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Designing Dynamic Organizations Preface Case Study Gardenville had never experienced anything like the night of November 27. At 7:00 p.m. the main water line burst under Duggal Street, and the basements of many of Gardenville's shops and homes quickly began to fill with freezing water. At 9:00 p.m. a fire broke out during the second shift at the factory, which was located just on the edge of town where many of the town's Mexican immigrants worked. Most of the volunteer fire department was downtown blocking off streets and helping the utility crews when the call came in about the fire. Half the firefighters were sent over to the factory, and a call for assistance was made to neighboring towns. Dan Roskobev was one of the first to arrive at the factory. In his twelve years on the first aid squad, he had never seen such confusion. The fire was blazing out of the upper windows on the east side of the building. People were milling about in the 20-degree temperatures, many without coats. Some people looked hurt and were bent over, crying. Others were calling out in Spanish for someone to help the workers who might still be in the factory. Everyone seemed stunned. The leader of Gardenville's emergency services crew was away for the Thanksgiving weekend. The firefighters were preoccupied with the blaze. Dan decided somebody had to take charge. He asked one of the firefighters to break into a small restaurant that was dark and locked for the night. At least it was a place to get people inside, somewhere warm where he could begin to triage those who were hurt and needed to get to the hospital. Over the next four hours, he tended to minor burns, directed people to find blankets and supplies, and organized car pools among the onlookers to get people to the hospital. He coordinated translators to interpret when the other first aid squads arrived, and when the owner of the restaurant showed up, he convinced him to make coffee for everyone. That week, an editorial in the county newspaper lauded Dan as "a true hero." It also called for better emergency services resources, training, and coordination, noting, "Our county is not prepared for a major disaster. We can't always count on having a hero show up at the right time." This is not an uncommon story. When disaster strikes, people step up to the job that needs to be done. They pull together resources that are in short supply, coordinate the actions of others, and make fast decisions. We hail them as heroes. Of course, what works in a crisis is an inefficient and ineffective way to operate all the time. On a day-to-day basis, we count on organizations, not heroes, to ensure that resources are in the right place when needed, and that people have the right skills, tools, and support to carry out their jobs. Many managers in businesses today complain that they feel as though they are "fighting fires" all the time. They are continually focused on short-term problems without a chance to pull back and think through the consequences of options and decisions. Rather than analyzing strategic opportunities, planning for business growth, or developing their people, they are caught up in day-to-day "doing." These pressures often come from external forces. As a manager, you may not face natural disasters with lives at stake in your everyday work, but you often must react quickly to challenges. If you're in a mature company, you probably need to respond to new competitors, consolidations, mergers and acquisitions, global expansion, and e-commerce. If you are a leader of a start-up, you may be struggling with building an infrastructure that will support rapid growth while trying to avoid unnecessary bureaucracy. On top of this, you may also be faced with higher than desired turnover and a shortage of talent to draw upon in the employment marketplace. Too often, however, it is internal forces that keep managers from attending to long-term, strategic business challenges. Issues that should be resolved at lower levels and decisions that should be made at the front line float up to the leadership level. More time is spent on smoothing internal frictions than on customers, markets, and competitors. Yet, few managers feel confident in their own ability to shape their organizations to be more effective. A survey of the 441 fastest growing U.S. businesses conducted by PriceWaterhouseCoopers in the summer of 2000 found that 32 percent of CEOs believed that their inability to manage or reorganize their business could be "an impediment to growth" during the coming year. Only 10 percent of CEOs felt that way in a similar survey conducted in 1993.1 As a leader, you have very few levers of change in your organization. Three key levers are setting the business strategy and vision, choosing the players on the executive team, and designing the organization. Your strategy provides the organization with direction and purpose. The quality of your executive team ensures leadership is evenly distributed and determines how well you sleep at night. The organization design defines the structure, processes, metrics and reward systems, and people practices that will ensure that individual and organizational energy is focused on those activities that support the achievement of the strategy. All levers are equally important, but organization design is frequently the lever given the least attention. If you're reading this book, you may already believe in the value of organization design. But you still may be wondering whether organization design is relevant in a world that is changing so rapidly. The pace of change has been used as a reason for arguing, "If I hire the right people, they'll figure it out themselves." The story at the beginning of this chapter illustrates that while good people are important, they don't act in isolation. Organization design is the means for creating a community of collective effort that yields more than the sum of each individual's efforts and results. The organization's structures, processes, and practices channel and shape people's behavior and energy. The values and culture of the organization influence interpersonal interactions and determine which decisions get made. The form of the organization can enable or inhibit people's innate desire to do good work on a daily basis. As a leader, you have the opportunity, and the responsibility, to structure these relationships so that people find it easy to collaborate, innovate, and achieve. Throughout the 1990s, there were numerous articles in the business and popular press on the emerging organizational forms that were destined to replace the traditional organization. A number of works came out that applied what had been learned about systems in the physical and biological world to organizational systems. The interest in the fields of complexity and chaos theory introduced concepts of organic growth and change into the study of organization design and structure. In this theory, chaos is defined as the inevitable state of a system as it moves away from order. Although there appears to be turbulence without any predictable form, chaos theory predicts that forces will come into play that will create a new order, what some have termed "order without predictability."2 The idea of self-organizing, self-renewing, and adaptive organizations is appealing to managers trying to create organizations that are responsive to a rapidly changing external environment. Some managers have used these new ideas to create more open, flexible organizations that have broken down hierarchical barriers to speed and innovation. Others, however, have used these ideas as an excuse to abdicate their management responsibility for designing and managing their organizations. As a result, many of these managers experienced chaos firsthand! It is also clear that good ideas and a strong brand are not enough to compensate for the lack of a strong design. Companies that focus on growth without building an organization and without the capabilities that can leverage those good ideas (and abandon them for even better ideas when necessary) tend to fall into cycles of rapid expansion followed by retrenchment, cost cutting, and sometimes demise. For example, Cambridge Technology Partners (CTP), a corporate technology consulting firm specializing in client/server applications, recorded 61 percent compounded growth for its first seven years. Growth goals pushed the firm to pursue projects too large and complex for its capabilities, caused it to abandon a profitable pricing model, diverted attention from building its own technology and human infrastructure, and resulted in its not recognizing the potential of the Internet in the mid-1990s. With its stock price down and staff turnover of 39 percent annually, CTP was forced to pull back in the marketplace to rebuild its internal capabilities.3 This book makes the case that in the twenty-first century organization design is more, not less, important. A well-thought-out organization design empowers and enables employees to work in the highly interdependent, team-oriented environments that typify today's business landscape. Further, the clearer the rationale for the design, the more quickly design decisions can be reassessed and modified to respond to external forces. A recurrent theme in this book is the need for dynamic, reconfigurable organizations that recognize and respond to rapid changes. Organizations exist to execute strategies. Yet few organizations are able to maintain their strategic advantage for long. Success formulas are quickly copied or even surpassed by high-speed competitors. Thomas Jefferson, speaking of the European laws and constitutions that had outlasted their usefulness in the changing world of the early nineteenth century, said, "We might as well require a man to wear still the coat which fitted him as a boy."4 The same is true of organizations. When strategic advantages don't last long, neither should the organization design. "Ill-fitting coats," as much as poor strategies or the wrong people, inhibit organizations from achieving their goals. This doesn't mean that change renders the organization design disposable. Employees in many companies feel whiplashed by the constant reorganizations implemented without apparent rhyme or reason. The need for change does mean that the leaders of successful organizations will continually assess their capabilities and purposefully realign them to execute against the opportunities that arise. More important, they will design their organizations to anticipate and accommodate change with the fewest disruptions to customers and employees. What Is An Organization The word organization is used frequently throughout this book. An organization for our purposes can be a whole corporation or just one part of it. It can comprise tens of thousands of people or just a few dozen. Each reader will have a different definition depending upon where he or she sits within his or her business. If you are the CEO or equivalent, then the "organization" encompasses the entire business. If you are a division director or head of a function, then your "organization" is the part of the business you have authority to change and impact. Organizations are nested inside one another. A unit of ten people within a large company is an organization both distinct from and a part of the company itself. The smaller the organization, the fewer design choices and decisions there are to make and the more those decisions will be influenced by the surrounding organization. Regardless of size, there are still tremendous opportunities for the leader to shape the organization and improve its effectiveness. We also use the term to apply to a variety of organizational types. Although the book assumes a business environment, all of the concepts apply equally to not-for-profits and public entities. Who Should Read This Book The need for this book emerged out of frequent requests to Jay Galbraith and to Downey Associates International, Inc. (DAI) to provide a hands-on guide to organization design. Midlevel and senior managers, in particular, asked for a design guide to translate the concepts that apply to a whole company to their own piece of the organization. This book will enable readers to: * Make choices about which organizational forms will best support their business strategy. * Understand the trade-offs and impact of each design decision. * Introduce flexibility and continuous change without losing the clarity that employees need to function effectively. This book draws upon Jay Galbraith's written work as well as his experience consulting to clients around the world. The book also reflects the extensive experience that Diane Downey and Amy Kates of DAI have had in assisting clients to assess their organizations, make decisions, and implement new designs. The book takes a consulting rather than a theoretical or academic approach. It is built around the questions we ask our own clients, and it provides the tools to allow managers to assess options and make their own decisions. This book is written for those who lead an organization and want to be sure that it is aligned to achieve their business strategy, including heads of companies, divisions, or business lines, and midlevel managers responsible for a product, location, or functional area. The book is also addressed to the human resources (HR) professionals and internal and external organization development consultants who support the organization design process. All of the tools and concepts will be of use to the HR professional assisting a business leader in redesigning the organization. Corporate trainers and other executive education providers will also find the book a straightforward reference to use in their programs. Organization of the Book You usually don't have a choice about whether to redesign your organization. The business changes, the strategy changes, and you are no longer positioned to deliver what needs to get done. Too often, however, redesigns are limited to reorganizing the vertical structure - i.e., what can be shown on an organization chart. This book addresses the topic of organization design holistically. The seven chapters are structured around the key decisions that will guide you through the thought process of creating a dynamic, reconfigurable organization. Chapter One, "Getting Started," provides an overview of the design process and how to effectively involve people from the organization in that process. It answers the questions: * What is organization design? * What are the characteristics of dynamic, reconfigurable organizations? * How do I know when I need to redesign? * What are the steps in the design process? * When and how should I involve others? Chapter Two, "Determining the Design Framework," helps you identify the desired future state, assess the current organization, and determine priorities for change. It answers the questions: * How does our strategy differentiate us in the market? * What specific organizational capabilities do we need to deliver on the strategy? * How big is the gap from where we are today to where we want to be? Chapter Three, "Designing the Structure," provides a guide to choosing structures and defining new organizational roles. It also provides a case example of a participative process for generating design alternatives. It answers the questions: * What are my options for organizing the work and people to best meet our strategic design criteria? * How do we define the critical organizational and individual roles and clarify the interface among them? * How should I structure participation for generating alternatives? * What can I do to keep the design momentum going? Chapter Four, "Processes and Lateral Capability," focuses on how to build strong horizontal connections through networks, processes, integrative roles, and team and matrix structures. It answers the questions: * How can we best coordinate work across business units? * How can we create effective integrative mechanisms? Chapter Five, "Defining and Rewarding Success," summarizes recent thinking in the field of performance measurement, metrics, and compensation and reward practices. It answers the questions: * How do we measure performance at an individual, team, and organizational level? * What are the values and behaviors that should define our culture? * How do we ensure our reward systems align everyone to our strategy? Chapter Six, "People Practices," highlights decisions in the design of HR systems that can shape the behaviors and mind-sets that support a dynamic, reconfigurable organization. The chapter also provides a case example to illustrate an effective process for staffing the new organization. It answers the questions: * What is an effective process for placing people into new roles? * How can we select, manage, and support the development of people who not only have the skills we need today but can be flexible and learn new skills in the future? Chapter Seven, "Implementation," provides guidance for the implementation process, both from a project management and from a change management standpoint. It answers the questions: * How can I help my organization make the transition with the least amount of pain? * What change management practices do I need to employ? Throughout the book, we refer to a number of roles in the design process. * Leader. The leader is the business head of the organization and the assumed reader of this book. A leader may be the CEO, the director of a function, or the head of a line of business. Whoever is the most senior person in the particular segment of the organization undergoing redesign is the leader. * Executive Team. The executive team is the leader's direct reports. If there are a large number of direct reports, the executive team may be a subset, a "kitchen cabinet," which the leader relies on for advice and counsel. * Leadership Team. We use the term leadership team to include a broad group of key positions in the organization beyond the leader's direct reports. In a very small organization, the executive team and leadership team may be one and the same. After the design framework has been determined, the leadership team typically undertakes the majority of the initial design work. * Work Groups. These teams are charged with detailing and reality testing the organization design after initial design work has been completed by the leadership team. They usually comprise representatives from all levels and areas in the organization. An organization may have several work groups, with each focused on a single project, or each work group may have multiple projects and be organized into subgroups. The groups may work on business topics, such as developing a new marketing approach or creating a sales support function, or they might focus on organizational topics, such as communication, metrics and tracking, rewards and recognition, and training. * Steering Committee. The steering committee comprises the heads of each of the work groups. It provides a parallel governance structure to ensure that the design and change processes move forward in an integrated way and do not get derailed by daily business activities. In addition to these roles, HR is often a central player in the organization design process. As a member of the executive or leadership team, the HR professional provides an important contribution by raising the "people" implications of the strategy, identifying current state issues, and anticipating how design and implementation options will impact the organization from a human perspective. In addition, the head of the HR function may serve as a design facilitator of the overall design process, as a coach to the leader, or he or she may help to identify skilled external design facilitators who can assist the organization through the process. The book includes tools (located at the ends of the chapters) to allow you to apply the concepts presented to your own situation and plan your own organization design process. Although the book is organized as a set of linear steps for the sake of clarity, it is not intended to be used as a recipe book. We cannot guarantee that even if you follow the directions exactly, a perfect organization, like a perfect cake, will emerge. Rather, the book should be used as a thought-guide to instill discipline around the questions that need to be asked, the options that must be considered, and the implications that should be planned for at each phase. In many ways reaching the right answer - the right structure, the right process, the right metric - is less important than the quality and depth of the discussions that lead to those answers. To quote Bartlett and Ghoshal, "The key organizational task is not to design the most elegant structure but to capture individual capabilities and motivate the entire organization to respond cooperatively to a complicated and dynamic environment."5 What can be depicted on a piece of paper is only the beginning. The hard work is in developing the details and negotiating the differences. We envision leadership teams using this book as a catalyst to spark deeper discussions about their own organizations, and HR professionals using it as a guide to coach, challenge, and shepherd their business partners through the design process. Notes 1. H. de Lesser, "More Entrepreneurs Take Help of Executive Coaches: CEOs Hope to Gain Edge as Their Businesses Burgeon Amid Sea Changes," The Wall Street Journal, September 5, 2000, p. B2. 2. See, for example: S. Brown and K. Eisenhardt, Competing on the Edge: Strategy as Structured Chaos (Boston: Harvard Business School Press, 1998); R. Lewin, Complexity: Life at the Edge of Chaos, 2nd ed. (Chicago: University of Chicago Press, 2000); R. D. Stacey, Managing the Unknowable: Strategic Boundaries Between Order and Chaos in Organizations (San Francisco: Jossey-Bass, 1992); M. Wheatley, Leadership and the New Science: Discovering Order in a Chaotic World (San Francisco: Berrett-Koehler, 1999). 3. J. Gordon, "Feeding the Monster: Cambridge Technology Was So Obsessed With Growth That It Forgot How to Build a Business," Forbes, September 4, 2000, pp. 70“1. 4. Thomas Jefferson, "Letter to Samuel Kercheval," July 12, 1816. 5. C. Bartlett and S. Ghoshal, "Matrix Management: Not a Structure, a Frame of Mind," Harvard Business Review, July/August 1990. © 2002 Jay Galbraith, Diane Downey, and Amy Kates. All rights reserved. | |||
| monster Supporter Username: Monster Post Number: 932 Registered: 7-2002 |
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3698654122 2348341887 7229294463 3517865385 6731962559 8520260729 4767407261 6767145573 6498121056 7771689348 4917660771 7052771876 0119990814 4113058645 5779105256 8430481144 0261938402 3224709392 4980293355 0731845890 3553971330 8844617410 7959162511 7148648744 6861124760 5428673436 7090466784 6867027409 1881014249 7111496578 1772427934 7070216688 2956108777 9440504843 7528443375 1088282647 7197854000 6509704033.... | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 386 Registered: 7-2004 |
Monster, You should have put "..." at the end of that. | |||
| monster Supporter Username: Monster Post Number: 933 Registered: 7-2002 |
you sir, are correct.... | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 387 Registered: 7-2004 |
I see you edited that. Now my post looks foolish. But, at least I'm the last poster. For now... | |||
| buzzsaw Citizen Username: Buzzsaw Post Number: 2229 Registered: 5-2001  |
When Natasha ran out of the drawing room she only went as far as the conservatory. There she paused and stood listening to the conversation in the drawing room, waiting for Boris to come out. She was already growing impatient, and stamped her foot, ready to cry at his not coming at once, when she heard the young man's discreet steps approaching neither quickly nor slowly. At this Natasha dashed swiftly among the flower tubs and hid there. Boris paused in the middle of the room, looked round, brushed a little dust from the sleeve of his uniform, and going up to a mirror examined his handsome face. Natasha, very still, peered out from her ambush, waiting to see what he would do. He stood a little while before the glass, smiled, and walked toward the other door. Natasha was about to call him but changed her mind. "Let him look for me," thought she. Hardly had Boris gone than Sonya, flushed, in tears, and muttering angrily, came in at the other door. Natasha checked her first impulse to run out to her, and remained in her hiding place, watching- as under an invisible cap- to see what went on in the world. She was experiencing a new and peculiar pleasure. Sonya, muttering to herself, kept looking round toward the drawing-room door. It opened and Nicholas came in. "Sonya, what is the matter with you? How can you?" said he, running up to her. "It's nothing, nothing; leave me alone!" sobbed Sonya. "Ah, I know what it is." "Well, if you do, so much the better, and you can go back to her!" "So-o-onya! Look here! How can you torture me and yourself like that, for a mere fancy?" said Nicholas taking her hand. Sonya did not pull it away, and left off crying. Natasha, not stirring and scarcely breathing, watched from her ambush with sparkling eyes. "What will happen now?" thought she. "Sonya! What is anyone in the world to me? You alone are everything!" said Nicholas. "And I will prove it to you." "I don't like you to talk like that." "Well, then, I won't; only forgive me, Sonya!" He drew her to him and kissed her. "Oh, how nice," thought Natasha; and when Sonya and Nicholas had gone out of the conservatory she followed and called Boris to her. "Boris, come here," said she with a sly and significant look. "I have something to tell you. Here, here!" and she led him into the conservatory to the place among the tubs where she had been hiding. Boris followed her, smiling. "What is the something?" asked he. She grew confused, glanced round, and, seeing the doll she had thrown down on one of the tubs, picked it up. "Kiss the doll," said she. Boris looked attentively and kindly at her eager face, but did not reply. "Don't you want to? Well, then, come here," said she, and went further in among the plants and threw down the doll. "Closer, closer!" she whispered. She caught the young officer by his cuffs, and a look of solemnity and fear appeared on her flushed face. "And me? Would you like to kiss me?" she whispered almost inaudibly, glancing up at him from under her brows, smiling, and almost crying from excitement. Boris blushed. "How funny you are!" he said, bending down to her and blushing still more, but he waited and did nothing. Suddenly she jumped up onto a tub to be higher than he, embraced him so that both her slender bare arms clasped him above his neck, and, tossing back her hair, kissed him full on the lips. Then she slipped down among the flowerpots on the other side of the tubs and stood, hanging her head. "Natasha," he said, "you know that I love you, but..." "You are in love with me?" Natasha broke in. "Yes, I am, but please don't let us do like that.... In another four years... then I will ask for your hand." Natasha considered. "Thirteen, fourteen, fifteen, sixteen," she counted on her slender little fingers. "All right! Then it's settled?" A smile of joy and satisfaction lit up her eager face. "Settled!" replied Boris. "Forever?" said the little girl. "Till death itself?" She took his arm and with a happy face went with him into the adjoining sitting room. After receiving her visitors, the countess was so tired that she gave orders to admit no more, but the porter was told to be sure to invite to dinner all who came "to congratulate." The countess wished to have a tete-a-tete talk with the friend of her childhood, Princess Anna Mikhaylovna, whom she had not seen properly since she returned from Petersburg. Anna Mikhaylovna, with her tear-worn but pleasant face, drew her chair nearer to that of the countess. "With you I will be quite frank," said Anna Mikhaylovna. "There are not many left of us old friends! That's why I so value your friendship." Anna Mikhaylovna looked at Vera and paused. The countess pressed her friend's hand. "Vera," she said to her eldest daughter who was evidently not a favorite, "how is it you have so little tact? Don't you see you are not wanted here? Go to the other girls, or..." The handsome Vera smiled contemptuously but did not seem at all hurt. "If you had told me sooner, Mamma, I would have gone," she replied as she rose to go to her own room. But as she passed the sitting room she noticed two couples sitting, one pair at each window. She stopped and smiled scornfully. Sonya was sitting close to Nicholas who was copying out some verses for her, the first he had ever written. Boris and Natasha were at the other window and ceased talking when Vera entered. Sonya and Natasha looked at Vera with guilty, happy faces. It was pleasant and touching to see these little girls in love; but apparently the sight of them roused no pleasant feeling in Vera. "How often have I asked you not to take my things?" she said. "You have a room of your own," and she took the inkstand from Nicholas. "In a minute, in a minute," he said, dipping his pen. "You always manage to do things at the wrong time," continued Vera. "You came rushing into the drawing room so that everyone felt ashamed of you." Though what she said was quite just, perhaps for that very reason no one replied, and the four simply looked at one another. She lingered in the room with the inkstand in her hand. "And at your age what secrets can there be between Natasha and Boris, or between you two? It's all nonsense!" "Now, Vera, what does it matter to you?" said Natasha in defense, speaking very gently. She seemed that day to be more than ever kind and affectionate to everyone. "Very silly," said Vera. "I am ashamed of you. Secrets indeed!" "All have secrets of their own," answered Natasha, getting warmer. "We don't interfere with you and Berg." "I should think not," said Vera, "because there can never be anything wrong in my behavior. But I'll just tell Mamma how you are behaving with Boris." "Natalya Ilynichna behaves very well to me," remarked Boris. "I have nothing to complain of." "Don't, Boris! You are such a diplomat that it is really tiresome," said Natasha in a mortified voice that trembled slightly. (She used the word "diplomat," which was just then much in vogue among the children, in the special sense they attached to it.) "Why does she bother me?" And she added, turning to Vera, "You'll never understand it, because you've never loved anyone. You have no heart! You are a Madame de Genlis and nothing more" (this nickname, bestowed on Vera by Nicholas, was considered very stinging), "and your greatest pleasure is to be unpleasant to people! Go and flirt with Berg as much as you please," she finished quickly. "I shall at any rate not run after a young man before visitors..." "Well, now you've done what you wanted," put in Nicholas- "said unpleasant things to everyone and upset them. Let's go to the nursery." All four, like a flock of scared birds, got up and left the room. "The unpleasant things were said to me," remarked Vera, "I said none to anyone." "Madame de Genlis! Madame de Genlis!" shouted laughing voices through the door. The handsome Vera, who produced such an irritating and unpleasant effect on everyone, smiled and, evidently unmoved by what had been said to her, went to the looking glass and arranged her hair and scarf. Looking at her own handsome face she seemed to become still colder and calmer. In the drawing room the conversation was still going on. "Ah, my dear," said the countess, "my life is not all roses either. Don't I know that at the rate we are living our means won't last long? It's all the Club and his easygoing nature. Even in the country do we get any rest? Theatricals, hunting, and heaven knows what besides! But don't let's talk about me; tell me how you managed everything. I often wonder at you, Annette- how at your age you can rush off alone in a carriage to Moscow, to Petersburg, to those ministers and great people, and know how to deal with them all! It's quite astonishing. How did you get things settled? I couldn't possibly do it." "Ah, my love," answered Anna Mikhaylovna, "God grant you never know what it is to be left a widow without means and with a son you love to distraction! One learns many things then," she added with a certain pride. "That lawsuit taught me much. When I want to see one of those big people I write a note: 'Princess So-and-So desires an interview with So and-So,' and then I take a cab and go myself two, three, or four times- till I get what I want. I don't mind what they think of me." "Well, and to whom did you apply about Bory?" asked the countess. "You see yours is already an officer in the Guards, while my Nicholas is going as a cadet. There's no one to interest himself for him. To whom did you apply?" "To Prince Vasili. He was so kind. He at once agreed to everything, and put the matter before the Emperor," said Princess Anna Mikhaylovna enthusiastically, quite forgetting all the humiliation she had endured to gain her end. "Has Prince Vasili aged much?" asked the countess. "I have not seen him since we acted together at the Rumyantsovs' theatricals. I expect he has forgotten me. He paid me attentions in those days," said the countess, with a smile. "He is just the same as ever," replied Anna Mikhaylovna, "overflowing with amiability. His position has not turned his head at all. He said to me, 'I am sorry I can do so little for you, dear Princess. I am at your command.' Yes, he is a fine fellow and a very kind relation. But, Nataly, you know my love for my son: I would do anything for his happiness! And my affairs are in such a bad way that my position is now a terrible one," continued Anna Mikhaylovna, sadly, dropping her voice. "My wretched lawsuit takes all I have and makes no progress. Would you believe it, I have literally not a penny and don't know how to equip Boris." She took out her handkerchief and began to cry. "I need five hundred rubles, and have only one twenty-five-ruble note. I am in such a state.... My only hope now is in Count Cyril Vladimirovich Bezukhov. If he will not assist his godson- you know he is Bory's godfather- and allow him something for his maintenance, all my trouble will have been thrown away.... I shall not be able to equip him." The countess' eyes filled with tears and she pondered in silence. "I often think, though, perhaps it's a sin," said the princess, "that here lives Count Cyril Vladimirovich Bezukhov so rich, all alone... that tremendous fortune... and what is his life worth? It's a burden to him, and Bory's life is only just beginning...." "Surely he will leave something to Boris," said the countess. "Heaven only knows, my dear! These rich grandees are so selfish. Still, I will take Boris and go to see him at once, and I shall speak to him straight out. Let people think what they will of me, it's really all the same to me when my son's fate is at stake." The princess rose. "It's now two o'clock and you dine at four. There will just be time." And like a practical Petersburg lady who knows how to make the most of time, Anna Mikhaylovna sent someone to call her son, and went into the anteroom with him. "Good-by, my dear," said she to the countess who saw her to the door, and added in a whisper so that her son should not hear, "Wish me good luck." "Are you going to Count Cyril Vladimirovich, my dear?" said the count coming out from the dining hall into the anteroom, and he added: "If he is better, ask Pierre to dine with us. He has been to the house, you know, and danced with the children. Be sure to invite him, my dear. We will see how Taras distinguishes himself today. He says Count Orlov never gave such a dinner as ours will be!" | |||
| monster Supporter Username: Monster Post Number: 935 Registered: 7-2002 |
I, man, am regal, a German am I Never odd or even if I had a hi-fi Madam, I'm Adam, too hot to hoot No lemons, no melon, too bad I hid a boot Lisa Bonet ate no basil, Warsaw was raw Was it a car or a cat I saw? Rise to vote, sir, do geese see god? "Do nine men interpret?", "Nine men," I nod Rats live on no evil star, Won't lovers revolt now?" Race fast safe car Pa's a sap, Ma is as selfless as I am May a moody baby doom a yam Ah, Satan sees Natasha, no devil lived on Lonely Tylenol not a banana baton No "x" in Nixon, O, stone, be not so O Geronimo, no minor ego "Naomi," I moan, "A Toyota's a Toyota" A dog, a panic in a pagoda Oh, no! Don Ho!, Nurse, I spy gypsies-run! Senile felines, now see bees I won UFO tofu, we panic in a pew Oozy rat in a sanitary zoo God! A red nugget!, A fat egg under a dog! Go hang a salami, I'm a lasagna hog! Fake Palindromes My dewey-eyed Disney bride what has tried Swapping your blood with formaldehyde? Monsters? Whiskey-plied voices cried fratricide! Jesus don't you know that you coulda died, shoulda died with the monsters what talk monsters what walk the earth she's got red lipstick and a bright pair of shoes and she's got knee high socks what to cover a bruise she's got an old death kit she's been meaning to use she's got blood in her eyes, in her eyes for you she's got blood...in her eyes for you Certain fads, stripes and plaids singles ads They run you hot and cold like a rheostat I mean a thermostat so you bite on a towel hope it won't hurt too bad My dewey-eyed Disney bride what has tried Swapping your blood with formaldehyde? What monsters that talk Monsters what walk the earth! And she says, I like long walks and sci-fi movies You're six foot tall and east coast bred some lonely night we can get together and I'm gonna tie your wrists with leather and drill a tiny hole into your head Oh I'm gonna drill a tiny hole into your head. A Dan, a clan, a canal - Canada! A berry tastes O so 'set', satyr Reba A bot in a macadam was I ere I saw Madaca, Manitoba A buck cabs back, Cuba A dad dabs bad dada A Dan acts Niagara war against Canada A Toyota! Race fast, safe car. A Toyota! A Toyota's a Toyota. A dog - a panic in a pagoda! A man, a plan, a canal, Panama. A man, a plan, a cat, a canal, Panama! A man, a plan, a cat, a ham, a yak, a yam, a hat, a canal, Panama! A man, a plan, a canoe, pasta, heros, rajahs, a coloratura, maps, snipe, percale, macaroni, a gag, a banana bag, a tan, a tag, a banana bag again (or a camel), a crepe, pins, Spam, a rut, a Rolo, cash, a jar, sore hats, a peon, a canal, Panama! A slut nixes sex in Tulsa. A tin mug for a jar of gum, Nita. Ah, Satan Sees Natasha. Anna: "Did Otto peep?" Otto: "Did Anna?" Anne, I vote more cars race Rome to Vienna. Are we not drawn onward, we few, drawn onward to new era? Cain: a maniac! Campus motto: bottoms up, Mac. Cigar? Toss it in a can. It is so tragic. Dennis sinned. Dennis and Edna sinned. Dennis, Nell, Edna, Leon, Nedra, Anita, Rolf, Nora, Alice, Carol, Leo, Jane, Reed, Dena, Dale, Basil, Rae, Penny, Lana, Dave, Denny, Lena, Ida, Bernadette, Ben, Ray, Lila, Nina, Jo, Ira, Mara, Sara, Mario, Jan, Ina, Lily, Arne, Bette, Dan, Reba, Diane, Lynn, Ed, Eva, Dana, Lynne, Pearl, Isabel, Ada, Ned, Dee, Rena, Joel, Lora, Cecil, Aaron, Flora, Tina, Arden, Noel, and Ellen sinned. Dennis, no Misfit can act if Simon sinned. Devil Natasha, ah, Satan lived! Did Eve salt an atlas? Eve did. Did I do, O God, did I as I said I'd do? Good, I did. Did I draw Della too tall, Edward? I did? Do geese see God? Do nine men interpret? - Nine men? I nod. Drat Saddam, a mad dastard! Draw, o coward! Draw pupil's lip upward. Drowsy baby's word. E. Borgnine drags Dad's gardening robe. Ed, I saw Harpo Marx ram Oprah W. aside. Egad! No bondage! Emil, a sleepy baby peels a lime. Eros? Sidney, my end is sore. Eva, can I stab bats in a cave? Evil olive. Flesh! Saw I Mimi wash self! Go hang a salami, I'm a lasagna hog. God saw I was dog. God! A red nugget! A fat egg under a dog! Golf? No sir, prefer prison flog. He goddam mad dog, eh? He lived as a devil, eh? I maim nine men in Miami. Is it I? It is I! I, Nora, came most egotistic - it's I - to get some macaroni. I, man, am regal; a German am I. If I had a hi-fi. Is Don Adams mad? (A nod.) Si! Kayak salad - Alaska yak. Lager, Sir, is regal. Laminated E.T. animal. Late? Bill is ill, I bet, Al. Lew, Otto has a hot towel! Lisa Bonet ate no basil. Lived on Decaf, faced no Devil. Lonely Tylenol. Ma has a ham. Ma is a nun, as I am. Ma is as selfless as I am. Madam I'm Adam. Madam, in Eden, I'm Adam. Man, Oprah's sharp on A.M. Marge lets Norah see Sharon's telegram. Murder for a jar of red rum. Naomi, did I moan? Natasha? Ah, Satan! Neil A. sees alien! Never odd or even. No lemons, no melon. No misses ordered roses, Simon. No, Mel Gibson is a casino's big lemon. No, Mel, a sleepy baby peels a lemon. No trace - not one carton. Not New York, Roy went on. Nurse! I spy gypsies! Run! Oh, no! Don Ho! Party booby-trap. Plan no damn Madonna LP. Rats live on no evil star. Reno loner Revenge, Meg? Never! Rise to vote, sir. Sir, I'm Iris. Sis, ask Costner to not rent socks "as is". Sit on a potato pan, Otis! Slap a ham on Omaha, pals! Sniff'um muffins. So many dynamos. So, G. Rivera's tots are virgos. So...Mariah Carey, a LP, a player...a chair, Amos! Some men interpret nine memos. Spit Q-tips! Star comedy by Democrats. Stella won no wallets. Step on no pets! To Idi Amin: I'm a idiot! Toni Tennille fell in net. I, not! Tons of UFOs? Not! Tonya may not. Too bad, I hid a boot. Tulsa night life: filth, gin, a slut. Was it Eliot's toilet I saw? Was it a car or a cat I saw? Was it a rat I saw? Yawn. Madonna Fan? No damn way! Yawn a more Roman way. Yo, banana boy! Yreka Bakery | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 388 Registered: 7-2004 |
This page is starting to get pretty long. | |||
| buzzsaw Citizen Username: Buzzsaw Post Number: 2232 Registered: 5-2001 |
naaa | |||
| monster Supporter Username: Monster Post Number: 937 Registered: 7-2002 |
Hexagon fit bolt with long thread   | |||
| Pizzaz Supporter Username: Pizzaz Post Number: 2028 Registered: 11-2001  |
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| monster Supporter Username: Monster Post Number: 940 Registered: 7-2002 |
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| bets Supporter Username: Bets Post Number: 2005 Registered: 6-2001 |
Principles of Map Projections Map projections are systematic transformations that allow the orderly representation of the Earth's spherical graticule on a flat map. Mathematically speaking, map projections are transformations of geographic co-ordinates (latitude, longitude) into the Cartesian (x, y) co-ordinate space of the map. Some map projections can be constructed geometrically. All map projections can be represented by mathematical equations that convert geographic co-ordinates into map co-ordinates. It is important to recognize that the approximately spherical geometry of the Earth cannot be represented on a flat map without introducing distortion. All map projections distort distance and directional relationships that are correctly represented on a globe. If we are mapping a small area such as the City of Waterloo, we can safely ignore the effect of the curvature of the Earth's surface but if we are mapping a larger area such as Canada, distortion cannot be avoided. To understand why this is so, imagine trying to afix a postage stamp showing a map of Waterloo to a large beach ball. Because the postage stamp occupies only a small portion of the surface area of the beach ball and the curvature of the ball is slight within this area, it is easy to attach the stamp without stretching it or introducing wrinkles. Now imagine placing another stamp of the same size, this time showing a map of Canada, on a ping pong ball. Because the stamp occupies a much larger proportion of the surface area of the ping pong ball, the curvature of the ball within the area covered by the stamp is significant. It is impossible to afix the stamp without introducing wrinkles. In general, the larger the area being mapped, the greater the problem of distortion becomes, and the greater care is required in choosing a suitable map projection. The Earth's graticule has the following properties: * all parallels of latitude are parallel * parallels are equally spaced along meridians * meridians are equally spaced along parallels * meridians of longitude are half great circles and converge at the poles * meridians and parallels intersect at right angles * quadrilaterals formed by the same two parallels and having the same longitudinal dimensions have the same areas * area scale is uniform * distance scale is uniform These properties may or may not be correctly representated on a flat map, depending on the type of projection employed. Determining which properties are correctly represented on the map can be useful in identifying different projections and in understanding the inherent pattern of distortion. The term 'projection' comes from the notion of placing a light source inside a transparent globe and projecting shadows of the meridians, parallels and other geographic features onto a sheet of paper placed tangent to the globe. Several useful map projections can be constructed in this way. Such projections are called perspective projections. Different perspective projections can be produced by changing the position of the light source. Gnomonic projections place the light source at the centre of the globe, stereographic projections place the light source at the antipode of the point of tangency, and orthographic projections place the light source an infinite distance from the point of tangency, resulting in parallel light rays. Changing the position of the light source alters the pattern of parallels and meridians on the map, resulting in maps that have different geometric properties. Perspective Projections  Sequence of Transformations The process of producing a flat map of the Earth can be thought of as a sequence of transformations. Irregularities in the shape of the geoid make it difficult to model mathematically. Thus the first step in the process is to model the Earth by a simpler solid object having the same surface area as the Earth. For large scale maps that show a small portion of the Earth's surface but in great detail, the Earth is modelled using an ellipsoid since this gives a better approximation to the true shape of the Earth than a perfect sphere. National mapping agencies in different countries around the world use different ellipsoids, adjusting the lengths of the polar and equatorial radii to get the best fit within their region of interest. For small scale maps that show a large area with little detail, a spherical model is used since it is mathematically simpler and at small scales, distortion due to irregularities in the Earth's shape can be considered negligible. Table of Ellipsoids (Source: E.S.R.I., ArcGIS on-line help files) (<table>) Once a suitable solid model has been selected, the next step is to reduce the size of the model to the desired scale of the map, producing a 'generating globe'. Map scale is defined as the ratio of map distance to ground distance. For the generating globe, scale can be calculated as the ratio of the radius of the generating globe to the radius of a sphere having the same surface area as the Earth (6,307.9 km). This scale becomes the nominal scale of the map. However, because of the distortions introduced in representing the spherical globe on a flat map, the actual scale of the map will vary from place to place. On many projections, true linear scale is maintained only along one or two standard lines. Comparison of actual map scale at different locations with the nominal map scale provides one method of analyzing the pattern of distortion in a map. The final step in the process is to project the Earth's graticule from the generating globe onto a developable surface. Any surface that can be flattened is considered to be a developable surface. Different surfaces and projection methods are used to obtain maps with different geometric properties. Classification of Map Projections Although an infinite number of map projections are theoretically possible, approximately 400 projections have been described in the literature and only a few dozen of these are widely used. Nevertheless, it is useful to develop a classification of map projections as an aid to understanding their properties and to selecting an appropriate map projection for a particular purpose. Map projections can be classified in terms of the geometric properties that are correctly represented on the map and by their method of construction. Geometric Properties As has been noted above, all map projections distort some of the geometric relationships that are correctly represented on the globe. It is not possible to represent all distances or all angles correctly on a single map. However, it is possible to produce maps that correctly represented selected geometric characteristics.Consideration of basic properties gives rise to four classes of map projections: equivalent, equidistant, azimuthal and conformal. Projections that do not fall into one of these classes are sometimes called compromise projections. Equivalent Projections Maps that maintain constant areal scale over the entire surface of the map are called equal area or equivalent projections. A wide variety of equivalent projections have been developed in attempts to minimize distortion of other geometric properties while maintaining constant areal scale. Equivalent projections are used extensively for thematic maps that show distribitions of phenomena such as population, agricultural land, forested areas, etc. Equidistant Projections Equidistant projections preserver correct linear scale over some portion of the map. It is not possible to represent all distances correctly. However, it is possible to produce a projection such that all distances from one or two points are true to scale or a projection on which all distances measured perpendicular to a standard line are true to scale. Azimuthal Projections Azimuthal (or zenithal) projections correctly represent selected angular relationships. As with distances, not all angular relationships can be represented correctly on a single map. But it is possible to correctly represent all angular relationships about a single point. Conformal Projections The defining property of conformal projections is that at any point on the map, the scale is the same in all directions about the point. The implication of this property is that angles about the point are shown correctly and one would therefore expect shapes of areas to be correctly represented. However, because map scale varies from point to point, the property of correct representation of angles applies only to angles having infinitely short sides. Shapes of infinitely small areas are preserved on the map but shapes of larger areas are distorted. Compromise Projections While many map projections seek to optimize one of the above four geometric properties, some projections do not attempt to maintain any of the above properties but instead attempt to seek a balance between different properties. Thus, for example, while a projection might not be conformal or equivalent, it might maintain minimal distortion of shapes and areas within the region such as Canada or the United States. Such projections are referred to as compromise projections and are often used as the basis for thematic maps. Other Geometric Properties In addition to the basic properties of equivalence, equidistance, azimuth and conformality, some projections have special properties such as great circles being represented by straight lines, small circles on the globe being represented as circles on the map, or lines of constant compass directions (loxodromes or rhumb lines) being represented as straight lines. Since these properties are unique to particular projections, they are not useful for purposes of developing a general classification, but they are important for specific map purposes. Method of Construction Projections can also be classified based on their method of construction. This involves consideration of the type of projection surface used as well as the positioning and orientation of the projection surface relative to the generating globe. The type of projection surface determines the basic pattern of the graticule on the map. Positioning the projection surface tangent or secant to the generating globe modifies the pattern of distortion in the map. Re-orienting the projection surface can be used to achieve minimal distortion within the region of greatest interest. Projection Surface Map projections can be thought of as being draw on one of three developable surfaces - a plane, cylinder or cone. Although a cylinder and a cone are not flat surfaces, either can be flattened by cutting along its length and then unrolling the surface. Although distortion is introduced in projecting from the sphere to the developable surface, no further distortion occurs as a result of the unrolling process. Since a plane is already flat, no unrolling is necessary. The type of projection surface determines the basic pattern of the graticule and the general pattern of distortion in the map. The following discussion is based on the 'normal' orientation of the projection surface, i.e. a plane tangent at the pole, a cylinder tangent along the Equator or a cone tangent along s selected parallel of latitude other than the Equator. All projections to a plane are azimuthal projections. With the plane tangent to the generating globe at either the north or south pole, meridians are represented as radial straight lines and parallels of latitude appear as concentric circles. Different azimuthal projections are obtained by varying the spacing of the parallels. All share the same general pattern of distortion with distortion increasing with distance from the point of tangency. For projections to a cylinder tangent to the globe along the Equator, the characteristic pattern of the graticule is a rectangular grid. Meridians of longitude are equally spaced along the Equator and parallels of latitude are represented as parallel lines having the same length as the Equator. There is no distortion along the Equator which is the line of tangency between the projection surface and the generating globe. However, distortion increases with distance from the Equator. Conic projections offer greater variety since the steepness of the cone can be varied, allowing a cone to be placed tangent to the generating globe along any parallel of latitude. However, the basic pattern remains unchanged. Meridians of longitude are represented as radial lines through the apex of the cone and paralllels of latitude are represented as concentric circular arcs. There is no distortion along the standard parallel which is the line of tangency between the projection surface and the generating globe. Distortion increases with distance from the standard parallel. Once again, projections preserving different geometric properties can be produced by modifying the spacing between parallels. There is a class of projections that cannot be constructed by simply modifying the spacing on parallels on one of the three projections surfaces. Such projections are called mathematical or conventional projections. They are best thought of as projections defined by a set of rules governing the shape of the graticule. For example, we could specify that we want an equivalent projection that represents the entire Earth as an ellipse, has parallels shown as parallel straight lines, and has meridians equally spaced along the parallels. The resulting projection shares some characteristics with cylindrical projections but the graticule does not form a rectangular grid and distortion increases with distance from the intersection of the Equator and central meridian of the map. Case The preceding discussion assumed that the projection surface is always placed tangent to globe at a point or along a line. However, it is also possible to assume that the projection surface is placed secant to the globe. A plane placed secant to the globe intersects the globe along a small circle. This small circle will be represented true to scale on the map. A cone or cylinder placed secant to the globe will intersect the globe along two circles. Both circles will be represented true to scale on the map. While it is convenient to use the tangent case for purposes of illustrating the principles of map projections, secant case projections are often preferred because the give a more even distribution of distortion over the entire area of the map. Aspect Aspect refers to the orientation of the projection surface relative to the generating globe. Normal aspect aligns the axis of rotation of the projection surface with the axis of rotation of the generating globe. For a cone, this implies that the apex of the cone lies on a line connecting the north and south poles and the cone is tangent to the globe along a parallel of latitude (tangent case) or intersects the globe along two parallels of latitude (secant case). A cylinder can be thought of as an infinitely steep cone. In normal orientation, it is tangent along the Equator or interects the globe along two parallels of latitude equidistant north and south of the Equator. Similarly, a plane can be thought of as an infinitely flat cone. Its axis of rotation is thus perpendicular to the plane. In normal orientation, it is tangent at the pole or intersects the generating globe along a parallel of latitude. Transverse aspect rotates the projection surface 90 degrees relative to the generating globe. The result is a plane tangent at some point on the Equator, a cylinder tangent along an opposing pair of meridians of longitude, or a cone whose axis of rotation lies in the plane of the Equator. Transverse aspect is rarely used with conic projections but is relatively common in the case of azimuthal and cylindrical projections. Any other orientation of the projection surface with respect to the generating globe is referred to as oblique aspect. Oblique azimuthal projections are frequently used to generate maps centred on particular locations, e.g. a map of the world centred on Toronto. Oblique cylindrical and conic projections are possible but are less common. Common Map Projections The following table summarizes several commonly used map projections based on type of projection surface and geometric properties. Click on the column headings to access documents containing more detailed descriptions of the projections listed in the table. (s/a) Choosing an Appropriate Map Projection Selecting an appropriate projection for a particular map requires consideration of the purpose of the map and the region to be represented on the map. In general, the purpose of the map determines the geometric properties that are most important. For example, if the purpose of the map is to show route information, an azimuthal projection is likely to be the best choice. If the purpose of the map is to show a population density distribution, then an equivalent projection would be a better choice. General reference maps might use a conformal projection or a compromise projection that does not distort shapes and areas too severely. Consideration of the area to be mapped determines the method of construction to be used. Cylindrical projections are generally used for maps of the entire Earth since they tend to avoid the extreme distortion that occurs on azimuthal and conic projections in areas that are distant from the standard point or line(s). In normal orientation, cylindrical projections have a narrow band along the Equator in which distortion of all geometric characteristics is minimized, making them suitable for representation of tropical regions. This pattern of distortion also makes transverse cylindrical projections suitable for mapping areas that have a long north-south but narrow east-west extent. Conic projections are generally used to represent mid-latitude regions in either the northern or southern hemispheres. By choosing a standard parallel near the centre of the region of interest, distortion of geometric characteristics on the map can be minimized. Distortion can be further reduced by using the secant case of conic projections. This results in two standard parallels which are usually chosen to ensure that approximately two thirds of the area to be mapped lies between the standard parallels. Azimuthal projections are frequently used for mapping the polar regions but can be centred on any location on the Earth's surface. Because of the radial pattern of distortion (increasing with distance from the point of tangency), azimuthal projections are alos useful for mapping areas having approximately equal north-south and east-west extents. However, they are often chosen because of their correct representation of distance and directional relationships about the point of tangency or because of their special properties with respect to representation great and small circles. | |||
| Pizzaz Supporter Username: Pizzaz Post Number: 2034 Registered: 11-2001 |
Monster: Your view of the world could be a bit better.   | |||
| monster Supporter Username: Monster Post Number: 941 Registered: 7-2002 |
 couldn't it though | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 390 Registered: 7-2004 |
Top Long John Silver's® Field Management Personnel inducted into President's Club. *** LOUISVILLE, KY., March 7, 2005 - Long John Silver's President Steve Davis recently announced the 2004 inductees to the President's Club, an honor reserved for the company's top field management personnel. The honor is based on their restaurants' 2004 performance in the key areas of Customer Mania, employee retention, sales and profit. The winners were Area Coaches Robert Miller, Charlie Perkins, Ron Martin, Beth Mayo, Ralph Charles, Keith Jurasz, Gary Jones, LaMonte Jackson, Michael Gaines, Mark Fox and Chuck McCormick. Also inducted were Long John Silver's Franchise Business Coach Farid Rostampour and Region Coach Joe Huff (who also won the award in 2003). The winners participated in a dinner and round table for President's Club inductees in Louisville, Ky., on Feb. 28. Davis also presented each winner a President's Club jacket and a Compass Award (and a sailor hat) for their roles in setting the direction for the company. | |||
| buzzsaw Citizen Username: Buzzsaw Post Number: 2238 Registered: 5-2001 |
I'b glad to hear about Beth Mayo | |||
| Pizzaz Supporter Username: Pizzaz Post Number: 2040 Registered: 11-2001 |
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| Mrs_Weiner Citizen Username: Mrs_weiner Post Number: 47 Registered: 11-2004 |
Let's bring this thread back down to earth. Gravity Gravitation is the tendency of masses to move toward each other. Weight is a force caused by gravity equal to the product of the acceleration of gravity and the mass of the object. Exactly why two masses separated in space have a gravitational attraction to one another remains largely unknown, despite much research and various theories. The first mathematical formulation of the theory of gravitation was made by Sir Isaac Newton and proved astonishingly accurate. He postulated the force of "universal gravitational attraction". Newton's theory has now been replaced by Albert Einstein's theory of general relativity but for most purposes dealing with weak gravitational fields (for example, sending rockets to the Moon or around the solar system) Newton's formulae are sufficiently accurate. Steven Weinberg, a Nobel laureate, noted that we would still build a suspension bridge with Newton's laws. For this reason, Newton's law is often used and will be presented first. Contents [hide] 1 Newton's law of universal gravitation 1.1 Vector form 1.2 Gravitational field 2 Problems with Newton's Theory 2.1 Theoretical concerns 2.2 Disagreement with observation 3 Einstein's theory of gravitation 4 Units of measurement and variations in gravity 5 Gravity, and the acceleration of objects near the Earth 6 Comparison with electromagnetic force 7 Gravity and quantum mechanics 8 Experimental tests of theories 9 Alternative theories 10 History 11 Newton's reservations 12 Self-gravitating system 13 Special applications of gravity 14 Comparative gravities of different planets and Earth's Moon 15 Mathematical equations for a falling body 16 Notes 17 See also 18 External links [edit] Newton's law of universal gravitation Newton's law of universal gravitation states the following: Every object in the Universe attracts every other object with a force directed along the line of centers for the two objects that is proportional to the product of their masses and inversely proportional to the square of the separation between the two objects. Considering only the magnitude of the force, and momentarily putting aside its direction, the law can be stated symbolically as follows. where F is the magnitude of the gravitational force between two objects G is the gravitational constant, that is approximately : G = 6.67 × 10−11 N m2 kg-2 m1 is the mass of first object m2 is the mass of second object r is the distance between the objects Thus gravity is proportional to the mass of each object, but has an inverse square relationship of the distances between the centres of each mass. Strictly speaking, this law applies only to point-like objects. If the objects have spatial extent, the force has to be calculated by integrating the force (in vector form, see below) over the extents of the two bodies. It can be shown that for an object with a spherically-symmetric distribution of mass, the integral gives the same gravitational attraction on masses outside it as if the object were a point mass.1 This law of universal gravitation was originally formulated by Isaac Newton in his work, the Principia Mathematica (1687). The history of gravitation as a physical concept is considered in more detail below. [edit] Vector form Gravity on Earth from a macroscopic perspective.Newton's law of universal gravitation can be written as a vector equation to account for the direction of the gravitational force as well as its magnitude. In this formulation, quantities in bold represent vectors. where F12 is the force on object 1 due to object 2 G is the gravitational constant m1 and m2 are the masses of the objects 1 and 2 r21 = | r1 − r2 | is the distance between objects 1 and 2 is the unit vector from object 2 to 1 It can be seen, that the vector form of the equation is the same as the scalar form, except for the vector value of F and the unit vector. Also, it can be seen that F12 = − F21. Gravitational acceleration is given by the same formula except for one of the factors m: [edit] Gravitational field The gravitational field is a vector field that describes the gravitational force an object of given mass experiences in any given place in space. It is a generalization of the vector form, which becomes particularly useful if more than 2 objects are involved (such as a rocket between the earth and the moon). For 2 objects (e.g. object 1 is a rocket, object 2 the earth), we simply write instead of and m instead of m1 and define the gravitational field as: so that we can write: This formulation is independent of the objects causing the field. The field has units of force divided by mass; in SI, this is . [edit] Problems with Newton's Theory Newton's formulation of gravitation is quite accurate for most practical purposes. There are a few problems with it though: [edit] Theoretical concerns There is no prospect of identifying the mediator of gravity. Newton himself felt the inexplicable action at a distance to be unsatisfactory. Newton's theory requires that gravitational force is transmitted instantaneously. Given classical assumptions of the nature of space and time, this is necessary to preserve the conservation of angular momentum observed by Johannes Kepler. However, it is in direct conflict with Einstein's theory of special relativity which places an upper limit—the speed of light in vacuum—on the velocity at which signals can be transmitted. [edit] Disagreement with observation Newton's theory does not fully explain the precession of the perihelion of the orbit of the planet Mercury. There is a 43 arcsecond per century discrepancy between the Newtonian prediction (resulting from the gravitational tugs of the other planets) and the observed precession3. The predicted deflection of light by gravity is only half as much as observations of this deflection, which were made after General Relativity was developed in 1915. The observed fact that gravitational and inertial masses are the same (or at least proportional) for all bodies is unexplained within Newton's system. See equivalence principle. [edit] Einstein's theory of gravitation Einstein's theory of gravitation answered the problems with Newton's theory noted above. In a revolutionary move, his theory of general relativity (1915) stated that the presence of mass, energy, and momentum causes spacetime to become curved. Because of this curvature, the paths that objects in inertial motion follow can "deviate" or change direction over time. This deviation appears to us as an acceleration towards massive objects, which Newton characterized as being gravity. In general relativity however, this acceleration or free fall is actually inertial motion. So objects in a gravitational field appear to fall at the same rate due to their being in inertial motion while the observer is the one being accelerated. (This identification of free fall and inertia is known as the Equivalence principle.) The relationship between the presence of mass/energy/momentum and the curvature of spacetime is given by the Einstein field equations. The actual shapes of spacetime are described by solutions of the Einstein field equations. In particular, the Schwarzschild solution (1916) describes the gravitational field around a spherically symmetric massive object. The geodesics of the Schwarzschild solution describe the observed behavior of objects being acted on gravitationally, including the anomalous perihelion precession of Mercury and the bending of light as it passes the Sun. Arthur Eddington found observational evidence for the bending of light passing the Sun as predicted by general relativity in 1919. Subsequent observations have confirmed Eddington's results, and observations of a pulsar which is occulted by the Sun every year have permitted this confirmation to be done to a high degree of accuracy. There have also in the years since 1919 been numerous other tests of general relativity, all of which have confirmed Einstein's theory. [edit] Units of measurement and variations in gravity The Gravity Field and Steady-State Ocean Circulation Explorer project (GOCE) will measure high-accuracy gravity gradients and provide a global model of the Earth's gravity field and of the geoid. (ESA image)Gravitational phenomena are measured in various units, depending on the purpose. The gravitational constant is measured in newtons times metre squared per kilogram squared. Gravitational acceleration, and acceleration in general, is measured in metres per second squared or in non-SI units such as galileos, gees, or feet per second squared. The acceleration due to gravity at the Earth's surface is approximately 9.8 m/s2, more precise values depending on the location. A standard value of the Earth's gravitational acceleration has been adopted, called gn. When the typical range of interesting values is from zero to tens of metres per second squared, as in aircraft, acceleration is often stated in multiples of gn. When used as a measurement unit, the standard acceleration is often called "gee", as g can be mistaken for g, the gram symbol. For other purposes, measurements in millimetres or micrometres per second squared (mm/s² or µm/s²) or in multiples of milligals or milligalileos (1 mGal = 1/1000 Gal), a non-SI unit still common in some fields such as geophysics. A related unit is the eotvos, which is a cgs unit of the gravitational gradient. Mountains and other geological features cause subtle variations in the Earth's gravitational field; the magnitude of the variation per unit distance is measured in inverse seconds squared or in eotvoses. Typical variations with time are 2 µm/s² (0.2 mGal) during a day, due to the tides, i.e. the gravity due to the Moon and the Sun. A larger variation in gravity occurs when we move from the equator to the poles. Gravity increases as the density towards the poles increases. This is due to the effects of the rotation of the earth (both centrifugal force and the flattening due to this rotation, resulting in the poles being closer to the center of mass of the Earth), and is also related to the fact that the Earth's density changes from the surface of the planet to its centre. The sea-level gravitational acceleration is 9.780 m/s² at the equator and 9.832 m/s² at the poles, so an object will exert about 0.5% more force due to gravity at sea level at the poles than at sea level at the equator [1]. [edit] Gravity, and the acceleration of objects near the Earth The acceleration due to the apparent "force of gravity" that "attracts" objects to the surface of the Earth is not quite the same as the acceleration that is measured for a free-falling body at the surface of the Earth (in a frame at rest on the surface). This is because of the rotation of the Earth, which leads (except at the poles) to a centrifugal force which slightly lessens the acceleration observed. See Coriolis effect. [edit] Comparison with electromagnetic force The gravitational interaction of protons is approximately a factor 1036 weaker than the electromagnetic repulsion. This factor is independent of distance, because both interactions are inversely proportional to the square of the distance. Therefore on an atomic scale mutual gravity is negligible. However, the main interaction between common objects and the Earth and between celestial bodies is gravity, because gravity is electrically neutral: even if in both bodies there were a surplus or deficit of only one electron for every 1018 protons and neutrons this would already be enough to cancel gravity (or in the case of a surplus in one and a deficit in the other: double the interaction). In terms of Planck units: the charge of a proton is 0.085, while the mass is only 8 × 10-20. From that point of view, the gravitational force is not small as such, but because masses are small. The relative weakness of gravity can be demonstrated with a small magnet picking up pieces of iron. The small magnet is able to overwhelm the gravitational interaction of the entire Earth. Similarly, when doing a chin-up, the electromagnetic interaction within your muscle cells is able to overcome the force induced by Earth on your entire body. Gravity is small unless at least one of the two bodies is large or one body is very dense and the other is close by, but the small gravitational interaction exerted by bodies of ordinary size can fairly easily be detected through experiments such as the Cavendish torsion bar experiment. Globular Cluster M13 demonstrates gravitational field.Further reading Jefimenko, Oleg D., "Causality, electromagnetic induction, and gravitation : a different approach to the theory of electromagnetic and gravitational fields". Star City [West Virginia] : Electret Scientific Co., c1992. ISBN 0917406095 Heaviside, Oliver, "A gravitational and electromagnetic analogy". The Electrician, 1893. [edit] Gravity and quantum mechanics It is strongly believed that three of the four fundamental forces (the strong nuclear force, the weak nuclear force, and the electromagnetic force) are manifestations of a single, more fundamental force. Combining gravity with these forces of quantum mechanics to create a theory of quantum gravity is currently an important topic of research amongst physicists. General relativity is essentially a geometric theory of gravity. Quantum mechanics relies on interactions between particles, but general relativity requires no particles in its explanation of gravity. Scientists have theorized about the graviton (a particle that transmits the force gravity) for years, but have been frustrated in their attempts to find a consistent quantum theory for it. Many believe that string theory holds a great deal of promise to unify general relativity and quantum mechanics, but this promise has yet to be realized. It never can be for obvious reasons if Einstein's theory is true, due to the non-existence of "gravitational attraction" (see: fundamental interaction) [edit] Experimental tests of theories Today General Relativity is accepted as the standard description of gravitational phenomena. (Alternative theories of gravitation exist but are more complicated than General Relativity.) General Relativity is consistent with all currently available measurements of large-scale phenomena. For weak gravitational fields and bodies moving at slow speeds at small distances, Einstein's General Relativity gives almost exactly the same predictions as Newton's law of gravitation. Crucial experiments that justified the adoption of General Relativity over Newtonian gravity were the classical tests: the gravitational redshift, the deflection of light rays by the Sun, and the precession of the orbit of Mercury. General relativity also explains the equivalence of gravitational and inertial mass, which has to be assumed in Newtonian theory. More recent experimental confirmations of General Relativity were the (indirect) deduction of gravitational waves being emitted from orbiting binary stars, the existence of neutron stars and black holes, gravitational lensing, and the convergence of measurements in observational cosmology to an approximately flat model of the observable Universe, with a matter density parameter of approximately 30% of the critical density and a cosmological constant of approximately 70% of the critical density. Even to this day, scientists try to challenge General Relativity with more and more precise direct experiments. The goal of these tests is to shed light on the yet unknown relationship between Gravity and Quantum Mechanics. Space probes are used to either make very sensitive measurements over large distances, or to bring the instruments into an environment that is much more controlled than it could be on Earth. For example, in 2004 a dedicated satellite for gravity experiments, called Gravity Probe B, was launched. Also, land-based experiments like LIGO are gearing up to possibly detect gravitational waves directly. Speed of gravity: Einstein's theory of relativity predicts that the speed of gravity (defined as the speed at which changes in location of a mass are propagated to other masses) should be consistent with the speed of light. In 2002, the Fomalont-Kopeikin experiment produced measurements of the speed of gravity which matched this prediction. However, this experiment has not yet been widely peer-reviewed, and is facing criticism from those who claim that Fomalont-Kopeikin did nothing more than measure the speed of light in a convoluted manner. The Pioneer anomaly is an empirical observation that the positions of the Pioneer 10 and Pioneer 11 space probes differ very slightly from what would be expected according to known gravitational effects. The possibility of new physics has not been ruled out, despite very thorough investigation in search of a more prosaic explanation. [edit] Alternative theories In the modified Newtonian dynamics (MOND), Mordehai Milgrom proposes a modification of Newton's Second Law of motion for small accelerations. Nikola Tesla challenged Albert Einstein's theory of relativity, announcing he was working on a Dynamic theory of gravity (which began between 1892 and 1894) and argued that a "field of force" was a better concept and focused on media with electromagnetic energy that fill all of space. Georges-Louis LeSage proposed a gravity mechanism, referred to as "LeSage gravity", based on a fluid-based explanation where a light gas fills the entire universe. [edit] History Although the law of universal gravitation was first clearly and rigorously formulated by Isaac Newton, the phenomenon was observed and recorded by others. Even Ptolemy had a vague conception of a force tending toward the center of the Earth which not only kept bodies upon its surface, but in some way upheld the order of the universe. Johannes Kepler inferred that the planets move in their orbits under some influence or force exerted by the Sun; but the laws of motion were not then sufficiently developed, nor were Kepler's ideas of force sufficiently clear, to make a precise statement of the nature of the force. Christiaan Huygens and Robert Hooke, contemporaries of Newton, saw that Kepler's third law implied a force which varied inversely as the square of the distance. Newton's conceptual advance was to understand that the same force that causes a thrown rock to fall back to the Earth keeps the planets in orbit around the Sun, and the Moon in orbit around the Earth. Newton was not alone in making significant contributions to the understanding of gravity. Before Newton, Galileo Galilei corrected a common misconception, started by Aristotle, that objects with different mass fall at different rates. To Aristotle, it simply made sense that objects of different mass would fall at different rates, and that was enough for him. Galileo, however, actually tried dropping objects of different mass at the same time. Aside from differences due to friction from the air, Galileo observed that all masses accelerate the same. Using Newton's equation, F = ma, it is plain to us why: The above equation says that mass m1 will accelerate at acceleration a1 under the force of gravity, but divide both sides of the equation by m1 and: Nowhere in the above equation does the mass of the falling body appear. When dealing with objects near the surface of a planet, the change in r divided by the initial r is so small that the acceleration due to gravity appears to be perfectly constant. The acceleration due to gravity on Earth is usually called g, and its value is about 9.8 m/s2 (or 32 ft/s2). Galileo didn't have Newton's equations, though, so his insight into gravity's proportionality to mass was invaluable, and possibly even affected Newton's formulation on how gravity works. However, across a large body, variations in r can create a significant tidal force. [edit] Newton's reservations It's important to understand that while Newton was able to formulate his law of gravity in his monumental work, he was not comfortable with it because he was deeply uncomfortable with the notion of "action at a distance" which his equations implied. He never, in his words, "assigned the cause of this power". In all other cases, he used the phenomenon of motion to explain the origin of various forces acting on bodies, but in the case of gravity, he was unable to experimentally identify the motion that produces the force of gravity. Moreover, he refused to even offer a hypothesis as to the cause of this force on grounds that to do so was contrary to sound science. He lamented the fact that "philosophers have hitherto attempted the search of nature in vain" for the source of the gravitational force, as he was convinced "by many reasons" that there were "causes hitherto unknown" that were fundamental to all the "phenomena of nature". These fundamental phenomena are still under investigation and, though hypotheses abound, the definitive answer is yet to be found. While it is true that Einstein's hypotheses are successful in explaining the effects of gravitational forces more precisely than Newton's in certain cases, he too never assigned the cause of this power, in his theories. It is said that in Einstein's equations, "matter tells space how to curve, and space tells matter how to move", but this new idea, completely foreign to the world of Newton, does not enable Einstein to assign the "cause of this power" to curve space any more than the Law of Universal Gravitation enabled Newton to assign its cause. In Newton's own words: I wish we could derive the rest of the phenomena of nature by the same kind of reasoning from mechanical principles; for I am induced by many reasons to suspect that they may all depend upon certain forces by which the particles of bodies, by some causes hitherto unknown, are either mutually impelled towards each other, and cohere in regular figures, or are repelled and recede from each other; which forces being unknown, philosophers have hitherto attempted the search of nature in vain. If science is eventually able to discover the cause of the gravitational force, Newton's wish could eventually be fulfilled as well. It should be noted that here, the word "cause" is not being used in the same sense as "cause and effect" or "the defendant caused the victim to die". Rather, when Newton uses the word "cause," he (apparently) is referring to an "explanation". In other words, a phrase like "Newtonian gravity is the cause of planetary motion" means simply that Newtonian gravity explains the motion of the planets. See Causality and Causality (physics). [edit] Self-gravitating system A self-gravitating system is a system of masses kept together by mutual gravity. An example is a binary star. [edit] Special applications of gravity A height difference can provide a useful pressure in a liquid, as in the case of an intravenous drip and a water tower. A weight hanging from a cable over a pulley provides a constant tension in the cable, also in the part on the other side of the pulley. Shot Tower, 1856 Dubuque, IowaMolten lead, when poured into the top of a shot tower, will coalesce into a rain of spherical lead shot, first separating into droplets, forming molten spheres, and finally freezing solid, undergoing many of the same effects as meteoritic tektites, which will cool into spherical, or near-spherical shapes in free-fall. [edit] Comparative gravities of different planets and Earth's Moon The standard acceleration due to gravity at the Earth's surface is, by convention, equal to 9.80665 metres per second squared. (The local acceleration of gravity varies slightly over the surface of the Earth; see gee for details.) This quantity is known variously as gn, ge (sometimes this is the normal equatorial value on Earth, 9.78033 m/s²), g0, gee, or simply g (which is also used for the variable local value). The following is a list of the gravitational accelerations (in multiples of g) at the surfaces of each of the planets in the solar system and the Earth's Moon : Sun 28 Mercury 0.376 Venus 0.903 Earth 1 Moon 0.165 Mars 0.38 Jupiter 2.34 Saturn 1.16 Uranus 1.15 Neptune 1.19 Pluto 0.066 Note: The "surface" is taken to mean the cloud tops of the gas giants (Jupiter, Saturn, Uranus and Neptune) in the above table. It is usually specified as the location where the pressure is equal to a certain value (normally 75 kPa?). For the sun, the "surface" is taken to mean the photosphere. Within the earth, the gravitational field peaks at the core-mantle boundary, where it has a value of 10.7 m/s². For spherical bodies surface gravity in m/s2 is 2.8 × 10−10 times the radius in m times the average density in kg/m3. When flying from earth to mars, climbing against the field of the earth at the start is 100 000 times heavier than climbing against the force of the sun for the rest of the flight. [edit] Mathematical equations for a falling body These equations describe the motion of a falling body under acceleration g near the surface of the Earth. Gravity in a room: the curvature of the Earth is negligible at this scale, and the force lines can be approximated as being parallel and pointing straight down to the center of the EarthHere, the acceleration of gravity is a constant, g, because in the vector equation above, r21 would be a constant vector, pointing straight down. In this case, Newton's law of gravitation simplifies to the law F = mg The following equations ignore air resistance and the rotation of the Earth, but are usually accurate enough for heights not exceeding the tallest man-made structures. They fail to describe the Coriolis force, for example. They are extremely accurate on the surface of the Moon, where the atmosphere is almost nil. Astronaut David Scott demonstrated this with a hammer and a feather. Galileo was the first to demonstrate and then formulate these equations. He used a ramp to study rolling balls, effectively slowing down the acceleration enough so that he could measure the time as the ball rolled down a known distance down the ramp. He used a water clock to measure the time; by using an "extremely accurate balance" to measure the amount of water, he could measure the time elapsed. 2 For Earth, in Metric units: in English units: For other planets, multiply by the ratio of the gravitational accelerations shown above. Distance d traveled by a falling object under the influence of gravity for a time t: Elapsed time t of a falling object under the influence of gravity for distance d: Average velocity va of a falling object under constant acceleration g for any given time: Average velocity va of a falling object under constant acceleration g traveling distance d: Instantaneous velocity vi of a falling object under constant acceleration g for any given time: Instantaneous velocity vi of a falling object under constant acceleration g, traveling distance d: Note: Distance traveled, d, and time taken, t, must be in the same system of units as acceleration g. See dimensional analysis. To convert metres per second to kilometres per hour (km/h) multiply by 3.6, and to convert feet per second to miles per hour (mph) multiply by 0.68 (or, precisely, 15/22). | |||
| buzzsaw Citizen Username: Buzzsaw Post Number: 2243 Registered: 5-2001 |
HOMEWORLD: Earth SECTOR: 2814 FIRST APPEARANCE: SHOWCASE # 22 (September-October, 1959) "SOS Green Lantern" PHYSICAL DESCRIPTION: Male human Eyes: brown Hair: brown, white at temples Height: 6' 0" Weight: 186 lbs KNOWN RELATIVES: Martin "Marty" H. Jordan (father, deceased) unnamed mother (deceased) Jack Jordan (older brother) Jim Jordan (younger brother) Sue Williams Jordan (sister-in-law, married to Jim Jordan) Jason Jordan (nephew) Jennifer and Jan (nieces) Howard Jordan (nephew, god-son) Jeremiah Jordan (uncle) Lawrence "Airwave" Jordan (cousin) Hal "Airwave II/Maser" Jordan (cousin, son of Lawrence) Doug "Hip" Jordan (cousin) Titus Thomas Jordan (uncle) Steven Jordan (nephew of Titus Jordan) Grant Emerson (created with Hal Jordan and other JLAer's DNA) Yellow Lantern (Bizarro duplicate, pre-Crisis) Hal Jordan (Draal clone) Pol Manning/Doctor Strangehate (power ring created replica, 5707 AD) Lizzie Jordan (descendent in far future) HISTORY: In the three billion year history of the legendary Green Lantern Corps, one name outshines all others. Known as the greatest of the Green Lanterns, he is Hal Jordan of Earth, Space Sector 2814. His many years as the emerald gladiator brought him recognition throughout the cosmos. Born the middle of three brothers, Harold "Hal" Jordan idolized his father, test pilot Martin H. Jordan, and wanted to follow in the elder Jordan's footsteps. One fateful day, that dream all but came to an end. A critical loss of pressure in a jet Martin was test piloting caused the aircraft to crash. Hal saw his father die in front of his eyes. [GLED # 1] Three years after his father's death, Hal started dating a girl named Jennifer. She helped convince Hal to continue with his love of flying. They dated for a year before Hal broke up with her, wanting to see other people. [GL3 # 48] At some point in his teenage years, Jordan met Jay Garrick, the Golden Age Flash. For some unknown reason, Garrick does not recall the incident, and the details of this meeting have yet to be revealed. [JLE # 50] Garrick was not the only super human Jordan would come into contact with before receiving the power ring. Returning to Coast City after a visit to Metropolis University, Jordan met Clark Kent of Smallville. Their plane hit heavy turbulance which spun the aircraft out of control. Jordan helped calm frightened passengers while Clark Kent secretly stabilized the 707 jet liner. A few nights later, Jordan's life was jeopardized by his lack of fear. He inadvertantly came across a smuggling ring while scuba diving and charged in without concern for his safety. Jordan was taken aboard their World War II submarine but was later rescued by the authorities when the submarine was run aground by mysterious forces. From this event, Jordan would come to learn to combine his fearlessness with good judgement. [NEW ADVENTURES OF SUPERBOY # 13] Jordan and Kent would remain acquaintences. Years later, Metroplois reporter Clark Kent interviewed the young test pilot for the Daily Planet. [ACT # 642] After high school, Jordan enrolled in a West Coast college and earned a degree in aviation engineering. Following that, Jordan enlisted in the Air Force and served under Captain Richard Davis. The commanding officer became mentor and lifelong friend to the young pilot. [GL2 # 144] Hal met fellow U.S.A.F. pilot Larry Trainor while in the service. Trainor would later leave the Air Force to become a test pilot as would Hal. As fate would have it, this would not be the only coincidence in these mens' lives, as Trainor went on to become the Doom Patrol's own Negative Man. [JLA:YO # 6] Another Air Force friend of Hal's, pilot Bill Davis, was killed in Korea. Over the years, Hal kept in touch with Bill's elderly parents, Sally and Steve Davis. There does not appear to be any relation between Richard Davis and Bill's family. [GL2 # 36] Jordan rose quickly in the ranks and became a test pilot for experimental aircrafts. During a test run of an experimental stealth bomber a fellow test pilot, Vince Hardy, took control of the aircraft at gun point. Hardy offered him a share of the money the Soviets would give for the bomber but Jordan refused. Jordan and Hardy fought, which sent the bomber in an uncontrollable dive. Hardy parachuted to safety but Jordan tried unsuccessfully to pul the plane out of its dive. He too jumped to saftey before the plane crashed into the side of a mountain. Jordan wandered the Alaskan wilderness for two days before search parties found him. Without Hardy in custody, the miltary chose to make an example of Jordan. He was discharged from the Air Force. [GL3 # 104] With his degree in aviation engineering, Jordan easily rejoined civilian life. He designed a flightless trainer for the Ferris Aircraft Corporation and for some time was Ferris' number one test pilot. Though his aviation career showed great promise, Jordan was passed over by the astronaut program. Metropolis reporter Clark Kent interviewed the young test pilot for the Daily Planet. [Sh # 22, Act # 642] Jordan soon started to date Carol Ferris, the daughter of owner Carl Ferris. The elder Ferris was not an easy man to work for and Jordan eventually fell into disfavor with his employer. Carol and Hal broke up, and Carol started to date Biff, another Ferris emplyee. Hal was later fired for an unknown reason, but his mother talked Ferris into rehiring her son. Carl Ferris took Hal back at a third less pay and the test pilot was grounded. After work, Hal, his brother Jack and Jack's girlfriend Dee, and fellow test pilot Andy went out for drinks. Despondent over recent events, the alcohol Hal drank impaired his judgement. He lost control while driving home, narrowly avoiding a roadside billboard but rolling the jeep into oncoming traffic. Hal woke up in the hospital, and Andy had been critically injured in the accident. [GLED # 1] To Be Continued... OATH: "In brightest day, in blackest night, no evil shall escape my sight, let those who worship evil's might, beware my power, Green Lantern's light!" -SHOWCASE # 22 "Secret of the Flaming Spear!" CREATIVE TEAM: Writer: John Broome Art: Gil Kane & Joe Giella Editor: Julius Schwartz KNOWN APPEARANCES: ACTION COMICS # 350, 365-366, 429, 437, 443-444, 470, 473, 480-481, 483, 489, 514, 527, 583 (cover) 589, 596 (fb), 601-35, 642, 650 (fb) ACTION COMICS ANN # 3 (Armageddon 2001) ADVENTURE COMICS # 423, 451, 459-460 ADVENTURES IN THE DC UNIVERSE # 4, 16 ALL-STAR COMICS # 68 AQUAMAN 1st series # 18, 61 AQUAMAN:LEGEND OF... # 1 (fb) ARMAGEDDON 2001 # 2 ARSENAL # 1 (fb) ATOM # 8 ATOM, POWER OF THE.. # 8-9 BATMAN PLUS ARSENAL # 1 BATMAN & ROBIN ADVTS # 17 (figure in wax museum) BLACKHAWK # 228-230 BLASTERS SPECIAL # 1 BLOODBATH # 1-2 BRAVE & THE BOLD, THE # 28-30, 59, 69, 100, 134, 155, 173-174, 181 *BRAVE & THE BOLD, THE: THE FLASH AND GREEN LANTERN # 1-6 CAPTAIN ATOM 3rd series # 24 CHALLENGERS OF THE UNKNOWN # 87 CHASE # 9 CHRISTMAS WITH THE SUPER-HEROES # 1 (reprint of JLA # 110), 2 DAMAGE # 12 (fb - Hal is one of several "genetic fathers" of Damage), 15? DARK KNIGHT RETURNS, THE # 3 (Elseworlds - mentioned..."Hal went to the stars") DARKSTARS # 11-12, 23 (fb), 0 (fb) DC CHALLENGE # 12 DC COMICS PRESENTS # 6, 26, 43, 71 DC SILVER AGE CLASSICS: -SHOWCASE # 22 (reprint) -GL/GA # 76 (reprint) -THE BRAVE AND THE BOLD # 28 (reprint) DC SNEAK PREVIEWS DC SPECIAL # 27 DC SPECIAL SERIES # 1, 6, 26 DC SUPER-STARS # 14 DEATHSTROKE # 13 DETENTION COMICS # 1 ECLIPSO: DARKNESS WITHIN # 2 ECLIPSO # 15 FANBOY # 2 FINAL NIGHT # 3-4 FIRESTORM 2nd series # 66-69, 81, 91 (fb) FLASH # 131, 143, 158, 168, 175, 191, 199, 217-228, 229 (reprint), 230-231, 232 (reprint) 233-235, 237-238, 240-243, 245-246, 258, 275-277, 282-283, 332 FLASH 2nd series # 8, 69-70, 77 (fb), 79, 130 (fb) FLASH, THE LIFE STORY OF THE... FLASH: SECRET FILES # 1 (appears as statue in museum) GENESIS # 3 (fb) GOLDEN AGE, THE # 4 (Elseworlds - cameo) GREEN ARROW 2nd series # 19-20, 96. 125 (fb) 136-137 GREEN LANTERN 2nd series # 1-87, 88 (reprint), 89-164, 166-224 GREEN LANTERN 3rd series # 1-10, 12-13, 16-17, 19-50, 55 (fb), 60-64, 76 (fb), 80 (fb), 81, 82 (statue), 99-106, 110 (fb), 119, 0 GREEN LANTERN ANNUAL # 1-2, 3 (Elseworlds), 4 (Year One) GREEN LANTERN ARCHIVES # 1 GREEN LANTERN 80 PAGE GIANT # 1 GREEN LANTERN: FEAR ITSELF HC GREEN LANTERN GALLERY # 1 GREEN LANTERN SECRET FILES # 1 GREEN LANTERN CORPS QUARTERLY # 1-2, 4-5, 8 (fb) GREEN LANTERN:EMERALD DAWN # 1-6 GREEN LANTERN:EMERALD DAWN II # 1-6 GREEN LANTERN GANTHET'S TALE GREEN LANTERN MOSAIC # 5, 15-18 GREEN LANTERN/SILVER SURFER GREEN LANTERN SPECIAL # 1-2 GUY GARDNER # 5-7, 11 (clone), 18 (fb), 20-21, 24 (back in time), 25 (pin up), 30, 44, 0 (fb) GUY GARDNER: REBORN # 1 HACKER FILES, THE # 6 HISTORY OF THE DC UNIVERSE # 2 HAWKMAN (Ostrander series) # 2 HOURMAN # 1 (fb) INFINITY, INC. # 39 (fb), 50 (fb) INVASION! # 2-3 JOKER # 7 JLA 3rd series # 9 (fb) JUSTICE LEAGUE/INTERNATIONAL/AMERICA # 6, 10, 24, 40, 64 (fb), 70, 72-74 (Dr. Destiny's Nightmare), 92 (fb) JUSTICE LEAGUE AMERICA ANNUAL # 9 (Year One) JUSTICE LEAGUE OF AMERICA GALLERY # 1 JUSTICE LEAGUE EUROPE # 16 (fb), 17, 26 (fb), 39-47, 48 (fb), 49-51, 53-57, 59-61, 68 (fb) JUSTICE LEAGUE OF AMERICA # 1-33, 35-38, 40-42, 44-47, 49-52, 54-56, 59-63, 65, 66, 68, 70-74, 77-83, 86-92, 95-100, 102-115, 117, 119-122, 125-130, 132-133, 135, 137, 139-144, 147-151, 153, 155-176, 179, 182-187, 189-190, 192-195, 197-200, 206, 209-212, 219, 220, 224, 231, 240, 250 JUSTICE LEAGUE QUARTERLY # 3, 5 (fb) 8, 15 JUSTICE LEAGUE SPECTACULAR # 1 JUSTICE LEAGUE TASK FORCE # 16 (fb) JUSTICE LEAGUE OF AMERICA SECRET FILES # 1 (pinup, timeline) JUSTICE LEAGUE OF AMERICA: YEAR ONE mini-series # 1-12 JLA: THE NAIL # 1-3 THE KINGDOM # 2 (in Hypertime) L.E.G.I.O.N. # 47, 57-58 LEGENDS OF THE DC UNIVERSE # 1 (fb), 7-9, 12-13 LSH4 # 45-47 (corpse), 61 (fb) LIMITED COLLECTOR'S EDITION # C-41 MARTIAN MANHUNTER # 0 (fb) METAL MEN 1st series # 54-55 MILLENNIUM # 1-8 MR MIRACLE 2nd series # 17 MYSTERY IN SPACE # 75 NEW ADVENTURES OF SUPERBOY # 13 NEW GODS 3rd series # 19 NEW TEEN TITANS 1st series # 4-5 PARALLAX: EMERALD NIGHT # 1 THE PHANTOM ZONE # 2, 4 THE POWER OF SHAZAM # 41 PRIMAL FORCE # 7 (fb) RED TORNADO # 1 (fb) SAGA OF THE SWAMP THING # 24 SANDMAN # 2 SECRET SOCIETY OF SUPER-VILLAINS # 2, 5 SECRET SOCIETY OF SUPER-VILLAINS SPECIAL # 1 SECRET ORIGINS 3rd series # 7 (Guy Gardner, fb) 22 (The Manhunters, fb) 23 (The Guardians of the Universe, the Floronic Man fb) 27 (Zatanna, fb) 29 30 (Elongated Man, fb) 32 (Justice League of America, fb) 34 (Rocket Red, fb) 36 (Hal Jordan, Pieface fb) 37 (Doctor Light, fb) 38 (Speedy, fb) 46 (JLA Mountain HQ, fb) 50 (Black Canary) SECRET ORIGINS ANNUAL # 3 (Teen Titans, fb to TNT # 5) SERGIO ARAGONES DESTROYS DC # 1 SHOWCASE # 22-24, 100 SHOWCASE 1993 # 12 SHOWCASE 1995 # 8 (fb) SPEED DEMON # 1 (Amalgram Universe) SPECTRE # 47 (fb to FINAL NIGHT # 4) STARMAN # 6, 13, 41-42 STARMAN 2nd series # 36 (fb) SUICIDE SQUAD # 44 SUPER FRIENDS # 3, 7-9, 25 SUPER POWERS 1st series # 2-3, 5 SUPER POWERS 2nd series # 1, 3, 6 SUPERBOY ANNUAL # 1 (Elseworlds) SUPERGIRL 2nd series # 20 SUPER-TEAM FAMILY # 12 SUPERMAN/BATMAN: GENERATIONS # 3 (Elseworlds) SUPERMAN 1st series # 199, 261 (fb) 311-312, 314, 327, 352, 367 SUPERMAN 2nd series # 14, 22 (Pocket Universe) 76, 82-83 SUPERMAN, THE ADVENTURES OF... # 430, 444 (fb, Pocket Universe), 449, 473, 528 (target of bounty hunter), 551 (fb to Parallax Emerald Night) SUPERMAN, THE ADVENTURES OF... ANNUAL # 6 (Elseworlds) SUPERMAN'S GIRLFRIEND, LOIS LANE # 74, 128 SUPERMAN'S PAL, JIMMY OLSEN # 151 SUPER-TEAM FAMILY # 12 SUPERMAN: THE DOOMSDAY WARS # 2 (fb) SUPERMAN: THE MAN OF STEEL # 20, 26 SUPERMAN: THE MAN OF STEEL ANNUAL # 4 (Year One) SUPERMAN FAMILY # 171-172 SUPERMAN/WONDER WOMAN: WHOM GODS DESTROY # 4 (Elseworlds) TALES OF THE GREEN LANTERN CORPS # 1-3 TALES OF THE GREEN LANTERN CORPS ANNUAL # 2 (cameo, flash forward) TEEN TITANS 1st series # 25 TIME MASTERS # 7 TRINITY # 1-2 UNLIMITED ACCESS # 1-4 WHO'S WHO '85 # 9 (p 24) # 9 (p 26-27, GLC entry - mentioned) # 12 (p 4-5, JLA entry) WHO'S WHO '87 # 3 (p 2, GLC entry) # 3 (p 18-19, Justice League entry) WHO'S WHO '88 # 1 (p 30) # 1 (p 31, GLC entry) WHO'S WHO '90 # 3 WHO'S WHO '93 # 1 (GLC entry) WONDER WOMAN # 212, 214, 222-223, 291, 300 WONDER WOMAN 2nd series # 13 WORLD'S FINEST COMICS # 184, 189, 199, 201, 246, 250, 255, 274, 300, 302 ZERO HOUR # 4-0 | |||
| monster Supporter Username: Monster Post Number: 944 Registered: 7-2002 |
I can't make my script do nothing! Yes, the title is grammatical. A few days ago I was discussing the semantics of data that isn't there. Today I want to talk a little about programs that do nothing. What do you do when you want a program to pause briefly, for whatever reason? Those of you who like me cut your programming teeth on Commodore PET Basic know the answer. A for loop will do the trick. for(x = 0 ; x < 1000000 ; ++x) {} Of course, that has the problem that the time spent paused is shorter on faster machines. The obvious improvement waits until a given number of milliseconds have passed: for(var startTime = new Date(); new Date() - startTime > 1000 ; ) {} The problem with both these techniques is that this is busy waiting. The program may appear to be paused but it is actually executing as furiously as ever. The processor is probably pegged to 100% but doing entirely pointless work. In a multithreaded, multiprocess operating system busy waiting is downright rude -- the processor could be tending to other tasks like redrawing the screen or background processing. Really what you want to do is to ask the operating system to put the process asleep for a bit and then wake it up later, right? That way the program pauses but the thread scheduler is free to run something more important. And indeed, there's a Win32 API that does just that, Sleep. But there is no way to call win32 APIs directly from script, so the scriptable "go to sleep" method needs to either be built in to the language, or (the horror!) in an ActiveX object. So why the heck do VBScript and JScript not have a "go to sleep" method built in? Well, actually, there were good reasons why we didn't. The principal reason is because I lied above. You do NOT want to put the process to sleep and wake it up again later, because while the script is "sleeping", you still might want event handlers to run. The way events work in Apartment Threaded COM objects such as initialized script engines (see my earlier entries for a refresher on how the script engine threading model works) is pretty simple. When the user clicks on a button and raises a button event, what actually happens is a bunch of messages are deposited in the thread's message queue. When the message queue is pumped, the messages tell the COM plumbing to call the event sinks listening to the event sources. So what happens when a thread is asleep? No message loop runs on the thread! How could it? It's asleep. So you put your script to sleep for ten seconds, a user presses a button, and then waits at least ten seconds for the message loop to get pumped? That seems kind of suboptimal. The sleep method needs to pump a message loop occasionally so that events get handled. It gets worse. What if one of those event sinks causes a script error, which is then reported to the host, and the host decides to shut down the script engine? Ten seconds later, the script wakes up and keeps running! Oh, the pain. To properly implement a "go to sleep" method you need to know all kinds of details about the desired message processing, event handling, error handling and multi-threading semantics of the host application. We were very worried that we'd add a method to the script engines which, when used in IE, or ASP, or WSH, or some third-party script host, completely screw up the carefully implemented host. Hence, no "go to sleep" method in the languages. If the host implementor thinks that a "go to sleep" method is necessary, they can implement one and add it to their object model, as we did for WSH. posted on Tuesday, October 07, 2003 12:55 PM by EricLippert Post a Comment :: # RE: I can't make my script do nothing! @ Tuesday, October 07, 2003 1:20 PM Hey Eric, We use this "trick" to mimic a non-CPU intensive delay in our scripts and it does allow event handling on the main thread (or at least databinding which is our main concern). function sleep(numberMillis) { var dialogScript = "window.setTimeout(" + " function () { window.close(); }, " + numberMillis + ");"; var result = window.showModalDialog("javascript:document.writeln(" +" '<script>" + dialogScript + "<">')"); } Mike # RE: I can't make my script do nothing! @ Tuesday, October 07, 2003 1:26 PM Indeed, that is another good example of what I'm talking about. There is no way we could have implemented a "setTimeout" method in the script engines -- such a method requires detailed knowledge of the internals of IE, and would work in IE and nowhere else. Therefore the sensible place to put it is in IE, not in the language runtime. | |||
| Pizzaz Supporter Username: Pizzaz Post Number: 2044 Registered: 11-2001 |
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| buzzsaw Citizen Username: Buzzsaw Post Number: 2248 Registered: 5-2001 |
Countess Rostova, with her daughters and a large number of guests, was already seated in the drawing room. The count took the gentlemen into his study and showed them his choice collection of Turkish pipes. From time to time he went out to ask: "Hasn't she come yet?" They were expecting Marya Dmitrievna Akhrosimova, known in society as le terrible dragon, a lady distinguished not for wealth or rank, but for common sense and frank plainness of speech. Marya Dmitrievna was known to the Imperial family as well as to all Moscow and Petersburg, and both cities wondered at her, laughed privately at her rudenesses, and told good stories about her, while none the less all without exception respected and feared her. In the count's room, which was full of tobacco smoke, they talked of war that had been announced in a manifesto, and about the recruiting. None of them had yet seen the manifesto, but they all knew it had appeared. The count sat on the sofa between two guests who were smoking and talking. He neither smoked nor talked, but bending his head first to one side and then to the other watched the smokers with evident pleasure and listened to the conversation of his two neighbors, whom he egged on against each other. One of them was a sallow, clean-shaven civilian with a thin and wrinkled face, already growing old, though he was dressed like a most fashionable young man. He sat with his legs up on the sofa as if quite at home and, having stuck an amber mouthpiece far into his mouth, was inhaling the smoke spasmodically and screwing up his eyes. This was an old bachelor, Shinshin, a cousin of the countess', a man with "a sharp tongue" as they said in Moscow society. He seemed to be condescending to his companion. The latter, a fresh, rosy officer of the Guards, irreproachably washed, brushed, and buttoned, held his pipe in the middle of his mouth and with red lips gently inhaled the smoke, letting it escape from his handsome mouth in rings. This was Lieutenant Berg, an officer in the Semenov regiment with whom Boris was to travel to join the army, and about whom Natasha had, teased her elder sister Vera, speaking of Berg as her "intended." The count sat between them and listened attentively. His favorite occupation when not playing boston, a card game he was very fond of, was that of listener, especially when he succeeded in setting two loquacious talkers at one another. "Well, then, old chap, mon tres honorable Alphonse Karlovich," said Shinshin, laughing ironically and mixing the most ordinary Russian expressions with the choicest French phrases- which was a peculiarity of his speech. "Vous comptez vous faire des rentes sur l'etat;* you want to make something out of your company?" *You expect to make an income out of the government. "No, Peter Nikolaevich; I only want to show that in the cavalry the advantages are far less than in the infantry. Just consider my own position now, Peter Nikolaevich..." Berg always spoke quietly, politely, and with great precision. His conversation always related entirely to himself; he would remain calm and silent when the talk related to any topic that had no direct bearing on himself. He could remain silent for hours without being at all put out of countenance himself or making others uncomfortable, but as soon as the conversation concerned himself he would begin to talk circumstantially and with evident satisfaction. "Consider my position, Peter Nikolaevich. Were I in the cavalry I should get not more than two hundred rubles every four months, even with the rank of lieutenant; but as it is I receive two hundred and thirty," said he, looking at Shinshin and the count with a joyful, pleasant smile, as if it were obvious to him that his success must always be the chief desire of everyone else. "Besides that, Peter Nikolaevich, by exchanging into the Guards I shall be in a more prominent position," continued Berg, "and vacancies occur much more frequently in the Foot Guards. Then just think what can be done with two hundred and thirty rubles! I even manage to put a little aside and to send something to my father," he went on, emitting a smoke ring. "La balance y est...* A German knows how to skin a flint, as the proverb says," remarked Shinshin, moving his pipe to the other side of his mouth and winking at the count. *So that squares matters. The count burst out laughing. The other guests seeing that Shinshin was talking came up to listen. Berg, oblivious of irony or indifference, continued to explain how by exchanging into the Guards he had already gained a step on his old comrades of the Cadet Corps; how in wartime the company commander might get killed and he, as senior in the company, might easily succeed to the post; how popular he was with everyone in the regiment, and how satisfied his father was with him. Berg evidently enjoyed narrating all this, and did not seem to suspect that others, too, might have their own interests. But all he said was so prettily sedate, and the naivete of his youthful egotism was so obvious, that he disarmed his hearers. "Well, my boy, you'll get along wherever you go- foot or horse- that I'll warrant," said Shinshin, patting him on the shoulder and taking his feet off the sofa. Berg smiled joyously. The count, by his guests, went into the drawing room. It was just the moment before a big dinner when the assembled guests, expecting the summons to zakuska,* avoid engaging in any long conversation but think it necessary to move about and talk, in order to show that they are not at all impatient for their food. The host and hostess look toward the door, and now and then glance at one another, and the visitors try to guess from these glances who, or what, they are waiting for- some important relation who has not yet arrived, or a dish that is not yet ready. *Hors d'oeuvres. Pierre had come just at dinnertime and was sitting awkwardly in the middle of the drawing room on the first chair he had come across, blocking the way for everyone. The countess tried to make him talk, but he went on naively looking around through his spectacles as if in search of somebody and answered all her questions in monosyllables. He was in the way and was the only one who did not notice the fact. Most of the guests, knowing of the affair with the bear, looked with curiosity at this big, stout, quiet man, wondering how such a clumsy, modest fellow could have played such a prank on a policeman. "You have only lately arrived?" the countess asked him. "Oui, madame," replied he, looking around him. "You have not yet seen my husband?" "Non, madame." He smiled quite inappropriately. "You have been in Paris recently, I believe? I suppose it's very interesting." "Very interesting." The countess exchanged glances with Anna Mikhaylovna. The latter understood that she was being asked to entertain this young man, and sitting down beside him she began to speak about his father; but he answered her, as he had the countess, only in monosyllables. The other guests were all conversing with one another. "The Razumovskis... It was charming... You are very kind... Countess Apraksina..." was heard on all sides. The countess rose and went into the ballroom. "Marya Dmitrievna?" came her voice from there. "Herself," came the answer in a rough voice, and Marya Dmitrievna entered the room. All the unmarried ladies and even the married ones except the very oldest rose. Marya Dmitrievna paused at the door. Tall and stout, holding high her fifty-year-old head with its gray curls, she stood surveying the guests, and leisurely arranged her wide sleeves as if rolling them up. Marya Dmitrievna always spoke in Russian. "Health and happiness to her whose name day we are keeping and to her children," she said, in her loud, full-toned voice which drowned all others. "Well, you old sinner," she went on, turning to the count who was kissing her hand, "you're feeling dull in Moscow, I daresay? Nowhere to hunt with your dogs? But what is to be done, old man? Just see how these nestlings are growing up," and she pointed to the girls. "You must look for husbands for them whether you like it or not...." Well," said she, "how's my Cossack?" (Marya Dmitrievna always called Natasha a Cossack) and she stroked the child's arm as she came up fearless and gay to kiss her hand. "I know she's a scamp of a girl, but I like her." She took a pair of pear-shaped ruby earrings from her huge reticule and, having given them to the rosy Natasha, who beamed with the pleasure of her saint's-day fete, turned away at once and addressed herself to Pierre. "Eh, eh, friend! Come here a bit," said she, assuming a soft high tone of voice. "Come here, my friend..." and she ominously tucked up her sleeves still higher. Pierre approached, looking at her in a childlike way through his spectacles. "Come nearer, come nearer, friend! I used to be the only one to tell your father the truth when he was in favor, and in your case it's my evident duty." She paused. All were silent, expectant of what was to follow, for this was dearly only a prelude. "A fine lad! My word! A fine lad!... His father lies on his deathbed and he amuses himself setting a policeman astride a bear! For shame, sir, for shame! It would be better if you went to the war." She turned away and gave her hand to the count, who could hardly keep from laughing. "Well, I suppose it is time we were at table?" said Marya Dmitrievna. The count went in first with Marya Dmitrievna, the countess followed on the arm of a colonel of hussars, a man of importance to them because Nicholas was to go with him to the regiment; then came Anna Mikhaylovna with Shinshin. Berg gave his arm to Vera. The smiling Julie Karagina went in with Nicholas. After them other couples followed, filling the whole dining hall, and last of all the children, tutors, and governesses followed singly. The footmen began moving about, chairs scraped, the band struck up in the gallery, and the guests settled down in their places. Then the strains of the count's household band were replaced by the clatter of knives and forks, the voices of visitors, and the soft steps of the footmen. At one end of the table sat the countess with Marya Dmitrievna on her right and Anna Mikhaylovna on her left, the other lady visitors were farther down. At the other end sat the count, with the hussar colonel on his left and Shinshin and the other male visitors on his right. Midway down the long table on one side sat the grownup young people: Vera beside Berg, and Pierre beside Boris; and on the other side, the children, tutors, and governesses. From behind the crystal decanters and fruit vases the count kept glancing at his wife and her tall cap with its light-blue ribbons, and busily filled his neighbors' glasses, not neglecting his own. The countess in turn, without omitting her duties as hostess, threw significant glances from behind the pineapples at her husband whose face and bald head seemed by their redness to contrast more than usual with his gray hair. At the ladies' end an even chatter of voices was heard all the time, at the men's end the voices sounded louder and louder, especially that of the colonel of hussars who, growing more and more flushed, ate and drank so much that the count held him up as a pattern to the other guests. Berg with tender smiles was saying to Vera that love is not an earthly but a heavenly feeling. Boris was telling his new friend Pierre who the guests were and exchanging glances with Natasha, who was sitting opposite. Pierre spoke little but examined the new faces, and ate a great deal. Of the two soups he chose turtle with savory patties and went on to the game without omitting a single dish or one of the wines. These latter the butler thrust mysteriously forward, wrapped in a napkin, from behind the next man's shoulders and whispered: "Dry Madeira"... "Hungarian"... or "Rhine wine" as the case might be. Of the four crystal glasses engraved with the count's monogram that stood before his plate, Pierre held out one at random and drank with enjoyment, gazing with ever-increasing amiability at the other guests. Natasha, who sat opposite, was looking at Boris as girls of thirteen look at the boy they are in love with and have just kissed for the first time. Sometimes that same look fell on Pierre, and that funny lively little girl's look made him inclined to laugh without knowing why. Nicholas sat at some distance from Sonya, beside Julie Karagina, to whom he was again talking with the same involuntary smile. Sonya wore a company smile but was evidently tormented by jealousy; now she turned pale, now blushed and strained every nerve to overhear what Nicholas and Julie were saying to one another. The governess kept looking round uneasily as if preparing to resent any slight that might be put upon the children. The German tutor was trying to remember all the dishes, wines, and kinds of dessert, in order to send a full description of the dinner to his people in Germany; and he felt greatly offended when the butler with a bottle wrapped in a napkin passed him by. He frowned, trying to appear as if he did not want any of that wine, but was mortified because no one would understand that it was not to quench his thirst or from greediness that he wanted it, but simply from a conscientious desire for knowledge. | |||
| Pizzaz Supporter Username: Pizzaz Post Number: 2048 Registered: 11-2001 |
But Vera love is not an earthly but a heavenly feeling. Accept this earthly gift..  | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 393 Registered: 7-2004 |
Hello again | |||
| monster Supporter Username: Monster Post Number: 949 Registered: 7-2002 |
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| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 395 Registered: 7-2004 |
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| monster Supporter Username: Monster Post Number: 950 Registered: 7-2002 |
I'll see that, and raise you
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| Pizzaz Supporter Username: Pizzaz Post Number: 2054 Registered: 11-2001 |
No more games, let's duel...  | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 396 Registered: 7-2004 |
I accept your challenge. Those guys in the picture dress like you, Pizzaz.
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| Nonymous Reingold Supporter Username: Noglider Post Number: 8286 Registered: 1-2003  |
Dave chopped off the early parts of the archive of this thread! Now I can't use it for reference! | |||
| LazyDog Citizen Username: Lazydog Post Number: 55 Registered: 6-2005  |
Sursilvan: L'uolp era puspei inagada fomentada. Cheu ha ella viu sin in pégn in tgaper che teneva in toc caschiel en siu bec. Quei gustass a mi, ha ella tertgau, ed ha clamau al tgaper: "Tgei bi che ti eis! Sche tiu cant ei aschi bials sco tia cumparsa, lu eis ti il pli bi utschi da tuts". Sutsilvan: La vualp eara puspe egn'eada fumantada. Qua â ella vieu sen egn pegn in corv ca taneva etgn toc caschiel einten sieus pecel. Quegl gustass a mei, â ella tartgieu, ed ha clamo agli corv: "Tge beal ca tei es! Scha tieus tgànt e aschi beal sco tia pareta, alura es tei igl ple beal utschi da tuts". Surmiran: La golp era puspe eneda famantada. Co ò ella sen en pegn en corv tgi tigniva en toc caschiel an sies pecal. Chel am gustess, ò ella panso, ed ò clamo agl corv: "Tge bel tgi te ist! Schi ties cant è schi bel scu tia parentscha, alloura ist tei igl pi bel utschel da tots". Puter: La vuolp d'eira darcho üna vouta famenteda. Co ho'la vis sün ün pin ün corv chi tgnaiva ün töch chaschöl in sieu pical. Que am gustess, ho'la penso, ed ho clamo al corv: "Che bel cha tü est! Scha tieu chaunt es uschè bel scu tia apperentscha, alura est tü il pü bel utschè da tuots". Vallader: La vuolp d'eira darcheu üna jada fomantada. Qua ha'la vis sün ün pin ün corv chi tgnaiva ün toc chaschöl in seis pical. Quai am gustess, ha'la pensà, ed ha clomà al corv: "Che bel cha tü est! Scha teis chant es uschè bel sco tia apparentscha, lura est tü il plü bel utschè da tuots". Rumantsch grischun: La vulp era puspè ina giada fomentada. Qua ha ella vis sin in pign in corv che tegneva in toc chaschiel en ses pichel. Quai ma gustass, ha ella pensà, ed ha clamà al corv: "Tge bel che ti es! Sche tes chant è uschè bel sco tia parita, lura es ti il pli bel utschè da tuts". | |||
| Lucy Supporter Username: Lucy Post Number: 62 Registered: 5-2005 |
LazyDog could you just repeat that one more time? | |||
| monster Supporter Username: Monster Post Number: 960 Registered: 7-2002 |
He said, } | |||
| Mayor McCheese Supporter Username: Mayor_mccheese Post Number: 403 Registered: 7-2004 |
Oh my God, Dave! What are you doing. You can't just cut down the thread like that. I demand retribution! | |||
| Lucy Supporter Username: Lucy Post Number: 67 Registered: 5-2005 |
Monster what picture will you come up with next after your view of the world? | |||
| monster Supporter Username: Monster Post Number: 963 Registered: 7-2002 |
It's not my view of the world, it's just a few images that strike me one way or another....  | |||
| monster Supporter Username: Monster Post Number: 964 Registered: 7-2002 |
And now for something completly different  |
Henry VIII