in.htm ALT="Indiana">
<AREA SHAPE=POLY COORDS="435,75,420,90,420,120,405,135,450,135,450,105,435,75" HREF=mi.htm ALT="Michigan">
<AREA SHAPE=POLY COORDS="405,240,435,240,450,285,420,285,420,300,405,300,405,240" HREF=al.htm ALT="Alabama">
<AREA SHAPE=POLY COORDS="405,300,390,300,375,300,375,270,390,240,405,240,405,285,405,300" HREF=ms.htm ALT="Mississippi">
<AREA SHAPE=POLY COORDS="480,285,495,285,495,270,480,255,465,240,450,225,435,240,450,285,480,285" HREF=ga.htm ALT="Georgia">
<AREA SHAPE=POLY COORDS="495,270,525,240,495,225,465,240,495,270" HREF=sc.htm ALT="South Carolina">
<AREA SHAPE=POLY COORDS="390,225,390,210,465,210,435,240,390,240,390,210,390,225" HREF=tn.htm ALT="Tennessee">
<AREA SHAPE=POLY COORDS="405,195,390,210,465,210,465,180,435,180,420,195,405,195" HREF=ky.htm ALT="Kentucky">
<AREA SHAPE=POLY COORDS="450,225,480,210,540,195,540,225,525,225,525,240,495,225,450,225" HREF=nc.htm ALT="North Carolina">
<AREA SHAPE=POLY COORDS="480,195,465,180,480,165,495,150,510,165,495,180,480,195" HREF=wv.htm ALT="West Virginia">
<AREA SHAPE=POLY COORDS="465,195,480,195,510,165,525,165,540,180,540,195,465,210,480,195,465,195" HREF=va.htm ALT="Virginia">
<AREA SHAPE=POLY COORDS="435,135,435,165,450,180,465,180,480,165,480,150,480,120,465,135,450,135,435,135" HREF=oh.htm ALT="Ohio">
<AREA SHAPE=POLY COORDS="480,120,540,120,540,135,540,150,480,150,480,120" HREF=pa.htm ALT="Pennsylvania">
<AREA SHAPE=POLY COORDS="510,150,540,165,570,165,585,195,540,180,510,150" HREF=md.htm ALT="Maryland">
<AREA SHAPE=POLY COORDS="585,165,540,165,540,150,585,150,585,165" HREF=de.htm ALT="Delaware">
<AREA SHAPE=POLY COORDS="585,135,585,150,540,150,540,120,555,135,585,135" HREF=nj.htm ALT="New Jersy">
<AREA SHAPE=POLY COORDS="570,120,570,105,555,105,555,120,585,135,600,135,600,120,570,120" HREF=ct.htm ALT="Connecticut">
<AREA SHAPE=POLY COORDS="600,105,600,120,570,120,570,105,600,105" HREF=ri.htm ALT="Rhode Island">
<AREA SHAPE=POLY COORDS="600,75,600,105,555,105,570,90,585,90,600,75" HREF=ma.htm ALT="Massachusetts">
<AREA SHAPE=POLY COORDS="480,105,525,90,525,75,540,60,555,105,555,120,540,120,525,105,510,120,480,120,480,105" HREF=ny.htm ALT="New York">
<AREA SHAPE=POLY COORDS="540,60,555,60,555,105,540,60" HREF=vt.htm ALT="Vermont">
<AREA SHAPE=POLY COORDS="570,90,555,60,555,30,570,30,585,90,570,90" HREF=nh.htm ALT="New Hampshire">
<AREA SHAPE=POLY COORDS="600,15,600,60,585,75,570,75,570,30,600,15" HREF=me.htm ALT="Maine">
<AREA SHAPE=POLY COORDS="120,319,150,394,165,394,210,424,180,439,120,409,120,319" HREF=ak.htm ALT="Alaska">
</MAP></CENTER>
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<UL><UL><UL><I>
<FONT SIZE="5" COLOR="BLACK">If you would like to make any requests, comments, etc. please use this form. </FONT></UL></UL></UL></I><BR><BR>
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<CENTER><TABLE BORDER=3>
<TR><TD><B>Your Name:</TD><TD><INPUT TYPE="TEXT" NAME="name" SIZE="40"></B></TD></TR>
<TR><TD><B>Mineral Wanted:</TD><TD><INPUT TYPE="TEXT" NAME="mineral" SIZE="40"></B></TD></TR>
<TR ALIGN LEFT VALIGN=TOP><TD><B>State Wanted:</B></TD><TD><SELECT NAME="state" MULTIPLE SIZE="4">
<OPTION SELECTED VALUE="alabama">Alabama
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<H2 ALIGN=CENTER><IMG WIDTH=82% SIZE=3 SRC="backgrnd/line02.gif"></H2>
<P><H2 ALIGN=CENTER><FONT SIZE=3>These are a few of my Favorite Links: </font></H2><H2 ALIGN=CENTER><FONT SIZE=3>
<A HREF="http://www.weinrichmineralsinc.com/">Dan Weinrich - Mineral Shop</A><BR>
<A HREF="http://www.davebunkminerals.com/">Dave Bunk - Mineral Shop</A><BR>
</H2><BR><BR></F>
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MINERALS OF THE UNITED STATES
## MINERALS of the UNITED STATES
> **This web site has pictures of my United States Mineral Collection. These pictures are not copyrighted, so if you use any of them please give me credit for the
> use of the pictures.**
> **The background picture on this page was taken at Bisbee, Arizona. Bisbee was at one time the leading producer of
> copper in the state. Bisbee also gave us some of the most wonderful copper minerals ever seen during its years of
> operation. Be sure to check out the Arizona page.**
>
>
>
>
>
| | |
| --- | --- |
|
**This is a very rare Azurite stalactite on Malachite from Morenci,
Arizona. This mineral was formally
in the Frank Imbriacco collection.** |
**This is a Azurite with very sharp clear blue crystals. This piece
was mined prior to the 1900's at Bisbee, Arizona. Specimens like this
only come into a collection once in a lifetime. This mineral was formally
in the Frank Imbriacco collection.** |
| | |
| --- | --- |
|
**This is a group Azurite crystals on Malachite from Bisbee, Ariz.
and was mined prior to the 1900's. This mineral was formally
in the Miguel Romero collection.** |
**This is a killer group of Malachite after Azurite crystals from Bisbee, Ariz.
and was mined prior to the 1900's. This mineral was formally
in the Dawn and Jim Minette collection and was purchased at the
2008 Tucson Show. Photo by Jeff Scovil.** |
##
> **## [Bob Weaver](MAILTO:tiger@tigerminerals.com)
>
>
> ##
>
>
>
> > **My World Wide Thumbnail collection. Just Click on the rotating world globe
> > below. Last update 06/05/11, all new pictures****
>
>
##
Click on any state for that states minerals
The following states have been updated with new minerals, NJ
This site was last updated on 11/08/2023.
>
> Click on the following link to see [Minerals for Sale.](forsale/mainfs.htm) Last
> updated 11/29/2022 and this will be the last update for a while.
##
*If you would like to make any requests, comments, etc. please use this form.*
| | |
| --- | --- |
| **Your Name:** | |
| **Mineral Wanted:** | |
| **State Wanted:** |
Alabama
Alaska
Arizona
Arkansas
California
Colorado
Connecticut
Delaware
Florida
Georgia
Hawaii
Idaho
Illinois
Indiana
Iowa
Kansas
Louisiana
Kansas
Maine
Maryland
Massachusetts
Michigan
Minnesota
Mississippi
Missouri
Montana
Nebraska
Nevada
New Hampshire
New Jersey
New Mexico
New York
North Carolina
North Dakota
Ohio
Oklahoma
Oregon
Pennsylvania
Rhode Island
South Carolina
South Dakota
Tennessee
Texas
Utah
Vermont
Virginia
Washington
West Virginia
Wisconsin
Wyoming
|
| **E-mail:** | |
| **Comments:** | |
##
## These are a few of my Favorite Links:
##
[Dan Weinrich - Mineral Shop](http://www.weinrichmineralsinc.com/)
[Dave Bunk - Mineral Shop](http://www.davebunkminerals.com/)
##
| http://www.tigerminerals.com/ |