reports the enemy size, location, and any other information to the platoon leader. the platoon leader completes the squad leader ' s assessment of the situation. b. the squad continues to engage the enemy positions and mark the engagement area with ground ir flares, tracers, and an / paq - 4. c. the platoon sergeant moves forward with the weapons squad leader and the second machine gun team and links up with the platoon leader. 3. suppress the enemy. a. the platoon leader determines if the squad in contact can gain suppressive fire against the enemy, based on the volume and accuracy of the enemy ' s return fire. he sees through the an / pvs - 7b and makes the assessment by looking at the enemy ' s muzzle flashes and the strike of their rounds and tracers. b. if yes, he directs the squad ( with one or both machine guns ) to continue suppressing the enemy : ( 1 ) the squad in contact destroys or suppresses enemy weapons that are firing most effectively against it, normally crew - served weapons. the squad leader identifies the enemy crew - served by its muzzle flashes and rate of fire. he uses his hand - held laser pointer to designate priority targets for his squad. ( 2 ) in addition, the squad in contact continues to place ir screening smoke ( if enemy has nods ) to prevent the enemy from seeing the maneuver element. c. if no, the platoon leader deploys another squad and the machine gun team to suppress the enemy position. the second squad lead elements see the base of fire squad flank element ' s ir chemlights or flares through the an / pvs - 7b and links up either to the left or right flank of the base of fire squad as directed by the platoon leader. ( the platoon leader may direct the platoon sergeant to position this squad and one or both of the machine gun teams in a better support - by - fire position. ) d. the platoon leader again determines if the platoon can gain suppressive fire over the enemy. e. if yes, he continues to suppress the enemy with two squads and two machine guns. ( 1 ) the platoon sergeant assumes control of the base - of - fire element ( squad in contact, the machine gun teams, and any other squad designated by the platoon leader ). he uses his hand - held laser pointer to designate sectors of fire for the squads. ( 2 ) the machine gun team occupies a covered and concealed position and suppresses the enemy position. the gunners see through the an / pvs -


leader ). he uses his hand - held laser pointer to designate sectors of fire for the squads. ( 2 ) the machine gun team occupies a covered and concealed position and suppresses the enemy position. the gunners see through the an / pvs - 4 and identify the targets designated by the weapons squad leader ' s laser. f. the platoon fo calls for and adjusts fires, based on the platoon leader ' s directions. ( the platoon leader does not wait for indirect fires before continuing with his actions. ) g. if still no, the platoon leader deploys the last squad to provide flank and rear security and guide the rest of the platoon forward as necessary, and reports the situation to the company commander. normally, the platoon will become the base of fire element for the company and may deploy the last squad for suppressive fires. the platoon continues to suppress / fix the enemy with direct and indirect fire, and responds to orders from the company commander. a. if the squad ( s ) in contact together with the machine gun can suppress the enemy, the platoon leader determines if the remaining squad ( s ) not in contact can maneuver. he makes the following assessment using his an / pvs - 7 : ( 1 ) location of enemy positions and obstacles. ( 2 ) size of enemy force. ( the number of enemy automatic weapons, presence of any vehicles, and employment of indirect fire are indicators of enemy strength. ) ( 3 ) vulnerable flank. ( 4 ) covered and concealed flanking route to the enemy position. b. if yes, the squad leader maneuvers the squad ( s ) into the assault : ( 1 ) once the platoon leader has ensured the base of fire squad is in position and providing suppressive fires, he leads the assaulting squad ( s ) to the assault position. ( 2 ) once in position, the platoon leader gives the prearranged signal for the base of fire squad to lift or shift direct fires to the opposite flank of the enemy position. the signal is normally fm or an ir signaling device. the assault squad leader identifies the targets ( enemy positions ) that have been designated by the support by fire squad leader through his an / pvs - 7b. simultaneously, at the platoon leader ' s command for the support by fire squad to lift or shift, the assault squad leader uses his hand - held laser pointer to point out the targets. team leaders use an / paq - 4 to control fires. the assault squads must pick up and maintain effective fire throughout the assault. handover of responsibility for direct


the assault squad leader uses his hand - held laser pointer to point out the targets. team leaders use an / paq - 4 to control fires. the assault squads must pick up and maintain effective fire throughout the assault. handover of responsibility for direct fires from the base of fire squad to the assault squad is critical to prevent fratricide. ( 3 ) the platoon fo shifts indirect fires ( including smoke ) to suppress the enemy position. ( 4 ) the assaulting squad ( s ) fight through enemy positions using fire and maneuver. ( 5 ) the platoon leader controls the movement of his squads. he uses his hand - held laser pointer to assign specific objectives for each squad and designates the main effort or base maneuver element. ( the base of fire squad must be able to identify the near flank of the assaulting squads. ) flanks are marked with ir chemlight bundles, ir flares, or phoenix beacons. note : the use of the hand - held laser pointer requires moderation because it can cause confusion as well as identify friendly positions for an enemy with night - vision capabilities. the laser should not be on for a period greater than three seconds when used. ( a ) the squad leader determines the way in which he will move the elements of his squad based on the volume and accuracy of enemy fire against his squad and the amount of cover provided by terrain. in all cases, each soldier uses individual movement techniques as appropriate. ( b ) the squad leader designates one fire team to support the movement of the other fire team. ( c ) the squad leader designates a distance or direction for the team to move. he accompanies one of the fire teams. ( d ) soldiers see with the an / pvs - 7b and maintain contact with team members and leaders. ( e ) buddy teams time their firing and reloading to sustain their rate of fire. ( f ) the moving fire team proceeds to the next covered position, using the wedge formation. ( g ) the squad leader directs the next team to move using an ir signal. ( h ) when the squad leader or team leader determines that moving by teams is no longer feasible, fire teams continue forward in buddy teams. soldiers continue to use an / pvs - 7b and an / paq - 4 to place accurate fires on the enemy as well as identify / point out targets previously identified by their team leaders. ( 1 ) soldiers maintain contact with their buddies. ( 2 ) soldiers fire from covered positions, see with the an / pvs - 7


to place accurate fires on the enemy as well as identify / point out targets previously identified by their team leaders. ( 1 ) soldiers maintain contact with their buddies. ( 2 ) soldiers fire from covered positions, see with the an / pvs - 7b and select the next covered position before moving. they either rush forward ( no more than 5 seconds ) or use the high crawl or low crawl techniques, based on terrain and enemy fires. ( i ) fire team leaders maintain contact with the squad leaders and pass signals to team members. c. if no, or the assaulting squads cannot continue to move, the platoon leader deploys the squad ( s ) to suppress the enemy and reports to the company commander. 5. consolidate and reorganize. a. for consolidating once squads have seized the enemy position, the platoon leader establishes local security. ( the platoon must plan to defeat any enemy counterattack. at the conclusion of the assault, the platoon is most vulnerable. ) ( 1 ) the platoon leader signals for the base of fire squad to move into designated positions. ( 2 ) the platoon leader assigns sectors of fire for each squad using his laser pointer. ( 3 ) the platoon leader positions key weapons to cover the most dangerous avenues of approach. ( 4 ) the platoon sergeant begins coordination for ammunition resupply. ( 5 ) soldiers occupy hasty defensive positions. ( 6 ) the platoon leader and his fo develop a quick fire plan. ( 7 ) the squad leader places ops to detect enemy counterattacks. when an armor or mounted threat is likely, use the an / tas - 5a in ops. b. to reorganize, the platoon performs the following tasks ( only after it completes consolidation on the objective ) : ( 1 ) re - establish chain of command. ( 2 ) redistribute and resupply ammunition. ( 3 ) man crew - served weapons first. ( 4 ) redistribute critical equipment ( radios, nbc, nvd, laser pointer ). ( 5 ) treat casualties and evacuate wounded. ( 6 ) fill vacancies in key positions. ( 7 ) search, silence, segregate, safeguard, and speed epws to collection points. ( 8 ) collect and report enemy information and material. c. squad leaders provide ammunition, casualty, and equipment ( ace ) reports to the platoon leader. d. the platoon leader consolidates ace reports and passes them to the company commander ( or executive officer ). e. the platoon continues the mission after receiving


from the art and popular culture encyclopedia a neologism ( greek νεολογισμος [ neologismos ], from νεος [ neos ] new + λογος [ logos ] word, speech, discourse + suffix - ισμος [ - ismos ] - ism ) is a word, term, or phrase which has been recently created ( " coined " ) — often to apply to new concepts, to synthesize pre - existing concepts, or to make older terminology sound more contemporary. neologisms are especially useful in identifying inventions, new phenomena, or old ideas which have taken on a new cultural context. the term " e - mail ", as used today, is an example of a neologism. neologisms are by definition " new ", and as such are often directly attributable to a specific individual, publication, period or event. the term " neologism " was itself coined around 1800 ; so for some time in the early 19th century, the word " neologism " was itself a neologism. neologisms can also refer to an existing word or phrase which has been assigned a new meaning. in psychiatry, the term is used to describe the creation of words which only have meaning to the person who uses them. it is considered normal in children, but a symptom of thought disorder indicative of a psychotic mental illness such as schizophrenia in adults. usage of neologisms may also be related to aphasia acquired after brain damage resulting from a stroke or head injury. in theology, a neologism is a relatively new doctrine ( for example, rationalism ). in this sense, a neologist is an innovator in the area of a doctrine or belief system, and is often considered heretical or subversive by the mainstream clergy or religious institution ( s ).


as used in this chapter, unless the context otherwise requires, the following meanings apply : ( 1 ) “ commission ” means the american samoa natural resources commission. ( 2 ) “ endangered species ” means any species of fish, plant life, or wildlife which is in danger of extinction throughout all or a significant part of its range other than a species of insects determined by the commission or the secretary of the united states department of the interior to constitute a pest whose protection under this chapter would present an overwhelming and overriding risk to man. ( 3 ) “ fish or wildlife ” means any member of the animal kingdom, including any mammal, fish, amphibian, mollusk, crustacean, arthropod, or other invertebrate, and includes any part, product, egg, or offspring, or the dead body or parts thereof. fish or wildlife includes migratory birds, nonmigratory birds, or endangered birds for which protection is afforded by treaty or other international agreement. ( 4 ) “ import ” means to bring into, or introduce into, or attempt to bring into, or introduce into, any place subject to the jurisdiction of this territory. ( 5 ) “ person ” means an individual, corporation, partnership, trust, association, or any other private entity, or any officer, agent, department, or instrumentality of the federal government, of any state or territory or political subdivision thereof, or of any foreign government. ( 6 ) “ plant or plant life ” means any member of the plant kingdom, including seeds, roots, and other parts thereof. ( 7 ) “ species ” includes any subspecies of fish, plant life, or wildlife and any other group of fish, plants, or wildlife of the same species or smaller taxa in common spatial arrangement that interbreed or cross - pollinate when mature. ( 8 ) “ take ” means, in reference to fish and wildlife, to harass, harm, pursue, hunt, shoot, wound, kill, trap, capture, collect, or attempt to engage in any such conduct. ( 9 ) “ take ” means, in reference to plants, to collect, pick, cut, dig up, or destroy in any manner. ( 10 ) “ threatened species ” means any species which is likely to become an endangered species within the foreseeable future throughout all or a significant portion of its range. history : 1982, pl 17 - 49 § 1.


2008 – 2009 projects on multicultural activities bilingual performance on an object and action battery : preliminary normative data in spanish and english lisa a. edmonds university of florida the u. s. has the fifth largest spanish - speaking community in the world, with 30 million citizens ( 12 % of the population ) that speak spanish. the hispanic elderly population is expected to increase from < 4 percent of the total elderly population in 1990 to 16 percent by the middle of the next century. hispanics are 30 % more likely than non - hispanic caucasians to have a stroke, and thus are at a greater risk for aphasia. lexical retrieval impairments are the most common deficit in aphasia. as a result, a fundamental aspect of aphasia evaluation is testing naming abilities. however, there are no available naming tests developed specifically for spanish - english populations in the united states. providing bilingual normative data on available naming tests is an alternative until appropriate tests can be developed. the purpose of this study was to 1 ) examine naming performance of spanish - english bilingual adult speakers on an object and action naming battery ( druks and masterson, 2000 ), and 2 ) identify which language use / history and self - ratings factors best predicted naming performance in english and spanish. the overall goal was to generally evaluate whether this test, which was developed for monolingual english speakers, would be appropriate to use in some form with spanish / english bilinguals. the preliminary results of the classical and rasch analyses revealed a large number of noun and verb items able to distinguish between different levels of naming proficiency in english and spanish for spanish / english bilinguals. evidenced - based language screening procedures for young spanish speakers ( elysa ) university of northern colorado young children who have delayed language development are at risk for a number of concomitant developmental problems, including delays in social, behavioral, and academic development. early intervention with children with language delays is critically important ; many studies have demonstrated that early childhood is the greatest time of developmental change, and that children who receive early intervention demonstrate favorable long - term outcomes. thus, identifying children at risk for language and learning problems is of paramount importance during early childhood. as a result, early childhood programs such as head start have made screening of preschoolers a priority. twenty seven percent of children enrolled in head start programs are from homes where languages other than english are spoken ; 82 % of these children are from spanish speaking families and this percentage is expected to increase. nationwide surveys have demonstrated that most slps lack confidence when assessing spanish bilingual


of children enrolled in head start programs are from homes where languages other than english are spoken ; 82 % of these children are from spanish speaking families and this percentage is expected to increase. nationwide surveys have demonstrated that most slps lack confidence when assessing spanish bilingual children and when working with parents who do not speak english. many slps report the lack of adequate assessment tools and inability to speak a child ' s language as obstacles to serving / assessing linguistically diverse children. the objectives of this project were 1 ) to increase normative data on language development in spanish monolingual and emergent bilingual children, specifically in the area of screening procedures 2 ) and, to develop a collaboration between the university of northern colorado audiology and speech language sciences program and the colorado head start community in developing evidence based screening procedures for spanish speaking children. the primary investigator is collaborating with dr. barbara rodriguez ( university of new mexico ) in authoring a manuscript that describes the clinical usefulness and the sensitivity and specificity of the two tools used in this study. pathway to excellence : increasing the number, diversity and cultural competence of the membership judith b. king northern arizona university given only a mere 0. 3 % of the slps nationwide are native american, this project responded to one of asha ' s strategic plan objectives : to increase the number, diversity and cultural competence of the membership. because northern arizona university ( nau ) is situated at the border of the largest native american ( navajo ) nation in the u. s. and encircles the hopi reservation, it consistently ranks among the top three institutions in native american enrollment, leading the nation in granting degrees to native american students. similarly, nau ' s department of communication sciences and disorders ( csd ) is well known for its successful efforts in recruiting and graduating native american students and has an established record for obtaining graduate level funding for that group of students. proud of it strong curriculum and the high praxis exam pass record of its mainstream graduates, the program is also aware that for its native american graduates, comparisons of those who pass the praxis are negligible. losing heart after repeated yet failed attempts to pass the praxis, this group of native american graduates simply give up, returning to their homeland with a sense of failure, in spite of having completed their graduate degree. their dream of asha membership grows dim, as does any hope of impacting the number, diversity and cultural competence of the membership. the objectives of this project were ( 1 ) to develop an intensive, systematic intervention plan to support


completed their graduate degree. their dream of asha membership grows dim, as does any hope of impacting the number, diversity and cultural competence of the membership. the objectives of this project were ( 1 ) to develop an intensive, systematic intervention plan to support six csd native american graduates in passing the praxis. four participants had already graduated and were working as non - certified professionals on the navajo and hopi reservations ; the other two were currently enrolled in the csd summers only program and were working on the reservations as non - certified professionals ; and ( 2 ) on passing the praxis, to partner the current six - student cohort with reservation - employed, certified, native american slps ( also csd alumni to serve as their cfy supervisors ). the systematic, intervention plan was made up of several components : 1 ) a combination of three, 7 - hour face - to - face and video conferencing sessions ( requiring participant enrollment in 1 credit independent study ) with study sessions at 4 - weeks, 2 - weeks and one day before the praxis exam, 2 ) partnering the current cohort of native american graduates with the aforementioned native american slps who were to serve as mentors / supervisors and a current csd graduate student who was to serve as their praxis study partner, and finally ( 3 ) all project participants participated daily in the american psychological association ' s mind habits program, a tool documented to help users reduce stress and boost self confidence and esteem. the praxis lecture series was professionally videotaped " live " using nau ' s itv services. all csd students have access to the entire set of praxis lectures and the accompanying handouts as well. the praxis exam results revealed that none of the four participants who took the exam - using the extended time for non - native speakers of english - passed. following this outcome, two participants dropped out of the project. on a repeat attempt, one participant passed and applied for asha membership. supporting acquisition of language and literacy through school - home based activities ( salsa ) lena g. caesar the improvement of literacy outcomes among language minority students has become a significant area of concern among educators, clinicians, and lawmakers. research indicates that spanish - speaking english language learners ( ells ) are twice as likely as their monolingual english - speaking peers to demonstrate sub - average literacy skills. findings from the national literacy panel on language - minority children and youth indicate that english oral proficiency is an important prerequisite for bilingual children ' s


are twice as likely as their monolingual english - speaking peers to demonstrate sub - average literacy skills. findings from the national literacy panel on language - minority children and youth indicate that english oral proficiency is an important prerequisite for bilingual children ' s literacy development. one aspect of oral proficiency that especially warrants attention is that of narrative abilities. the primary objective of this project was to examine the efficacy of a parent - school collaborative language and literacy intervention, supporting the acquisition of language and literacy through school - home activities ( salsa ), for spanish - speaking head start children. the intervention was designed to promote parents ' abilities to support language and emergent literacy development in their preschool children through a parent - child journaling activity. the project ' s specific objectives were to : ( a ) pilot a literacy and language intervention method in the domain of narrative development using parent - supported journaling approach ; ( b ) determine the efficacy of the intervention on children ' s narrative abilities ; ( c ) provide parents with the skills and opportunities for encouraging language - focused parent - child interactions ; ( d ) enhance the knowledge and competence of head start teachers regarding bilingual and language - literacy issues in the context of oral - written school - home connections ; and ( e ) disseminate results in professional and scholarly venues. subjects of the study were 12 preschool children between the ages of 3 and 5, enrolled in a migrant head start center in southwest michigan. an equivalent number of age - matched peers were randomly assigned to a control group. the study utilized an experimental, pretest - treatment - posttest design, and focused on expanding children ' s ability to produce oral narratives in english and spanish based on simple drawings provided by parents in a take - home journal. this parent - provided journal content served as the basis not only for literacy enrichment in the classroom, but also for oral language enrichment therapy provided by speech - langue pathology and audiology students. research involved the collaboration of two university programs - andrews university and western michigan university. findings indicated that children in the experimental group outperformed their control peers on early literacy measures related to print concepts and alphabetic principles. also, both groups demonstrated higher language and literacy gains in spanish than in english. 2008 – 2009 review panel thomas j. hallahan karyn b. helms amee p. shah yasmeen f. shah greta t. tan


following the associated press news release on the testing of inexpensive jewelry items for cadmium content by dr. jeff weidenhamer, trustees ’ distinguished professor of chemistry at ashland university, dr. weidenhamer has conducted numerous media interviews and was interviewed for both abc ’ s good morning america and cbs ’ s the early show. the testing and subsequent news article has led the consumer products safety commission to launch an investigation into the high levels of cadmium in kids ' jewelry. also, according to news reports from various sources, wal - mart, the nation ' s largest retailer, is taking some products containing cadmium off its shelves. a total of 103 jewelry items were purchased at retail stores in ohio, texas, california and new york. the items were screened by dr. weidenhamer and two ashland university toxicology students working under his supervision for the presence of high levels of cadmium using a technique called x - ray fluorescence. a total of 14 items contained more than 10 % cadmium based on these tests. additional testing was done on several of the high - cadmium jewelry items to determine the amounts of cadmium that might leach from the items if swallowed, and to determine the total cadmium content of items based on digestion of the metal in acid. the maximum cadmium content found was 91. 0 percent, or 910, 000, in a rudolph the red - nosed reindeer charm purchase at a dollar store in new york by judy braiman of the empire state consumer group of rochester, n. y. charms on another bracelet contained 89 percent and 91 percent cadmium, and a necklace pendant contained 79 percent cadmium. all of these pieces released dangerously high amounts of cadmium in leaching tests. cadmium is a toxic metal that is classified as a probable human carcinogen by the u. s. environmental protection agency. the primary hazard of chronic cadmium exposure is kidney damage, however recent research also links cadmium exposure to learning disabilities and loss of iq in young children. the world health organization estimates the tolerable weekly intake for cadmium to be 7 micrograms per kg body weight per week. there are currently no standards for the cadmium content of jewelry items intended for children.


| this biography from the archives of askart : | | a painter and major organizer of the armory show, walt kuhn is perhaps best known for his circus figure - clown depictions. they were unique in that he treated his subjects as human beings conditioned to specialized jobs. he also painted still lifes and some landscapes. he was inspired and influenced by many artists, most notably paul cezanne, and like cezanne, he destroyed many of his canvases, saving only about a dozen paintings a year. | he was born in brooklyn, new york in 1877 ( some older sources quote 1880 as his year of birth ) with the name william, but in 1900 first used the name " walt " when illustrating magazines in san francisco. he studied at the royal academy in munich from 1901 to 1903, and returned to new york where he worked as a cartoonist and magazine illustrator. he was associated with " the eight ", new york modernist painters, and with arthur b. davies, was a the key figure in forming the american association of painters and sculptors that organized the armory show of 1913 that introduced modernist european art to america. kuhn was executive secretary of the association and traveled abroad to select entries for the armory show. in 1941, he was granted a press pass to all of the madison square garden performances of the ringling brothers circus, which reinforced his focus on that subject matter. he also had a major interest in the american west, and between 1918 and 1920 did 29 paintings in a series he called imaginary history of the west, whose source material was primarily books. in 1936 and 1937, he was commissioned by the union pacific railroad to design the interior of two club cars, the frontier shack and little nuggett. matthew baigell, dictionary of american art david michael zellman, 300 years of american art peggy and harold samuels, the illustrated biographical dictionary of artists of the american west | this biography from the archives of askart : | | born in brooklyn, ny. kuhn began his career in 1898 as a cartoonist for a san francisco newspaper. from 1901 - 03 he studied in munich and in paris at academie colarossi. by 1910 he was a successful artist and in 1913 was an organizer of the armory show. his painting forte was clowns and circus performers. one year before his death, he suffered a mental breakdown and was institutionalized. he died in new york on july 13, 1949. | exh : beaux arts gallery ( sf ), 1928 ; sfaa, 1930. in : brooklyn museum ; cincinnati


year before his death, he suffered a mental breakdown and was institutionalized. he died in new york on july 13, 1949. | exh : beaux arts gallery ( sf ), 1928 ; sfaa, 1930. in : brooklyn museum ; cincinnati museum ; detroit inst. of arts ; lacma ; mm ; aic ; boston museum ; moma ; whitney museum ( nyc ). edan hughes, " artists in california, 1786 - 1940 " aaa 1907 - 08 ; wwaa 1936 - 47 ; ny times, 7 - 14 - 1949 ( obit ). | nearly 20, 000 biographies can be found in artists in california 1786 - 1940 by edan hughes and is available for sale ( $ 150 ). for a full book description and order information please click here. | | biography from chisholm gallery : | rhys adams wrote : " there is very little impressionism or cubism in ' polo game ' and quite a bit of raoul dufy. there were two oils by dufy in the armory show, both dating from his best " fauve " period of 1909, and walt kuhn may have seen many more in paris. with its horizontal bands and frieze of fluttering flags instead of a sunrise in the background.... the horses and riders are boldly, clearly drawn, the audience a prendergast tapestry of color with a few sharply contoured parasols as accents. it is both animated and decorative. " | paintings can be confidently assigned to 1914, and one of them, polo game, is kuhn ' s first fully post impressionist arrival. the first record of its exhibition in new york, though it might well have hung along with works by davies and jules pascin at the macbeth gallery in the spring of 1916, is the maynard walker gallery showing of " early works by walt kuhn " in april and may of 1966. john canaday, in the new york times, called the exhibition ' a careful selection of early works by this american painter who died in 1949, drawing from his estate. often had trouble deciding just which of several artists he most admired, and his various decisions en route are reflected in some of these pictures. but he was always a strong painter never afraid to declare his loyalties. filled with collector ' s items, an exhibition of kuhn ' s polo art is also something of a documentation of american painting during its transition from provincialism to internationalism under the impact of the armory show. ' john gruen, in the herald tribune,


collector ' s items, an exhibition of kuhn ' s polo art is also something of a documentation of american painting during its transition from provincialism to internationalism under the impact of the armory show. ' john gruen, in the herald tribune, mentioned polo game specifically : ' there are fascinating stylistic struggles to be observed in such works as ' tea! ( 1923 ) in which the artist ' s wife with a lady friend [ brenda ] are painted in a mixture of cubism and german expressionism, or the 1914 ' polo game ' which combines pure impressionism with post - impressionism. ' | biography from newman galleries : | | walt kuhn was born in 1877 in new york city. he began his artistic career as a cartoonist for life, judge, and puck. in 1910, he began painting. he was educated at the academy colarossi in paris, and the munich academy. he also studied in holland, italy, and spain. when he returned, kuhn taught at the art students ’ league as well as the new york school of art. | kuhn exhibited at the harriman gallery from 1930 to 1941 ; the durand - ruel gallery from 1943 to 1945 ; and he had a retrospective exhibition in 1960 at the cincinnati art museum. his works were also shown at the pennsylvania academy of the fine arts in philadelphia in 1921. kuhn ’ s work is in many private and public collections, including the dublin museum in ireland ; the museum of modern art in new york ; the addison gallery of american art ; the san francisco museum of fine arts ; the art institute of chicago ; and the art museums of denver, columbus, los angeles, wichita, and detroit. as well as being an artist and cartoonist, kuhn wrote the story of the armory show in 1938, and in 1939, he wrote and produced a motion picture entitled walt kuhn ’ s adventures in art. in 1913 he and a. b. davies organized the landmark armory show in new york city. walt kuhn died in new york city in 1949. | * * if you discover credit omissions or have additional information to add, please let us know at registrar @ askart. com. | walt kuhn is also mentioned in these askart essays : new york armory show of 1913 san francisco panama - pacific exhibition 1915


animal species : redfish, centroberyx affinis ( gunther, 1859 ) the redfish has large eyes and an oblique mouth that extends back to the posterior margin of the eye. the species is endemic to australia. eastern nannygai, golden snapper, king snapper, koarea, nannygai, red snapper, red squirrel - fish the redfish has a moderately deep, compressed body and a large head with serrated opercular and preopercular margins. it has large eyes and an oblique mouth that extends back to the posterior margin of the eye. there is a single dorsal fin and an anal fin positioned on the lower margin of the body, opposite the soft rayed portion of the dorsal fin. the caudal fin is deeply forked. redfish are usually silvery - red with pale spots on the scales forming stripes. the species grows to 51 cm in length. redfish only found in south - eastern australia and new zealand. in australia it is known from southern queensland to northern tasmania. the map below shows the australian distribution of the species based on public sightings and specimens in australian museums. source : atlas of living australia. distribution by collection data the redfish is mostly found in deep coastal and offshore waters. juveniles sometimes enter estuaries. other behaviours and adaptations the redfish is a schooling species. - edgar, g. j. 1997. australian marine life : the plants and animals of temperate waters. reed books. pp. 544. - kuiter, r. h. in gomon, m. f., glover, c. j. m. & r. h. kuiter ( eds ). 1994. the fishes of australia ' s south coast. state print, adelaide. pp. 992. - hutchins, b. & r. swainston. 1986. sea fishes of southern australia. complete field guide for anglers and divers. swainston publishing. pp. 180. - kuiter, r. h. 1996. guide to sea fishes of australia. new holland. pp. 433. - kuiter, r. h. 2000. coastal fishes of south - eastern australia. gary allen. pp. 437. mark mcgrouther, collection manager, ichthyology tags fishes, ichthyology, redfish, nannygai, centroberyx affinis, berycidae, oblique mouth, endemic to australia, eastern nannygai, golden snapper, king snapper, koarea, red snapper,


female circumcision encompasses a wide range of procedures, ranging in severity from a nick on the clitoral hood to cutting off all the external genitals and sewing up the vaginal opening. in its more extreme form, it is known as female genital mutilation ( fgm ). this al jazeera report gives a very brief overview of the practice : the acknowledged authority on female circumcision, the world health organization ( who ), recognizes four types of female circumcision : | type i | | excision of the prepuce with or without excision of part or all of the clitoris. | | type ii | | excision of the prepuce and clitoris together with partial or total excision of the labia minora. | | type iii | | excision of part or all of the external genitalia and stitching / narrowing of the vaginal opening ( infibulation ). | | type iv | | unclassified : includes pricking, piercing or incision of clitoris and / or labia ; stretching of clitoris and / or labia ; cauterization by burning of clitoris and surrounding tissues ; scraping ( angurya cuts ) of the vaginal orifice or cutting ( gishiri cuts ) of the vagina ; introduction of corrosive substances into the vagina to cause bleeding or herbs into the vagina with the aim of tightening or narrowing the vagina ; any other procedure which falls under the definition of fgm given above | age of consent the term is almost exclusively used to describe traditional or religious procedures on a minor, which requires the parents ’ consent because of the age of the girl. when the procedure is performed on and with the consent of an adult it is generally called clitoridectomy, or it may be part of labiaplasty or vaginoplasty. what are the health implications of this procedure? fgm has no health benefits, and it harms girls and women in many ways. it involves removing and damaging healthy and normal female genital tissue, and interferes with the natural functions of girls ’ and women ’ s bodies. immediate complications can include severe pain, shock, hemorrhage ( bleeding ), tetanus or sepsis ( bacterial infection ), urine retention, open sores in the genital region and injury to nearby genital tissue. does female circumcision happen in singapore? yes. in singapore ’ s muslim community, female circ


##us or sepsis ( bacterial infection ), urine retention, open sores in the genital region and injury to nearby genital tissue. does female circumcision happen in singapore? yes. in singapore ’ s muslim community, female circumcision involves nicking the prepuce, the skin covering the clitoris. it is markedly different from the more severe forms of genital mutilation. the procedure is usually done on babies or prepubescent children. circumcisions in singapore are done by female doctors at a handful of muslim clinics. anesthesia is generally not used. – source although a relatively common procedure, many young women are unaware that they have undergone this ritual or what it entails. what is the religious basis for this procedure? the practice is encouraged by some religious leaders however many historians say that there is no religious basis for this practice according to the majority of ulama, circumcision is compulsory for men and women. it should be done early in life, preferably when still an infant, to avoid complications, prolong pain and embarrassment if done later in life. any good muslimah doctor can perform circumcision for women. it is just a cutting off the thin membrane on the top most part of the clitoris. islamic religious council of singapore ( muis ) those practices originated 1, 400 years ago, before the birth of the prophet mohammed, says noor aisha binte abdul rahman, a professor at the national university of singapore. but the custom has no religious basis and there are no guidelines except that it should not bring harm to believers, says zhulkeflee haji ismail, manager of singapore ’ s islamic scholars and religious teachers association. “ some people just follow customs without knowing what they ’ re about, ” the scholar says. “ traditions die hard. ” - who factsheet - female circumcision in singapore - wikipedia : female genital cutting - washington post : sheelan ’ s circumcision - female circumcision : a viewpoint – straits times 1994


world magazine, issue 2. 10, january 1998 by karl cohen once upon a time there was a world without video tape. the commerce in animation was on film and there were dozens of distributors who listed cartoons and independent animation in their catalogs. school districts and colleges were buying and renting almost anything animated that was " educational. " a new theatrical show called the tournee of animation was showing the latest and greatest films from around the world. animation was sometimes shown at museums, libraries and art houses. during this period television rarely showed anything animated except television commercials and limited animation stuff made for the tube. of course there were daily cartoon shows that showed old hollywood films, but nobody was seriously interested in buying rights to artistic works. they wanted to keep costs low and needed quantity, not quality, to fill all the air time between the commercials. non - theatrical distribution from 1900 - 1960 before explaining what film distribution was like at its peak in the 1960s and 70s, a quick look at the history of non - theatrical distribution and the development of the 16mm format is in order. distribution of films to places other than theaters ( non - theatrical ) began almost 100 years ago. corporations were among the first to explore non - theatrical venues. a film about the alaskan gold rush was made by the northwest transportation company in 1899 and shown at the paris exposition in 1900. by the early teens some salesmen representing trade associations and corporations were traveling with 35mm films and portable projectors. they presented free shows to promote their sponsors ' interests. another small non - theatrical industry developed around pornographic films before wwi. animators created eveready harton in buried treasure, around 1928. this funny hard - core cartoon may have been made for a private party honoring winsor mccay by walter lantz, rudy zamora sr., george stallings and george canata. other x - rated cartoons were produced in the 1920s and 30s. the first non - theatrical catalog of education films was published by george kleine in 1910. he offered to lease 35mm films. apparently his venture was a failure and one account says he never recovered the cost of printing his 336 page catalog. kleine went on to import some of the first successful feature - length films from italy just before wwi. in 1921 kleine created a non - theatrical distribution system that brought " clean " films to schools, museums and other non - commercial users. he gave users of his " cycle of classics " free 35mm projectors and charged a per reel fee plus 65 % of the


created a non - theatrical distribution system that brought " clean " films to schools, museums and other non - commercial users. he gave users of his " cycle of classics " free 35mm projectors and charged a per reel fee plus 65 % of the admission income. the venture wasn ' t too successful and was abandoned in 1928 with the coming of sound. his silent projectors had become obsolete almost overnight. the educational market slowly developed in the 1920s and 30s. kodak introduced 16mm safety film in 1923. in the 1930s home movie cameras were introduced along with black and white reversal film stocks and kodachrome film ( 1936 ). bell and howell and other companies vigorously marketed their 16mm sound projectors. to further promote 16mm as a format, eastman kodak went into the film rental and sales business. in the 1930s they introduced the kodascope library which contained 16mm prints of hollywood features several sponsored animated films were made in the 1930s. general motors promoted itself in a coach for cinderella ( 1936 ), the first industrial produced in technicolor. it was produced by the jam handy organization in detroit. the company had already animated down the gasoline trail ( 1935 ) for chevrolet and they later produced other animated shorts. handy is best known for their post - war live - action films that glorified the product lines of gm. in the late 1950s the company had a staff of 500 and made between 150 and 200 films a year. another animated gem from the 1930s is the sunshine makers. it was directed by burt gillett and ted eshbaugh in new york at the van beuren studio. it promotes the consumption of milk and was in fact sponsored by bordens milk. the period from the late 1920s to the 1940s saw the beginning of artists in the u. s. using film as an art form. among the first animated or partly - animated films to be seen by the american public were works by mary ellen bute. her films were shown at radio city music hall in the late 1930s and early 40s. norman mclaren came to the u. s. from england in the late 1930s. he worked on one of bute ' s films ( spook sport ), did work for what later became the guggenheim museum, and was commissioned in 1939 to do a short work for nbc - tv when it was an experimental station. in the 1940s the war brought on the rise of public information films ( another name for propaganda ) and some of it was animated. the 16mm format was used extensively by both the


a short work for nbc - tv when it was an experimental station. in the 1940s the war brought on the rise of public information films ( another name for propaganda ) and some of it was animated. the 16mm format was used extensively by both the military and groups showing information films to the public. bugs bunny was used to sell war bonds, donald duck reminded people to pay their income taxes on time and minnie mouse recycled kitchen fats for the war effort. after the war thousands of military surplus 16mm " jan " sound projectors were sold to schools and other institutions at low costs. this helped make 16mm a more accessible format. at the close of the war the company that was to become upa made two animated films for the united auto workers and cio. hell bent for election was made to get out the vote for roosevelt in 1944 and brotherhood of man, 1946, promoted racial tolerance. the latter was made to help the autoworkers integrate factories in the south. both films are admired today for their use of contemporary graphic design. another popular animated sponsored film for the non - theatrical market was hugh harmon ' s winky the watchman, 1947. it was made for a dental association and it promotes the proper care of teeth. harmon and his partner rudolph ising also produced a long animated work for van de camp foods in their los angeles studio. some of the animated films made in the 1950s now seem unintentionally funny, like the animated turtle that tells us to " duck and cover " in case of an atomic blast, or the atomic man in john sutherland ' s a is for atom. john sutherland productions was formed in los angeles in 1945 and produced a great number of propaganda / informational films over the years. among the best educational films were a science series sponsored by bell labs. they hired frank capra to produce them and dr. frank baxter was the host. our mr. sun ( 1955 ) featured animation directed by bill hurtz at upa. shamus culhane ( nyc ) provided animated sequences for three bell labs films : hemo the magnificent ( 1956 ), the strange case of cosmic rays ( 1957 ) and the unchained goddess ( 1958 ). an early ad promoting the use of film projectors how non - theatrical animation worked the educational film market grew rapidly in the 1960s. when the soviet union launched sputnik in 1957, the u. s. congress realized something had to be done to better educate the baby boomers. by the early 1960s congress had passed the national defense education


film market grew rapidly in the 1960s. when the soviet union launched sputnik in 1957, the u. s. congress realized something had to be done to better educate the baby boomers. by the early 1960s congress had passed the national defense education act which gave enormous sums of money to school districts. some of the money was for the acquisition of films and other types of audio visual materials like film - strips, slides and records. there was also a growing market for films at colleges, public libraries, military bases, prisons, churches and other institutions. the basic sales tool for these companies was their illustrated catalog. in addition to the catalog, distributors often produced slick flyers and supplements intended to promote an interest in a specific film or series of films. educational film distributors also produced study guides to accompany some of their films. aggressive companies promoted their product lines at conventions, conferences and workshops. the annual educational film library association conference ( efla ) was a major trade show that was once attended by thousands of film buyers. most distributors who sold films provided free preview prints to reviewers who wrote for the trade publications ( film news, efla evaluations, booklist, film library quarterly, etc. ) and to potential film buyers for libraries and school districts. distributors also promoted their films by entering them in festivals. print sales often increased after a film won a major prize. festivals were also a way for school teachers and other film people to see new product. hopefully they would then ask their school district to buy a print of something they liked. there was once a large number of distribution companies and they varied in size and focus. some rented a full line of entertainment features and shorts while others specialized in well - made educational films. some companies had lots of animated shorts in their catalogs, while others had only a few titles or none. a few companies specialized in the importation and sale of shorts from canada and other countries. others produced their own product lines. a number of distributors specialized in films that required them to produce the work. weston woods studios turns popular children ' s books into animated shorts. they still acquire the film rights and then hire artists to do the artwork. gene deitch, who has headed his own studio in prague since 1960, has animated several of weston woods ' award - winning shorts. contracts between distributors and animators is a subject that is somewhat difficult to discuss as there is no such thing as a standard agreement. a contract might offer a payment based on a film ' s gross or on its ' net profit. a filmmaker could


. contracts between distributors and animators is a subject that is somewhat difficult to discuss as there is no such thing as a standard agreement. a contract might offer a payment based on a film ' s gross or on its ' net profit. a filmmaker could receive anywhere between 15 % to 40 % of the gross receipts ( 25 % to 30 % was more or less the average around 1970 ) or 50 % of the net profit. if a film with a net deal is a hit and the distributor is honest the filmmaker can make a good deal of money. on the other hand, if the distributor pads the account with meals and gifts for his friends, etc. the filmmaker may get nothing. some distributors mainly sold films to which they had exclusive rights. other companies had some exclusive films to offer. they supplemented that income with the rental of films that they sub - distributed. they would buy or lease a print for a fixed price from another distributor or the producer of the film and put it in their rental collection. they kept whatever income the print produced for them. the creator of the film only made money from the sale of the print. sub - distribution deals are non - exclusive so more than one company could buy the print and rent it. filmmakers made money by selling as many prints as possible. i found a contract dated january 15, 1982, between king features syndicate division and a non - theatrical distributor for the lease of a print of the yellow submarine. it called for the payment of $ 1, 400 and allowed the distributor to use the print for non - theatrical rentals. the contract prohibited theatrical or commercial use of the print including exhibition to a paying audience. distributors sometimes looked the other way if the film was rented by someone who was going to ask for a " donation " at the door. the company rented the film for $ 100 in their 1982 catalog. an interesting contract was offered animators by prescott wright when he produced the tournee of animation ( 1970 - 1986 ). the producer, wright and his associates, got 50 % of the gross and the remaining 50 % was split among the artists. about half of the money going to the animators was split evenly and the remaining amount was split based on how long each short was. that meant a really short film got slightly less than a film a minute or two longer. as the cost of producing the show rose, the percentage the producer took changed to 55 % and finally 60 %. another type of deal was offered by mike getz, who ran a midnight movie series for many years. he paid


or two longer. as the cost of producing the show rose, the percentage the producer took changed to 55 % and finally 60 %. another type of deal was offered by mike getz, who ran a midnight movie series for many years. he paid $ 1 a minute per screening. i had one film that getz showed many times. it turned a profit for me after i deducted production and print costs. when the print eventually came back it was covered with scratches and was barely usable, but it had made me a profit. the distribution companies the following discussion covers a few of the companies that distributed animation in the 1960s and ` 70s. they were selected to give a fairly good idea of how divergent one company was from another. one catalog from each company was selected for the discussion. in the course of a few years a company would add and drop titles, but no attempt was made to show how the holdings of the companies changed. the largest distributors in the country in the 1960s and ` 70s didn ' t go out of their way to handle unusual animated product. films incorporated just ended their film rental business and is now a video sales company. they used to rent features and shorts including mgm cartoons. they had exclusive rights to work from mgm, 20th century fox and other companies. at one time they had eight offices across the nation to better serve their customers. contemporary films / mcgraw hill, founded around 1950, had a 384 page catalog in 1972. it included 20 films by norman mclaren, a large selection from zagreb, silhouette films by lotte reiniger, work by john hubley, jeff hale, jan lenica, alexander alexeieff, les goldman, halas and batchelor, ernest pintoff, karel zeman, jan svankmajer, jiri trnka, and dozens of other animators from around the world. the mclaren films rented for $ 12. 50 or $ 10. most animated titles rented from $ 10 to $ 15. united artists ' ua16 catalog # 5 ( 1975 ) focused on the distribution of features, but it did devote space to early warner bros. cartoons ( 1930 - 1948 ), the fleischer popeye cartoons, woody woodpecker ( lantz ) and the pink panther series. most of their cartoons were available packaged in groups of three for $ 25. individual titles rented for $ 20 each and an 85 minute program called the popeye follies rented for $ 200. another great selection was available from ivy film ( nyc ). they rented paramount cartoons by the


in groups of three for $ 25. individual titles rented for $ 20 each and an 85 minute program called the popeye follies rented for $ 200. another great selection was available from ivy film ( nyc ). they rented paramount cartoons by the fleischers ( betty boop, gabby, silent koko, color classics and screen songs ), the george pal puppetoons, and animation from famous studios. cartoons were rented on a sliding scale based on the size of the audience. a betty boop rented in 1974 for $ 15 if the audience was under 100 people. the top rate was $ 35 for an audience of over 500 people. budget films, founded in 1969, claimed to be " the biggest privately - owned film archive in the world. " they have ended their participation in non - theatrical distribution and now provide stock footage to the industry. their 1979 catalog is 1 3 / 4 " thick and contains over 800 pages. they rented vintage hollywood cartoons from $ 5 - 10 each. color godzilla features rented for $ 32. 50 and $ 34 and john halas ' animal farm rented for $ 37. 50. in the 1980s they expanded their line to include a small selection of independent animated shorts. in 1989 they rented jankovics ' sisyphus for $ 10, steve segal ' s red ball express for $ 10, john hubley ' s the hat for $ 15, frederic back ' s crac! for $ 25 and richard condie ' s the big snit for $ 25. animal farm and the color godzilla features were available for $ 50 each. small companies had great animation collections by the early 1970s there were several companies that specialized in experimental and independently produced films. probably the most visible of these companies was pyramid films in santa monica. their 1974 catalog was a slick 1 / 2 " thick, 240 page volume. it listed films by jordan belson, charles braverman, george dunning, oskar fischinger, john and faith hubley, caroline leaf, norman mclaren, dan mclaughlin, frank mouris, john whitney, michael whitney, stan vanderbeek, and other animators. fischinger ' s composition in blue rented for $ 10 and sold for $ 100. the oscar - winning frank film rented for $ 15 and sold for $ 150. pyramid is still in business, but the nature of their business has changed considerably in recent years. the above sales prices date from before the hunt family in texas tried to corner the silver market in the 1980s. they drove the price of silver


$ 150. pyramid is still in business, but the nature of their business has changed considerably in recent years. the above sales prices date from before the hunt family in texas tried to corner the silver market in the 1980s. they drove the price of silver up to record highs, resulting in kodak almost doubling the price of film stocks. when the price of silver finally fell, kodak ' s prices didn ' t. when kodak took all of the silver out of their film stocks, the prices still remained steady and have since gone up. needless to say, the lab cost of a 16mm print in the 1970s was considerably less than it is today. working out of her home in berkeley, california, freude bartlett opened serious business in the mid - 1970s. the preface to her 1976 catalog said, " we are committed to film as an art form and our collection includes experimental and documentary work... the independent filmmaker is an artist, reflecting and commenting on the world and its meanings. " she offered films by scott bartlett, mary beams, stephen beck, adam beckett, robert breer, sally cruikshank, ed emshwiller, george griffin, suzan pitt kraning, pat o ' neill, kathy rose, stan vanderbeek and other artists. george griffin ' s one - minute long trickfilm rented for $ 5 and sold for $ 35 while his 4 1 / 2 minute the club rented for $ 10 and sold for $ 100. pat o ' neill ' s saugus series ( 18 min. ) rented for $ 25 and sold for $ 250. the company grew for several years, but went out of business around 1980. when serious business closed many of the animators represented by freude signed contracts with ron epple ' s picture start. the company issued catalog # 1 in 1981. it listed animated work by jane aaron, karen aqua, skip battaglia, robert breer, john canemaker, vince collins, sally cruikshank, larry cuba, paul demeyer, geoff dunbar, david ehrlich, paul glabicki, john and faith hubley, flip johnson, norman mclaren, suzan pitt, gary schwartz, maureen selwood, henry selick, stan vanderbeek, and dozens of other artists. their rental and sales prices were similar to those of serious business and the company is no longer in business. years ago i asked sally cruikshank about her non - theatrical distributors. she said that considering her work was short and


of other artists. their rental and sales prices were similar to those of serious business and the company is no longer in business. years ago i asked sally cruikshank about her non - theatrical distributors. she said that considering her work was short and that there was not a great demand for animated shorts on television or in theaters before features, she was quite pleased with the size of the checks she had gotten from serious business and picture start. she indicated the checks were never for enormous sums, but her income from her films was several thousand dollars a year. there were other companies with interesting animation collections as well. creative film society was founded by bob pike in 1957. the 1975 catalog offered work by scott bartlett, jordan belson, oskar fischinger, len lye, pat o ' neill, james and john whitney, john hubley, the fleischer studio, ernest pintoff, and others. pike died in 1974. his wife angie runs the company from her home near los angeles. two important supporters of independent animation have been the late charles samu who imported outstanding animation from eastern europe, and prescott wright who runs filmwright in san francisco. wright produced and distributed the tournee of animation from 1970 - 1986. he also rented individual animated titles, produced a few animated works, and is presently active in animation as a teacher, producer and consultant to the industry. in the 1970s he worked with sheldon renan to produce the international animation festival, a television series which aired on public television for three seasons. another important figure in 16mm distribution was bernice coe who founded coe film in 1971. her main activity was to provide television broadcasters with short films. she began by producing packages of shows for cable television. at one time she had the television rights to thousands of films. before she retired she helped place dozens of animated films by american independent animators on cable television. there are other types of distributors that made / make animation available including several film co - ops ( canyon cinema is alive and well in san francisco ) and university film libraries that rent and / or sell films. berkeley ' s extension media center continues to acquire works. one of their best selling titles in the 1990s has been pat amlin ' s popul vuh, an animated hour long work available on film and tape. the decline of 16mm film distribution the 16mm market for animated films is not dead, but it certainly has shrunk in size to the point that it is close to becoming an endangered species. there are several reasons why distribution of 16mm film has


decline of 16mm film distribution the 16mm market for animated films is not dead, but it certainly has shrunk in size to the point that it is close to becoming an endangered species. there are several reasons why distribution of 16mm film has declined. the first blow to the industry was the termination ( about 1969 ) of government - funded programs that enabled school districts to buy audio visual materials. the funds for visual literacy in the early ` 60s fueled the rapid rise of independent film. with this subsidy for the arts gone, the industry slowly decayed. in the 1980s the rise of distribution of films on video tape coupled with the rise of film stock prices had an adverse effect on the industry. for most consumers it no longer made sense to spend a great deal to buy a 16mm print of a work when a video copy was available for less. at first distributors tried to keep video prices high enough so they could continue to earn a profit similar to the income produced through film sales and rentals. eventually video prices had to be cut to be competitive with companies selling tapes at mass market prices. you can still find rare material for sale on tape in the $ 50 to $ 100 range, but do these tapes sell well? the introduction of tape also changed america ' s viewing habits resulting in the decline of ticket sales at art houses. another problem in recent years has been the rising cost of doing business. it costs thousands of dollars to produce and distribute a large heavy sales catalog. printing and mailing prices have gone up over the years. if a company ' s income declines, at some point it just doesn ' t make sense to continue running a business no matter how much the owner of the company loves film. all images used to illustrate this article are from the arttoday archive ( http : / / www. arttoday. com ) note : readers may contact any animation world magazine contributor by sending an email to email @ example. com. table of contents [ about | help | home | firstname. lastname @ example. org | mail | register ] © 1998 animation world network


ever return from a hike wanting to know more about the yellow - bellied marmot, golden eagle, or american dipper you saw along the trail? typically that required consulting a reference book, or heading to the local library. but a new website called the encyclopedia of life wants to change that. their goal is to create online reference pages for the 1. 8 million species known to inhabit the earth. last week organizers unveiled the first 30, 000 pages, including 25 exemplar pages packed with photos, videos, and detailed scientific information compiled and checked by experts. these feature - rich pages can teach you about the life history of the peregrine falcon, eol. org / taxa / 16990688 or plot the distribution of the yellow - fever mosquito. created with backing and expertise from harvard university, the smithsonian institution, and the field museum of chicago, the encyclopedia of life aims to create reference pages for the remaining 1, 790, 000 species by 2017. but if you ’ re in a hurry to find out how long yellow - bellied marmots hibernate each winter, you can check out the animal diversity web, an online database of species managed by the university of michigan ’ s museum of zoology. the answer : from september to may. — jason stevenson


synarthroses ( immovable articulations ). synarthroses include all those articulations in which the surfaces of the bones are in almost direct contact, fastened together by intervening connective tissue or hyaline cartilage, and in which there is no appreciable motion, as in the joints between the bones of the skull, excepting those of the mandible. there are four varieties of synarthrosis : sutura, schindylesis, gomphosis, and synchondrosis. sutura. sutura is that form of articulation where the contiguous margins of the bones are united by a thin layer of fibrous tissue ; it is met with only in the skull ( fig. 296 ). when the margins of the bones are connected by a series of processes, and indentations interlocked together, the articulation is termed a true suture ( sutura vera ) ; and of this there are three varieties : sutura dentata, serrata, and limbosa. the margins of the bones are not in direct contact, being separated by a thin layer of fibrous tissue, continuous externally with the pericranium, internally with the dura mater. the sutura dentata is so called from the tooth - like form of the projecting processes, as in the suture between the parietal bones. in the sutura serrata the edges of the bones are serrated like the teeth of a fine saw, as between the two portions of the frontal bone. in the sutura limbosa, there is besides the interlocking, a certain degree of bevelling of the articular surfaces, so that the bones overlap one another, as in the suture between the parietal and frontal bones. when the articulation is formed by roughened surfaces placed in apposition with one another, it is termed a false suture ( sutura notha ), of which there are two kinds : the sutura squamosa, formed by the overlapping of contiguous bones by broad bevelled margins, as in the squamosal suture between the temporal and parietal, and the sutura harmonia, where there is simple apposition of contiguous rough surfaces, as in the articulation between the maxillæ, or between the horizontal parts of the palatine bones. fig. 297 section through occipitosphenoid synchondrosis of an infant. ( see enlarged image )


rough surfaces, as in the articulation between the maxillæ, or between the horizontal parts of the palatine bones. fig. 297 section through occipitosphenoid synchondrosis of an infant. ( see enlarged image ) schindylesis. schindylesis is that form of articulation in which a thin plate of bone is received into a cleft or fissure formed by the separation of two laminæ in another bone, as in the articulation of the rostrum of the sphenoid and perpendicular plate of the ethmoid with the vomer, or in the reception of the latter in the fissure between the maxillæ and between the palatine bones. gomphosis. gomphosis is articulation by the insertion of a conical process into a socket ; this is not illustrated by any articulation between bones, properly so called, but is seen in the articulations of the roots of the teeth with the alveoli of the mandible and maxillæ. synchondrosis. where the connecting medium is cartilage the joint is termed a synchondrosis ( fig. 297 ). this is a temporary form of joint, for the cartilage is converted into bone before adult life. such joints are found between the epiphyses and bodies of long bones, between the occipital and the sphenoid at, and for some years after, birth, and between the petrous portion of the temporal and the jugular process of the occipital. in these articulations the contiguous bony surfaces are either connected by broad flattened disks of fibrocartilage, of a more or less complex structure, as in the articulations between the bodies of the vertebræ ; or are united by an interosseous ligament, as in the inferior tibiofibular articulation. the first form is termed a symphysis ( fig. 298 ), the second a syndesmosis. diarthroses ( freely movable articulations ). this class includes the greater number of the joints in the body. in a diarthrodial joint the contiguous bony surfaces are covered with articular cartilage, and connected by ligaments lined by synovial membrane ( fig. 299 ). the joint may be divided, completely or incompletely, by an articular disk or meniscus, the periphery of which is continuous with the fi


to rotation, the joint is formed by a pivot - like process turning within a ring, or a ring on a pivot, the ring being formed partly of bone, partly of ligament. in the proximal radioulnar articulation, the ring is formed by the radial notch of the ulna and the annular ligament ; here, the head of the radius rotates within the ring. in the articulation of the odontoid process of the axis with the atlas the ring is formed in front by the anterior arch, and behind by the transverse ligament of the atlas ; here, the ring rotates around the odontoid process. condyloid articulation ( articulatio ellipsoidea ). in this form of joint, an ovoid articular surface, or condyle, is received into an elliptical cavity in such a manner as to permit of flexion, extension, adduction, abduction, and circumduction, but no axial rotation. the wrist - joint is an example of this form of articulation. articulation by reciprocal reception ( articulatio sellaris ; saddle - joint ). in this variety the opposing surfaces are reciprocally concavo - convex. the movements are the same as in the preceding form ; that is to say, flexion, extension, adduction, abduction, and circumduction are allowed ; but no axial rotation. the best example of this form is the carpometacarpal joint of the thumb. enarthrosis ( ball - and - socket joints ). enarthrosis is a joint in which the distal bone is capable of motion around an indefinite number of axes, which have one common center. it is formed by the reception of a globular head into a cup - like cavity, hence the name ball - and - socket. examples of this form of articulation are found in the hip and shoulder. arthrodia ( gliding joints ) is a joint which admits of only gliding movement ; it is formed by the apposition of plane surfaces, or one slightly concave, the other slightly convex, the amount of motion between them being limited by the ligaments or osseous processes surrounding the articulation. it is the form present in the joints between the articular processes of the vertebræ, the carpal joints, except that of the capitate with the navicular and lunate, and the tarsal joints with the exception


why study japanese? japan is a country located in east asia in the pacific ocean. the island of japan is a little smaller than the state of california, but astonishingly holds a population of approximately 128 million. japanese language consists of a complex system of casual, distal, and honorific styles reflecting the hierarchical nature of japanese society, and the writing system employs three distinct styles : hiragana, katakana, and kanji ( chinese characters ). at times, learning the japanese language may be challenging, but students will be fascinated by the unique heritage and traditions of the japanese culture and language. at baylor university, the japanese program welcomes students with various goals and interests. our program aims to offer a strong language foundation that will open up opportunities for students to seek employment with japanese companies upon graduation. we also provide the language instruction for those who are interested in exploring modern japanese popular culture through literature, anime, and games. therefore, our courses aim to provide students go beyond basic language instruction to include exposure to japanese culture in a variety of forms and contexts. students interested in concentrating on japanese language and culture may take up to 26 credit hours of japanese language courses by electing a major or minor in asian studies. students will learn to read, speak, and write japanese, including hiragana, katakana, and a few hundred kanji characters. students also have the opportunity to study abroad for one or two semesters in exchange programs at one of two japanese universities during their undergraduate studies. some of our graduates have acquired teaching positions in various language schools in japan, and others have participated in the japanese government - sponsored jet program. current students say : studying japanese has been one of the best decisions i made in college. joining jsa ( japanese student association ) and making many friends in jsa were great, but the my favorite experience was the study abroad program in hosei university in tokyo. all was made possible by studying japanese, and i ' d recommend it to anyone. - - hae, d lee i first became interested in japanese during high school, when a friend introduced me to japanese animation. by the time i came to college i ' d realized what a fascinating, beautiful, and difficult language japanese is, and i knew i had to learn more about it. – katie gilchrist thanks to the four years i ' ve spent in the japanese program here at baylor university, i can sincerely say that i ' ve fallen in love with the japanese language and culture, and whether or not i use the language in the future, it


down the chimney, circa 1930. ( courtesy of bettmann / corbis ) hear central texans discuss favorite christmas memories from their childhood in the segment that aired on kwbu - fm : christmas gifts in the great depression original airdates : december 21, 22, 23 ( 2010 ) this is living stories, featuring voices from the collections of the baylor university institute for oral history. i ' m louis maze. for most families during the great depression, christmas was not a time for extravagance. money and jobs were difficult to come by, and it was all some families could do to keep food on the table. retired baylor physics professor robert packard remembers how hard times called for creativity. he describes a plan he came up with while visiting his cousins in the temple area one christmas during the great depression. children looking forward to santa ' s visit this year should not listen to the following : " they lived in the country. and so christmas, when it came, we got no presents. we might get a bag of — an apple or something. so i told my cousin, i said, ' why don ' t we kidnap santa claus? he ' s got all these gifts, and he bypasses us, but he brings us something. ' so we went to bed on christmas eve early. the bedroom i was in — and i was the only boy, and my sister and then my cousins were girls. so they had a room, and i had a small room. so anyway, we climbed out the window — out in the country — with a rope that we were going to tie up santa claus. ( laughter ) but we were standing there in the cold and waiting and waiting and waiting and probably shivering, and then we happened to look in the window and see our parents taking toys off the top shelf. so suddenly we realized there was no santa claus, but we knew we now could direct our interest directly to the parents. " ruth and charles armstrong, both longtime waco residents, remember the gifts they received as youngsters during the depression : " now sometimes i would get a doll — not a real, real expensive doll but nice dolls, you know — and socks, a little iron, just typical little things that little girls would like. " " i was more fortunate, i guess. i don ' t know of a christmas that i didn ' t get at least one large — what i call a large gift would be a full - size wagon. and i ' ve got a picture there on my new bicycle, and i


guess. i don ' t know of a christmas that i didn ' t get at least one large — what i call a large gift would be a full - size wagon. and i ' ve got a picture there on my new bicycle, and i ' ve got another picture where i was in a little old car you sit in there and pedal it, you know. but i had two older brothers that worked and my daddy, too — i was the youngest one for several years there — so i got a few extra things that some of the other kids didn ' t get. but as far as times, our times were just as — got rough, too. we had a hard time, too. but seem like on christmas i came out ahead in the neighborhood. " mr. armstrong describes the tradition of hanging a stocking : " everybody hung their socks up. we didn ' t have a fireplace, but we ' d hang them up wherever it was convenient, you know, around close to the tree after we started having a tree because we ' d still put gifts under the tree. but before we had a tree we ' d hang up near the stove, and the bigger the sock the better. i ' d get the biggest sock i could find, hang up there, and you could always count on fireworks. there was always some firecrackers in there, always apples and oranges in there. " as hard as times were during the great depression, families with some type of income still managed to make sure the children had gifts at christmas. with the current economy and ever - increasing commercialization of christmas, it ' s helpful to look back and realize that children do not need heaps of presents to grow up with wonderful memories of christmas. living stories is heard every tuesday on 103 point 3 fm, waco ' s npr. for more information about this program or the institute for oral history, visit us at baylor. edu / livingstories. search our collection of full transcripts available online.


thousands of cancer patients whose disease has spread to the bone are to benefit from a new drug which is to be made available on the nhs. denosumab ( xgeva ) helps prevent bone complications in people whose cancer has spread from its original site. these complications include bone fractures, spinal compression - when the spinal cord is compressed by the bone - and bone complications requiring radiotherapy or surgery. symptoms include pain as well as weakening and eventual destruction of the bone. the national institute for health and clinical excellence ( nice ) has published its final draft guidance which recommends the drug for certain groups of cancer patients whose disease has spread, most commonly to the spine, pelvis, hip, upper leg bones and skull. the conditions include bone tumours from breast cancer and other solid tumours not relating to the breast or prostate, such as lung or kidney cancer. professor carole longson, director of the centre for health technology evaluation at nice, said : " bone metastasis can severely affect a person ' s quality of life, stopping them from doing things so many of us take for granted. we are therefore pleased that our draft guidance recommends denosumab for those patients who are most likely to benefit from the treatment. " tara beaumont, of breast cancer care, said : " people whose breast cancer has spread to their bones can experience a reduction in quality of life, and currently have limited treatment options, so making denosumab available through the nhs means that there is another option for people for whom bisphosphonates are not appropriate. " as denosumab can be given as an injection under the skin rather than intravenously ( into the vein ), it also offers patients a different route of administration, which may be more convenient. " we hope that this announcement paves the way for similar positive developments in secondary breast cancer treatment and raises awareness of the importance of quality of life and symptom management for those living with incurable cancer. " if no appeals are lodged against the guidance, it will be published later this year and patients will be able to get the treatment on the nhs.


guest author - elizabeth brennan we are recommended to take a thirty minute brisk walk at least five days a week for optimum health benefits. however if you are obese this may be impossible and you may think it is unattainable. do not lose heart as research at the university of colorado has suggested that strolling for obese people could result in more calorie loss than brisk walking. while the conclusions of this study are open to debate if it gives hope and encouragement to people who find exercise difficult it will have achieved an enormous amount. strolling on a regular basis is better than taking no exercise at all and if you keep it up you will reap the benefits of feeling better, experience a sense of achievement and enjoy increased mobility. there is a difference between being overweight and being obese. your body mass index is used to assess whether you are obese or not. each person has an ideal body weight depending on his / her height and whether or not he / she has a small, medium or large body frame. obesity is a medical condition in which excess body fat has accumulated to the extent that it may have an adverse effect on health, leading to reduced life expectancy and health problems. overweight is being too heavy for your height. muscle and bone mass as well as fat accumulation contribute to being overweight. if you are 20 % or more over your ideal body weight you are considered mildly obese. you can calculate your bmi ( body mass index ) by dividing your weight in kilograms by your height in metres. if your bmi is more than 30 you are considered mildly obese. walking is a weight bearing exercise and as such there is likelihood that brisk walking increases the risk of osteoarthritis in obese individuals because of the body weight they are carrying and consequent stress on the knee joints. walking at a slower pace puts less stress on a person ’ s lower body and it is likely that knee – joint load may be reduced by walking slower. this is why strolling as opposed to brisk walking is an acceptable form of exercise for obese people. you will need good walking shoes that have adequate support and good shock absorbing qualities. use a walking stick to help balance and take some of the weight. make sure you are well hydrated before you start and bring a small bottle of water with you as obese people sweat more during exercise and may become dehydrated more quickly. stroll on even terrain and test your ability to begin with. try a short distance and remember you have


occurance of ovulation in female humans maga at vetbio. unizh. ch fri jan 27 09 : 00 : 11 est 1995 in article < 3fs0k3 $ gc3 at ixnews2. ix. netcom. com >, randi2 at ix. netcom. com ( rhonda > is it possible for a female to ovulate at any time during her cycle? > please respond with any articles or facts that you may have. > your response is greatly appreciated! > rrandi2 at ix. netcom. com > first time user, obviously it is possible ( and indeed not rare ) that a woman ovulate even more than once during the intermestrual period. ovulation should occur normally around day 14, but this is a general rule which admits many exceptions. usually it is nothing to be worried about, but if this alteration occurred suddenly in a subject who had always regular ovulation, maybe is better make a check - in. this is also the reason why contraceptive natural methods are not generally reliable and must be calibrated upon each individual mestrual cycle. if you want to know exactly your day, you can try to measure your body ' s temperature throughout the cycle and look at small losses of white substance which should indicate the ovulation, but this method is not always reliable too. the best way is to call your md for an echography at the time you think you are ovulating. usually within 24 - 48h before ovulation, fullicula are about 19 - 20 mm in diameter, thus easy to be hope this will help, g. maga, phd more information about the bioforum


the department of biological sciences greenhouse facility is located in the virginia tech university greenhouse complex on washington street, beside the virginia tech horticulture gardens. the department of biological sciences greenhouse facility supports the educational and research needs of the department. the teaching plant collection is extensively used for teaching our undergraduate courses. the facility supports faculty and student research projects. in addition to meeting essential teaching and research needs, the facility provides tours for visitors and local schools. also, other departments in the university use our plant collection for classes. for example, the art department uses the greenhouses for basic art and painting classes. undergraduate courses taught using the virginia tech greenhouses biol 1015, 1016 : general biology lab biol 1115, 1116 : principles of biology lab biol 1125, 1126 : biological principles lab biol 2204 : plants and civilization : the uses of plants as sources of food, medicine, drugs, spices, beverages, poisons, fiber, oils, and plant exudates. biol 2304 : plant biology : introductory botany. form, growth, function, reproduction, and ecological adaptations of major groups of plants. biol 3204 : plant taxonomy : systematic survey of vascular plants, emphasizing identification, terminology, classification, evolutionary relationships. wage position at the greenhouses and vbi plant growth facility maintain greenhouse facilities on weekends, saturday and sunday, holidays, staff vacation and sick leave days. properly water teaching collection and research projects. check the greenhouse ' s environmental equipment to maintain proper temperatures and functions. must be very independent, responsible, reliable, and have some knowledge in caring for plants. hours / week : 3 - 4 hours per day on weekends, plus 3 - 4 hours on staff vacation and sick leave days. contact : debbie wiley ( 231 - 5112 ) or firstname. lastname @ example. org. this species has the largest unbranched inflorescence of any herbaceous plant in the world. commonly known as the " corpse plant ", a. titanum has an intensely powerful stench that is released when it blooms. the bloom will last only 2 - 3 days. after the bloom dies, a leaf stalk will begin to emerge that resembles a tree sapling. for more information on the corpse flower, including photos, visit this link. the virginia tech biological sciences greenhouse teaching plant collection provides educational opportunities and experiences through the availability of high quality plant specimens. the teaching plant collection features over 300 species, hosting a variety of interesting and important genera, including aquatic, desert, tropical, local, rare and endangered


biological sciences greenhouse teaching plant collection provides educational opportunities and experiences through the availability of high quality plant specimens. the teaching plant collection features over 300 species, hosting a variety of interesting and important genera, including aquatic, desert, tropical, local, rare and endangered species. our teaching plant collection has been specifically acquired and maintained to meet the needs of the undergraduate courses. whereas the department of biological sciences and the virginia bioinformatics institute have limited access to plant growth facilities, a new facility was designed, funded, and constructed. the mission of the facility is to provide " state of the art " plant growth space to support and promote scholarship in plant systems by scientists at virginia tech. we strive to fully integrate this facility in the learning, discovery, and engagement activities of the department of biological sciences, the virginia bioinformatics institute and other plant related departments and institutes at virginia tech. hours of operation 8 : 00 am to 4 : 00 pm monday - friday from rt. 460 : enter vt campus at southgate road. take first left onto duckpond drive. take first right onto washington street. turn right at the horticulture gardens. the greenhouse facilities are right next door, in greenhouse # f5. be sure to get a visitor ' s parking pass from the southgate information center.


3d printing materials your options for the plastic to use in your 3d printer bits from bytes rapman and 3dtouch 3d printers build models in a range of colours with either pla or abs plastic. pla or to use it ' s full name, poly lactic acid is probably the best material to get started with when you first start 3d printing. with the help of the 3d printer ' s onboard fan it will cool and set very quickly. this means that you can avoid warping and achieve a range of shapes than would be difficult with other materials. after 3d printing you can finish your model by sanding and spraying with automotive spray filler. you can also paint directly onto pla with acrylic paints. pla is kinder to the environment that other plastics as it is derived from corn starch and not fossil fuels. it is also biodegrade in an active compost heap. solid : black, white, purple, yellow, blue and green translucent : clear, red, blue and green. abs, or acrylonitrile butadiene styrene is popular in industry, being used for products such as car bumpers and lego® due to its toughness and strength. abs is probably the second easiest material to 3d print with, but care must be taken when printing larger objects as it can suffer warping as the 3d model cools. abs can be finished by sanding, spraying with automotive spray filler and using methyl ethyl ketone as a solvent. you can also paint directly onto abs with acrylic paints. abs is produced from fossil fuels and is not biodegradable. solid : white, black, red, blue, green and yellow


elizabeth 1 ( 1558 - 1603 ) this was a time of great social and cultural change in england. there were rich new developments in literature, sciences, medicine and the arts. england was sending increasing numbers of ships to voyage overseas into unknown areas. sea captains like drake and hawkins took every opportunity to capture the ships of other countries, especially those of spain and portugal. these men may have been seen as pirates or profiteers, depending which side you were on. the queen did little to stop them. so when the idea of a company trading with the east was first put to elizabeth i she hesitated. she knew what her seamen were like and thought they might attack traders from other countries, especially the portuguese and dutch who were england ' s main rivals. but, on 31 december 1600 she gave a charter to the company of merchants in the city of london, granting them a monopoly of all english trade in asia and the pacific. this meant that no other english company or people were allowed to trade in that area. when the first voyage of the east india company embarked in 1601, it took with it a letter written by elizabeth to the sumatran sultan alauddin shah. james i of england ( 1603 - 1625 ) and vi of scotland ( 1567 - 1625 ) new styles of architecture were introduced in james i ' s reign, the queen ' s house in greenwich being an example. unfortunately the globe burnt down in 1613, but the theatre had become established by then. when james came to the english throne, he was already james vi of scotland. he needed money, and the company seemed at times to be a good money - making venture. at other times it stood in his way. in 1603 james acquired large stocks of pepper. when the company brought back tons of pepper from its first voyage, he tried to stop them selling it, so that he could make money on his own stock first. in 1609 he launched one of the company ' s ships. in that year he also gave the company a new and better charter. he continued to take a lively interest in the company for the rest of his reign. in return he received ' loans ' which were never repaid. it was during his reign that the company ' s relations with india ' s mughal emperors began, starting with an approach to akbar. charles i ( 1625 - 1649 ) the company provided charles i with a useful income. charles i needed this money to help him fight the civil war - the crown was at war with parliament, and eventually lost ( charles was beheaded and replaced by


akbar. charles i ( 1625 - 1649 ) the company provided charles i with a useful income. charles i needed this money to help him fight the civil war - the crown was at war with parliament, and eventually lost ( charles was beheaded and replaced by oliver cromwell ). in a good year he could get as much as 20, 000 in customs duties through the company ' s trade. he could also obtain ' loans ' for granting favours to the company - one of these in 1641 was for? 60, 000. this didn ' t mean he was always a friend to the company. he granted a charter to one ship, the roebuck, allowing it to continue piracy near india. the indians, seeing an english ship attack their cargo ships, wrongly imprisoned company servants in surat. to get them released, charles had to write an apology to the mughal emperor, shah jahangir. charles ii ' s reign brought in a change from the drabness of the time of cromwell. once again fashion became important as did the theatre. more impressive buildings were built. charles ii ( 1660 - 1685 ) soon after coming to the throne, charles ii gave the company a new charter. the charter allowed the company to fortify and colonize its factories, sending people, stores and ammunition. this meant they could build up their factories in india, which laid the basis for the future rule of india by the british. in 1662 charles ii signed the treaty of breda in which the spice island of run was exchanged for the island of manhattan. it was during the reign of charles ii that tea started becoming popular. when charles i was beheaded a period called the commonwealth, when there was no king or queen but a protector, started. oliver cromwell ( 1649 - 1659 ) life changed greatly during cromwell ' s rule. the leading puritans simplified much of english culture, believing that many aspects of existing culture went against the teachings of the bible. as they dressed in plain clothes they did not have the need for expensive fabrics such as silk. this led to a decline in the persian silk trade. it was during cromwell ' s reign that ' coho seeds ' ( coffee ) were introduced into england ' s, and the first coffee house opened.


book cliffs ( also called roan cliffs ), oil shale rocks located in the piceance basin of western colorado. blm planners : a strange new breed by john singlaub when it was passed in 1976, the federal land policy and management act ( flpma ) initiated a number of revolutionary changes at the blm. suddenly, the bureau was faced with the prospect of the long - term retention and management of the public lands under multiple - use management and sustained yield. budgets grew to accommodate the broad new requirements of flpma, and a wide variety of “ - ologists ” were hired to supplement the range conservationists, realty specialists, geologists, and mining engineers already employed by the blm. these hires later became known as the post - 1976 “ flpma boomers. ” none of these new characters were stranger to the blm than the small cadre of professional planners hired to implement the requirements of flpma section 202, “ land use planning. ” they helped develop new planning rules, finalized in 1979, that called for comprehensive, systematic plans, known as resource management plans ( rmps ), for the public lands. these plans were intended to mesh with the new planning rules being implemented by the forest service and were to consider the plans and policies of local, tribal, and state governments. they also required intense public participation and compliance with the national environmental policy act ( nepa ) planning and decisionmaking process, which required the preparation of environmental impact statements ( eiss ). the plans eventually became known as rmps / eiss. i was hired fresh out of graduate school as a community planner for the blm ’ s craig district in colorado. i arrived in october 1979, only days after the final rmp planning rules were approved as a replacement for the pre - flpma management framework plans, which were not nepa - compliant. what seemed to me on first reading to be a rather straightforward process based on traditional land use planning concepts was being received by my blm colleagues with some concern and more than a little trepidation. this was exacerbated by the fact that the kremmling resource area, part of the craig district, had been selected to complete a “ pilot rmp ” to test the new regulations. my assurances that this was no big deal and that it would be fun to get out in front of the rest of the blm and showcase the craig district got me a few strange looks. i worked with ade neisius, the rm