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Columbia University. Retrieved The Straight Dope. Cecil Adams. Human Sexuality, Ethnoculture, and Social Work.

Sex Encyclopaedia. Retrieved on January 7, Human Sexuality and Its Problems. Law, sex, and Christian society in medieval Europe.

Sex and the Gender Revolution. What your mother never told you about s. Perigee Trade. Better Sex. Men's Health.

Sex or Symbol? The Lovers' Guide. Tantra and Kama Sutra Sex Positions. Universal Publishers. Savvy Miss. Best Love Making Positions and Techniques.

Sex Therapy in Philadelphia. Sexual Health Center. Magnus Hirschfield Archive for Sexuality. Archived from the original on Taking the First Steps.

Times Online. Autumn Rose. Sabelis, E. Mooyaart 18 December. BMJ : PMID Getting Pregnant Tips. Pregnancy Info. March of Dimes. Pregnant Store. McKinley Health Center.

Chicago Tribune. Women Who Love Sex. Womanspirit Press. Things Fall Apart. What is the Best Position for Making Love? Oxford Journals.

J Rodriguez, J. International Journal of Impotence Research. Sexual Behavior in the Human Female. Raquel Avila.

Petting, e. China Product Making violins A new violin scroll being carved. The outer contour of a new violin, one of the more important aspects of the instrument, is designed by the violin maker, and today the outlines of the old masters' violins are usually used.

Different methods of violin making include using an inside mould, an outside mould, or building "on the back" without a mould. From these plans a template is constructed, which can be made from thin metal or other materials, and is a flat "half-violin" shape.

The completed "garland" of ribs, blocks, and linings is removed from the mould to allow attachment of the separately carved top and back.

When the body is complete, the neck, which is carved out of a separate piece of wood usually maple , is set in its mortise to complete the basic structure of the instrument, after which it is varnished.

Vital to the sound and playability of the instrument is setup, which includes adjusting the neck angle if needed, fitting the pegs so they turn smoothly and hold firmly, dressing the fingerboard to the proper scooped shape, fitting the soundpost and bridge, adjusting the tailgut and installing the tailpiece, and stringing up.

A removable chinrest may be put on at this time. Then the instrument begins the "playing-in" process, as its parts adjust to the string tension.

The sound of a violin is said to "open up" in the first weeks and months of use, a process which continues more gradually over the years.

Maintenance Quite as important as the excellence of the instrument is its care. With careful maintenance, a violin can last and improve for many years.

A well-tended violin can outlive many generations of players, so it is wise to take a curatorial view when caring for a violin. Most importantly, if the collected rosin dust is not wiped from the varnish, and left for long enough, it will fuse with the varnish, and become impossible to remove without damage.

Cleaning the rosin off strings can make a striking difference to the sound. A common wine cork serves admirably, quietly scrubbing off the crust of rosin without damaging the winding of the string.

A dry microfiber cloth is often recommended; it retains the dust well, but makes a penetrating squeaking noise. A cloth with a little rubbing alcohol is effective, if care is taken to protect the top from the slightest chance of stray droplets of alcohol touching the varnish.

The use of alcohol is generally avoided, as it easily damages violin varnish in ways which may be difficult or impossible to restore.

The tuning pegs may occasionally be treated with "peg dope" when they either slip too freely, causing the string to go flat or slack, or when they stick, making tuning difficult.

The violin will benefit from occasional checks by a technician, who will know if repairs need to be made. Violinists generally carry replacement sets of strings with their instruments to have a spare available in case one breaks.

Even before breaking, worn strings may begin to sound tired and to become "false" over time, producing an unreliable pitch.

Another common problem with strings is unravelling of the metal winding. Strings may need replacement every two or three months with frequent use.

The higher strings require replacement more frequently than the lower strings fortunately higher strings cost less. The price of strings varies, and the quality of the strings strongly influences the timbre of the sound produced.

A teacher can advise students how often to change strings, as it depends on how much and how seriously one plays. For the bow, the only real maintenance is regular cleaning of the stick with a cloth, and re-hairing.

In the course of playing the violin, hairs are often lost from the bow, making it necessary to have it rehaired periodically, which is done by professionals at roughly the cost of a new set of strings.

The old horse hair is replaced with new hair. Other maintenance may include replacing the wire lapping and leather grip, or lubricating the screw.

Large cracks and breakages in the bow are usually fatal; they cannot be repaired like the body of the instrument can. A bow which has warped and is no longer straight can sometimes be bent back to true or re-cambered, but this must be done with heat by a craftsman, and it is not always successful or worthwhile.

Loosening the hair when the bow is not being used helps keep the bow from becoming "sprung," or losing its camber, and the hair from becoming stretched.

There are now bows available made from fiberglass or carbon composite which are less fragile. Sound post adjustment Main article: Sound post The position of the sound post inside the violin is critical, and moving it by very small amounts can make a substantial difference in the sound quality and loudness of an instrument.

Soundpost adjustment is as much art as science, depending on the ears, experience, structural sense, and sensitive touch of the luthier.

Moving the sound post has very complex consequences on the sound; in the end, it is the ear of the person doing the adjusting that determines the desired location of the post.

As a rough guide of how the sound post influences the sound output of the violin there are a few positions that can help find the right spot: If the sound is too thin and shrill, the post may be too near the f hole or too tight or possibly the post is too thin.

If the sound is weak and there is a loss of power especially on the lower register , the post may be too near the center of the instrument.

If the sound is chocked, the post may be to near the bridge foot or under it. If there is a loss of overall power and tone, the post may be too far behind the bridge or possibly the post is too thick.

China Product Early life and education Although Weir would later become known for the visually distinctive art style of his games, he received little formal art training, other than occasional art and cartooning classes while growing up.

At college he produced a weekly comic in his college newspaper called he Absolute Sum of All Evil. He takes responsibility for the graphics, the programming, and the design of the games.

Weir's games are developed start to finish, and then offered up for sponsorship as a complete product. Says Weir, "That means that I get to maintain creative freedom, although it does introduce uncertainty.

I never quite sure if a game is going to get sponsors interested at all. Necropolis Screenshot of Necropolis showcasing the game's memorably dark and gloomy presentation.

Weir's first complete Flash game was Necropolis. Released in October and sponsored by Spanish gaming portal MiniJuegos. Lilian Trevithick, lady adventurer and radical steam technician, who has come to the infamous Necropolis of Ao in search of adventure".

The game presents the action from a top down perspective. Players explore 25 procedurally-generated levels, looking on each level for treasure, a lever to unlock the stairs to the next level, and then the stairs themselves.

At the same time the player tries to avoid harmful spike and steam traps. Players are asked to manage three statistics: Dodge, representing their ability to avoid damage from traps; Detect, representing their ability to discern hidden traps; and Disable, representing their ability to disarm traps to proceed past them.

Players also collect health tonics, which can be consumed to restore life energy, and disposable tools, which can be used to disarm traps, as well as a range of equipment which can be used to boost some or all of the three statistics.

Gold can also be found, which serves no purpose during the game but acts as a scoring mechanism.

Necropolis bears many similarities to roguelike games, being essentially an exploration of a procedurally-generated dungeon.

Its distinctive features are its pensive looping music and its dark, shadow-filled presentation. Critical reception Necropolis received little critical attention.

Jay Is Games featured it in a "Link Dump Friday" after the release and popularity of The Majesty of Colors, and felt its most noteworthy qualities were its female protagonist and its creator, Gregory Weir.

The player controls the tentacle of the sea-creature pictured bottom-right. It casts players in the role of a tentacled sea creature, and offers them a chance to interact with humans, creatures, and objects in and around an area of sea.

The player's actions can be benevolent towards the humans and creatures, or destructive. The actions of the player determine which of five different endings will be shown.

Weir described the game as "pixel-horror". The game is memorable for its blocky pixel art style. Said Weir, "What I try to do is fit the art to the game.

Majesty is really a very simple game, with simple controls and a simple-minded protagonist, so I went for blocky pixel art, which is both easy to make and evokes a simpler era of video games.

The most complex visual element is the creature's tentacle, which utilises an inverse kinematic system more commonly used in 3D animation.

Lovecraft's commonplace book. Says Weir, "I had the idea of an enormous creature from beneath the waves discovering the world above.

When I think of the deep ocean, I imagine darkness and a lack of color. When I think of color at its simplest, balloons come to mind: floating spheres in primary shades.

In deciding on the art style, Weir drew inspiration from Daniel Benmergui's Flash game I Wish I Were the Moon, "which had similarly surreal premises and simple gameplay".

Weir decided that a similar "chunky, low-res pixel style" would work well for Majesty. Original designs involved a creature with two independently-controlled tentacles, but during development Weir cut the control down to a single limb, suggesting but not showing additional tentacles through the position of the creature's body.

The finished game presents some of the story through evocative prose. However, Weir has since stated he feels this was a mistake, saying without text it would have been a "cleaner, purer game".

The sounds used in the game were obtained from website soundsnap. Weir obtained sponsorship for the game by posting it on the FlashGameLicence website and directly emailing potential sponsors.

Weir has stated that although he is pleased with his experiences with FlashGameLicence, most of the sponsorship interest in the game came as a result of his direct emails.

The game was first posted on FlashGameLicence on November 15, and a sponsorship deal with Kongregate worth "several thousand dollars" was finalised by December 10 of that year.

Weir claims the sponsorship money, when combined with advertising revenue and a secondary site-locked sponsorship, represents "over a hundred dollars for each hour [Weir] spent on the game".

Critical reception The Majesty of Colors was critically well-received and gained endorsements on sites ranging from Kotaku to Penny Arcade.

Said Weir, "I think that Majesty appeal is that it provides a very unified aesthetic, and makes players feel what it would be like to be a titanic, tentacled horror from beneath the waves who really only wants to be loved.

Penny Arcade's Jerry Holkins described it as "an electronic poem". Jay Is Games noted Majesty's similarity to I Wish I Were The Moon, but thought that Majesty was more compelling because its interface was "more concrete and personal" and because of the strength of its narration.

Jay Is Games also praised Majesty's pixel art and its strong focus on emotion and atmosphere, with the only criticism being a disappointment that the game didn't support more unscripted interactions between the sea creature and its environment.

Play This Thing described Majesty as "a poetic exploration of alienation and social interaction" and a "precious snowflake of content that unfolds like one of those paper-folded fortune tellers kids play with", but complained that ultimately all decisions in the game result in one of only five endings, creating an incentive to game the experience.

As of January , The Majesty of Colors had been played , times. In January of Weir made a resolution to "release at least one new game each month for the year of ".

The first of these games was Bars of Black and White, released in late January of that year. At face value Bars is a room escape game, where the player is given the role of an anonymous apartment-dweller who discovers their front door has become inexplicably locked, trapping them in their apartment along with the comment "Weird I don't remember ever having a key.

The game environment is filled with non-sequitur mysteries and each mystery when solved arms the player with new items, new information, or transforms the environment.

The game is presented from a first-person perspective and interaction is by way of the mouse. The player's chief tool is a barcode scanner, which can be used by clicking the left mouse button and dragging the mouse cursor across any of the many barcodes embedded in the environment.

When scanned, barcodes produce a string of text. Bars of Black and White is presented through hand-drawn black-and-white still images.

Said Weir, "I wanted the strong black-and-white aesthetic combined with sketchy line drawing to reflect the fact that the protagonist perceptions of the world are not entirely accurate.

The player later discovers this sound is diagetic, being played by a tape player hidden behind a wall. The game explores themes of reality, paranoia, and sanity.

The facade of the apartment peels back as the game progresses, with hidden observation stations lurking behind the apartment walls and a window ostensibly showing the outside world revealed as an implausible fake opening onto a painted background.

Barcodes are hidden in steadily more ludicrous locations, including fence palings and the stripes of a zebra, and the increasingly ominous text prompts the player to question whether the game's protagonist is at the centre of a complex conspiracy, or merely losing their grip on reality.

The game's format, structure, and story evoke the conventions of the room escape genre, along with games such as Silent Hill 4, which featured a protagonist locked in his apartment under mysterious and disturbing circumstances.

Jay Is Games called it "truly compelling and emotionally evocative". IGN called it "short but poignant". Criticism largely focused on the game's short length it can be completed in less than ten minutes and the fact that unobservant players can complete the entire game without encountering its central conceit, the barcode scanner.

Exploit Screenshot of Exploit showing one of the game's more complex puzzles. Developed in February and released in early March of that year, Exploit is "a game about totalitarianism, computer security, and terrorism".

It was the second game released pursuant to Weir's goal of creating a game every month of It casts players in the role of a hacker attempting to gain access to a range of government and corporate computer networks.

Gameplay takes the form of a series of static puzzles. Players control orange "ports" located around the edge of a grid.

Clicking on a port using a mouse causes it to fire a "packet" into the grid, which interacts with objects located on the grid in a variety of ways.

The goal in each puzzle is to cause at least one packet to reach a green "root node" located somewhere on the grid. Success requires planning and careful timing.

The game features over 50 puzzles, divided across a "story mode" which sets the levels in the context of a narrative and a "challenge mode" which contains more difficult free-standing levels.

There is also a level editor where users can create their own levels and share them with other players by distributing unique codes.

Exploit features a soundtrack by Evan Merz which Weir has made available for free download through his blog Ludus Novus. The game was sponsored by casual games portal Kongregate.

Critical reception Exploit was generally well-received and developed a small but active following of fans who create and share levels.

Kyle Moore at Jay Is Games gave it a positive review, calling particular attention to the game's story mode. They were not hugely impressed by the game's hacking theme, saying, "The game itself doesnt have a whole lot to do with actual hacking; its an abstract logic tracing game with time sensitivity on a turn-based cycle," and adding that the game's depiction of encryption systems presented them as more effective than they actually are in real life.

As of July , Exploit had been played 1. Sugarcore Screenshot of Sugarcore showing typical play. Sugarcore is a game by Gregory Weir which Weir describes as "a game about bullets, naturally-occurring candy formations, and the hazards of gardening".

Although the game was developed in October and November of , prior to completion of The Majesty of Colors, it remained unpublished due to a lack of sponsors until March , when Weir finally released it sponsor-less as the third of Weir's "12 games for ".

The game casts the player as a "candy miner", tasked with extracting valuable candy from a colourful rotating ball of confectionary.

Each of the game's level presents a different ball composition with different goals. Missiles are launched towards the ball on a regular schedule and the player must rotate the ball to ensure each missile hits its desired target.

The ball is made up of several layers of confectionary and often the player is required to help the missile steer past worthless or dangerous outer layers to hit key targets deeper inside, including the titular "sugarcore" which, when hit, detonates the ball and ends the level.

The game was conceived as "a radial Breakout" and shares elements with that game such as brightly coloured layered bricks which are destroyed by incoming projectiles.

As of July it had been played , times. Influences Among the games that Weir has suggested influence his work is Shadow of the Colossus, which he praises as "an incredibly emotional work", drawing attention to that game's schism between the goal of killing huge creatures while at the same time feeling ambivalent about the morality of those actions.

He also speaks fondly of Planescape: Torment, which he says "continually asks the question, 'What can change the nature of a man?

Retrieved February 26, Luds Novus. Casual Gameplay Jay Is Games. Retrieved March 1, Retrieved March 2, Penny Arcade. Play This Thing!. Ludus Novus.

June 16, March 4, Categories: Game designers. But before that company had a history that stretched back to Itel, an early player in the mainframe market.

NAS shifted from manufacturing mainframes and began marketing systems from Hitachi. For many years, HDS sold both Hitachi IBM-compatible mainframes and storage systems, but in exited the mainframe business and shifted its focus to enterprise storage.

Itel was an equipment leasing company founded in by Peter Redfield and Gary Friedman, initially focusing on leasing IBM mainframes.

Through creative financial arrangements and investments, Itel was able to lease IBM mainframes to customers at costs below what customers would have paid IBM, making them the second to IBM itself in revenues due to leasing of IBM mainframes.

While Itel had not expected quick change in semiconductor technologies, Charlie Sporck, CEO of National Semiconductor, saw opportunities by tempting Itel to longer term commitments in response to request by Itel for lower prices in order to compete with IBM.

Itel succumbed to commitment. Even though Hitachi had agreed to Itel's request to cut back on shipment, National Semiconductor was adamant in implementing what the industry had termed as National's blackmailing of Itel.

National and Hitachi quite often depended on IBM's gradual and restrained roll-out of newer models to feed on IBM's technology and market share and hence NAS enjoyed occasional successes.

However, IBM had invested and obtained significant success in semiconductor technologies which enabled them to build more powerful computers at lower costs.

They were also introducing the Unix operating system gradually into their computers. IBM had also introduced the Personal Computer.

The entity was renamed Hitachi Data Systems. Products and services Partial list of hardware products Universal Storage Platform.

The Hitachi Adaptable Modular Storage line is designed for fault tolerant mission critical storage needs and uses a symmetric active-active controller architecture.

Computerworld Storage Network World Online. Funding Universe. The New York Times. February 13, Boca Raton News.

Business Week. Hitachi Data Systems. Sun Microsystems. DS Partners. Retrieved September 11, In , EMD updated their locomotive catalog with entirely new models, all powered by the new diesel.

All shared standardized components, including the frame, cab, generator, trucks, traction motors, and air brakes.

Secondary characteristics could include a higher gear ratio for faster running, addition of the graduated-release feature to the air brakes, type F tight-lock couplers to keep equipment together in the event of a derailment, or extra signals and communication equipment.

Of these, the steam generator was the largest, and had the greatest impact on the locomotive's appearance. To fit a steam generator to the freight-only SD40, the designers had to move all the machinery forward about two feet on the frame, add a compartment behind the radiators for the boiler, and divide the fuel tank into fuel and water sections.

The SDP40 instead has the rugged appeal of a high-horsepower road-switcher. Visually, the SDP40 is a hood unit distinguished only by the shape of its rear end behind the radiators, with its flat end having no number boards, shuttered boiler air intake on each side, extra exhaust stacks over the boiler, cantilevered walkway around the flat end, and very steep rear steps.

Amtrak's SDP40F locomotive, although sharing several mechanical specifications, is visually a much different locomotive.

It had a full-width carbody, similar to the FP It was also six feet longer than the SDP Original Owners Passenger locomotive purchases in Canada, the United States and Mexico during the 's were limited to units.

In most cases, the purchaser intended to save costs by replacing older, less powerful locomotives. NdeM's 14 were ordered in two groups: Ten in and four in In , the government of Mexico privatized the NdeM, and the locomotives were split between two successor companies.

These eight have roamed freely in the United States. The other six went to Ferromex. The steam generator air intake was plated over during the rebuild.

This rebuild resulted in removal of most of the steam generator compartment and installation of rear switching steps.

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