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Sunday, 12 October 2014

Tesla's Alien Enhanced Genius by Art Greenfield Founder UFO Channel AN ARTICLE

Tesla's Alien Enhanced Genius

Tesla's Alien Enhanced Genius
by Art Greenfield
Founder UFO Channel
 
Nikola Tesla's work has an alien origin. This can be seen in Tesla's own autobiography. From Tesla's own words, he was obviously abducted and inadvertently given a master control implant that allowed him to mentally access the database in the alien artificial intelligence mainframe computer that was located somewhere near Vienna, Austria. That implant allowed him to do very advanced things, like crystal clear remote viewing, projecting holograms of advanced equipment that others could see, projecting images of blueprints of advanced alien equipment into the minds of people in another room, and more. Those master implants are what the aliens themselves use. The aliens probably meant to give one of their standard locator implants to Tesla during his abduction. The standard implant abductees usually receive is like a high tech GPS cow bell that helps the aliens find you when they want to re-abduct you.
Tesla's implant enhanced mental capabilities.
In Tesla’s autobiography, he described what was going on in his mind, and the fact that he was now able to project the blueprints he saw in his mind into the mind of a person in another room. He was also able to accomplish remote viewing, even being able to fly his consciousness around to look at things near and far. He saw that he could project the images of equipment he mentally accessed in the alien database like a hologram, so that other people could see them. He said he was able to seek out the minds of other people at great distances, communicate with them, and make friends with them. These abilities are all capabilities he got from a master control implant. All of his senses were greatly enhanced. He could hear the thud of a fly landing on a table, and see things far away like through the eyes of an eagle.
The above is a short synopsis of Tesla's enhanced senses from his autobiography. The excerpts from his work below was copied verbatim from his autobiography. It shows how Tesla really acquired the ideas and "blueprints" for his inventions, based on Tesla's own recollections. Keep in mind here that those master control implants are normally only implanted into the Gray aliens that do abductions. It was probably put in Tesla in error. That implant performs several functions that allow the Grays to conduct their abduction operations. It acts like a modem and gives them a direct link to their ship's computer. It allows the Grays to mentally dominate abductees through contact with the abductee's implant, it allows mind to mind communication with the abductee by transmitting the alien's thoughts to the abductee's implant. That is called synthertic telepathy. The Grays can even use their control implant to render an abductee unconscious.
Below are some excerpts from Tesla's autobiography showing how the implant functioned from Tesla's viewpoint to aide him mentally (and unknowingly) in not only accessing technology in the alien's data banks, but doing computer modeling to pretest the equipment before he even put it on paper and built his "inventions." Tesla’s full autobiography is at:
http://www.amasci.com/tesla/biog.txt
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Tesla: In attacking the problem again, I almost regretted that the struggle was soon to end. I had so much energy to spare. When I understood the task, it was not with a resolve such as men often make. with me it was a sacred vow, a question of life and death. I knew that I would perish if I failed. Now I felt that the battle was won. Back in the deep recesses of the brain was the solution, but I could net yet give it outward expression.
One afternoon, which is ever present in my recollection, I was enjoying a walk with my friend in the city park and reciting poetry. At that age, I knew entire books by heart, word for word. One of these was Goethe's "Faust." The sun was just setting and reminded me of the glorious passage, "Sie ruckt und weicht, der tag ist uberlebt, dort eilt sie hin und fordert neues leben. Oh, da§ kein flugel mich vom boden hebt ihr nach und immer nach zu streben! Ein schšner traum indessen sie entweicht, ach, au des geistes flŸgein wird so leicht kein korperlicher flugel sich gesellen!" As I uttered these inspiring words the idea came like a flash of lightening and in an instant the truth was revealed. I drew with a stick on the sand, the diagram shown six years later in my address before the American Institute of Electrical Engineers, and my companion understood them perfectly. ***The images I saw were wonderfully sharp and clear and had the solidity of metal and stone, *** so much so that I told him, "See my motor here; watch me reverse it." I cannot begin to describe my emotions. Pygmalion seeing his statue come to life could not have been more deeply moved. A thousand secrets of nature which I might have stumbled upon accidentally, I would have given for that one which I had wrested from her against all odds and at the peril of my existence...
There was a large flour mill with a dam across the river near the city where I was studying at the time. As a rule the height of the water was only two or three inches above the dam and to swim to it was a sport not very dangerous in which I often indulged. One day I went alone to the river to enjoy myself as usual. When I was a short distance from the masonry, however, I was horrified to observe that the water had risen and was carrying me along swiftly. I tried to get away but it was too late. Luckily, though, I saved myself from being swept over by taking hold of the wall with both hands. The pressure against my chest was great and I was barely able to keep my head above the surface. Not a soul was in sight and my voice was lost in the roar of the fall. Slowly and gradually I became exhausted and unable to withstand the strain longer. Just as I was about to let go, to be dashed against the rocks below, *** I saw in a flash of light a familiar diagram illustrating the hydraulic principle that the pressure of a fluid in motion is proportionate to the area exposed*** and automatically I turned on my left side. As if by magic, the pressure was reduced and I found it comparatively easy in that position to resist the force of the stream. But the danger still confronted me. I knew that sooner or later I would be carried down, as it was not possible for any help to reach me in time, even if I had attracted attention. I am ambidextrous now, but then I was left-handed and had comparatively little strength in my right arm. For this reason I did not dare to turn on the other side to rest and nothing remained but to slowly push my body along the dam. I had to get away from the mill towards which my face was turned, as the current there was much swifter and deeper. It was a long and painful ordeal and I came near to failing at its very end, for I was confronted with a depression in the masonry. I managed to get over with the last ounce of my strength and fell in a swoon when I reached the bank, where I was found. I had torn virtually all the skin from my left side and it took several weeks before the fever had subsided and I was well. *** These are only two of many instances, but they may be sufficient to show that had it not been for the
inventor's instinct, I would not have lived to tell the tale.***
There was another and still more important reason for my late awakening. In my boyhood I suffered from a peculiar affliction ****due to the appearance of images, often accompanied by strong flashes of light,*** which marred the sight of real objects and interfered with my thoughts and action.*** ***They were pictures of things and scenes which I had really seen, never of those imagined. When a word was spoken to me the image of the object it designated would present itself vividly to my vision and sometimes I was quite unable to distinguish whether what I saw was tangible or not.*** ***This caused me great discomfort and anxiety. None of the students of psychology or physiology whom I have consulted, could ever explain satisfactorily these phenomenon.*** ***They seem to have been unique although I was probably predisposed as I know that my brother experienced a similar trouble.***
***The theory I have formulated is that the images were the result of a reflex action from the brain on the retina under great excitation.*** ***They certainly were not hallucinations such as are produced in diseased and anguished minds, for in other respects I was normal and composed.*** ***To give an idea of my distress, suppose that I had witnessed a funeral or some such nerve-wracking spectacle. The, inevitably, in the stillness of night, a vivid picture of the scene would thrust itself before my eyes and persist despite all my efforts to banish it.*** ***If my explanation is correct, it should be possible to project on a screen the image of any object one conceives and make it visible. such an advance would revolutionize all human relations. I am convinced that this wonder can and will be accomplished in time to come. I may add that I have devoted much thought to the solution of the problem.***
*****I have managed to reflect such a picture, which I have seen in my mind, to the mind of another person, in another room.***** To free myself of these tormenting appearances, I tried to concentrate my mind on something else I had seen, and in this way I would often obtain temporary relief; but in order to get it I had to conjure continuously new images.*** ***It was not long before I found that I had exhausted all of those at my command; my 'reel' had run out as it were, because I had seen little of the world -- only objects in my home and the immediate
surroundings.*** ***As I performed these mental operations for the second or third time, in order to chase the appearances from my vision, the remedy gradually lost all its force. *****Then I instinctively commenced to make excursions beyond the limits of the small world of which I had knowledge, and I saw new scenes. <<--(very enhanced remote viewing) These were at first very blurred and indistinct, and would flit away when I tried to concentrate my attention upon them. They gained in strength and distinctness and finally assumed the
concreteness of real things. I soon discovered that my best comfort was attained if I simply went on in my vision further and further, getting new impressions all the time, and so I began to travel; of course, in my mind. every night, (and sometimes during the day), when alone, I would start on my journeys -- see new places, cities and countries; live there, meet people and make friendships and acquaintances and, however unbelievable, it is a fact that they were just as dear to me as those in actual life, and not a bit less intense in their manifestations.*****
*****This I did constantly until I was about seventeen, when my thoughts turned seriously to invention.***** *****Then I observed to my delight that I could visualize with the greatest facility.***** I needed no models, drawings or experiments. I could picture them all as real in my mind. Thus I have been led unconsciously to evolve what I consider a new method of materialising inventive concepts and ideas, which is radially opposite to the purely experimental and is in my opinion ever so much more expeditious and efficient.******
<<I think you are starting to get the idea>>
The moment one constructs a device to carry into practice a crude idea, he finds himself unavoidably engrossed with the details of the apparatus. As he goes on improving and reconstructing, his force of concentration diminishes and he loses sight of the great underlying principle. Results may be obtained, but always at the sacrifice of quality. *******My method is different. I do not rush into actual work. When I get an idea, I start at once building it up in my imagination. I change the construction, make improvements and operate the device in my
mind. It is absolutely immaterial to me whether I run my turbine in thought or test it in my shop. I even note if it is out of balance. There is no difference whatever; the results are the same. In this way I am able to rapidly develop and perfect a conception without touching anything.******* *****When I have gone so far as to embody in the invention every possible improvement I can think of and see no fault anywhere, I put into concrete form this final product of my brain. Invariably my device works as I conceived that it should, and the experiment comes out exactly as I planned it.***** *****In twenty years there has not been a single exception. Why should it be otherwise? Engineering, electrical and mechanical, is positive in results. There is scarcely a subject that cannot be examined beforehand, from the available theoretical and practical data. The carrying out into practice of a crude idea as is being generally done, is, I hold, nothing but a waste of energy, money, and time.*****
My early affliction had however, another compensation. The incessant mental exertion developed my powers of observation and enabled me to discover a truth of great importance. I had noted that the appearance of images was always preceded by actual vision of scenes under peculiar and generally very exceptional conditions, and I was impelled on each occasion to locate the original impulse. After a while this effort grew to be almost automatic and I gained great facility in connecting cause and effect. *****Soon I became aware, to my surprise, that every thought I conceived was suggested by an external impression.***** ***** Not only this but all my actions were prompted in a similar way. In the course of time it became perfectly evident to me that I was merely an automation endowed with power of movement responding to the stimuli of the sense organs and thinking and acting accordingly. The practical
result of this was the art of teleautomatics which has been so far carried out only in an imperfect manner. Its latent possibilities will, however be eventually shown. I have been years planning self-controlled automata and believe that mechanisms can be produced which will act as if possessed of reason, to a limited degree, and will create a revolution in many commercial and industrial departments. I was about twelve years of age when I first succeeded in banishing an image from my vision by willful effort, but I never had any control over the flashes of light to
which I have referred. They were, perhaps, my strangest and [most] inexplicable experience. They usually occurred when I found myself in a dangerous or distressing situations or when I was greatly exhilarated. In some instances I have seen all the air around me filled with tongues of living flame. Their intensity, instead of diminishing, increased with time and seemingly attained a maximum when I was about twenty-five years old. While in paris in 1883, a prominent French manufacturer sent me an invitation to a shooting expedition which I accepted. I had been long confined to the factory and the fresh air had a wonderfully invigorating effect on me. On my return to the city that night, I felt a positive sensation that my brain had caught fire. I was a light as though a small sun was located in it and I passed the whole night applying cold compressions to my tortured head. Finally the flashes diminished in frequency and force but it took more than three weeks before they wholly subsided. When a second invitation was extended to me, my answer was an emphatic no! These luminous phenomena still manifest themselves from time to time, as when a new idea opening up possibilities strikes me, but they are no longer exciting, being of relatively small intensity. *****When I close my eyes I invariably observe first, a background of very dark and uniform blue, not unlike the sky on a clear but starless night. In a few seconds this field becomes animated with innumerable scintillating flakes of green, arranged in several layers and advancing towards me. Then there appears, to the right, a beautiful pattern of two systems of parallel and closely spaced lines, at right angles to one another, in all sorts of colors with yellow, green, and gold predominating. Immediately thereafter, the lines grow brighter and the whole is thickly sprinkled with dots of twinkling light. This picture moves slowly across the field of vision and in about ten seconds vanishes on the left, leaving behind a ground of rather unpleasant and inert gray until the second phase is reached.
Every time, before falling asleep, images of persons or objects flit before my view. When I see them I know I am about to lose consciousness. If they are absent and refuse to come, it means a sleepless night. To what an extent imagination played in my early life, I may illustrate by another odd experience.*****
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Seeing a blue screen in his mind is very interesting. It appears the master control implant tweaked and greatly enhanced all of Tesla's nervous senses too. It even gave him some senses and abilities we don't normally have:
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My sight and hearing were always extraordinary. I could clearly discern objects in the distance when others saw no trace of them. Several times in my boyhood I saved the houses of our neighbors from fire by hearing the faint crackling sounds which did not disturb their sleep, and calling for help. In 1899, when I was past forty and carrying on my experiments in Colorado, I could hear very distinctly thunderclaps at a distance of 550 miles. My ear was thus over thirteen times more sensitive, yet at that time I was, so to speak, stone deaf in comparison with the acuteness of my hearing while under the nervous strain. In Budapest I could hear the ticking of a watch with three rooms between me and the time-piece. A fly alighting on a table in the room would cause a dull thud in my ear. A carriage passing at a distance of a few miles fairly shook my whole body. The whistle of a locomotive twenty or thirty miles away made the bench or chair on which I sat, vibrate so strongly that the pain was unbearable. The ground under my feet trembled continuously. I had to support my bed on rubber cushions to get any rest at all. The roaring noises from near and far often produced the effect of spoken words which would have frightened me had I not been able to resolve them into their accumulated components. The sun rays, when periodically intercepted, would cause blows of such force on my brain that they would stun me. I had to summon all my will power to pass under a bridge or other structure, as I experienced the crushing pressure on the skull. *****In the dark I had the sense of a bat, and could detect the presence of an object at a distance of twelve feet by a peculiar creepy sensation on the forehead.***** My pulse varied from a few to two hundred and sixty beats and all the tissues of my body with twitchings and tremors, which was perhaps hardest to bear. A renowned physician who have me daily large doses of bromide of potassium, pronounced my malady unique and incurable.
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Like most children, I was fond of jumping and developed an intense desire to support myself in the air. Occasionally a strong wind richly charged with oxygen blew from the mountains, rendering my body light as cork *****and then I would leap and float in space for a long time.***** It was a delightful sensation and my disappointment was keen when later I undeceived myself.
<end excerpts>
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From Art: My wife is an abductee and she remembers as a child being able to float around her bedroom as she was being returned from abductions. The aliens float people back into their beds. Are you familiar with diamagnetic lifters? Physicist Andrey Geim won a Nobel Prize in physics working with them.
See:
"Everyone's Magnetism" - Andrey Geim
(From Physics Today, September 1998)
Though it seems counterintuitive, today's research magnets can easily levitate seemingly nonmagnetic objects, thereby opening an earthbound door to microgravity conditions.
http://www.physics.umd.edu/grt/taj/411c/everyonesmagnetism.pdf


Saturday, 11 October 2014

Don’t panic! Can Dad’s Army remake match comedy classic? IN MY OPINION DON'T RUIN A CLASSIC

DADS
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A new Dad’s Army film is expected to draw huge cinema audiences when it is released in 2016. Simon Parker considers the possible pitfalls of trying to recreate a British institution
Who do you think you are kidding, Mr Parker...?
Toby Jones as Captain Mainwaring? Bill Nighy as Sergeant Wilson? Tom Courtenay as Corporal Jones? Don’t panic!
It was announced this week that director Oliver Parker had begun filming a big screen version of Dad’s Army, with a stellar cast that includes Michael Gambon, Bill Paterson, Blake Harrison, Danny Mays, Mark Gatiss, Catherine Zeta Jones and even Alison Steadman. Shooting will mostly take place in Yorkshire, with an initial release date of early 2016.
Possibly the most popular TV sitcom of all time, the story of a hapless bunch of Home Guard recruits who meet in a Walmington-on-Sea church hall in order to defend Britain against an imminent Nazi invasion, is rare among period comedies in that... it’s still funny.
An enduring staple of current daytime TV schedules, via channels like Dave and UK Gold, its appeal for today’s retired generation is twofold – the older ones can remember the war, while the younger ones grew up laughing along with the likes of Arthur Lowe, John Le Mesurier, Clive Dunn, Ian Lavender, Arnold Ridley, John Laurie, James Beck and Bill Pertwee.
I know it may seem like only yesterday – possibly because Dad’s Army is repeated as often as Only Fools And Horses and Gavin And Stacey – but the last time the BBC screened a new episode was way back in 1977. Think Jim Callaghan, Kenny Dalglish, British Leyland strikes, 16 per cent inflation, the Queen’s Silver Jubilee and The Sex Pistols.
The 1940s-based 30-minute show, which ran for nine series and a massive 80 episodes from 1968 to 1977, is still fondly regarded as one of Britain’s greatest TV comedies. In 2004 it came fourth in a BBC vote to find Britain’s best sitcom of all time – beaten only by Only Fools And Horses, Blackadder and The Vicar of Dibley.
For that reason, tampering with something as popular and deeply embedded in the collective psyche as Mainwaring & Co is always going to be a risk. So why do it? Presumably its makers believe it is precisely because of the show’s enduring charm that it is likely to be a guaranteed box office hit. Mmm... just like the film version of Steptoe And Son? Or Bilko? Or Till Death Us Do Part? Or The Likely Lads? Even Eric and Ernie couldn’t make people laugh in The Intelligence Men. Then there was On The Buses. Oops, my mistake, On The Buses was rubbish on the telly, too.
And let’s not forget there is a precedent to the latest project. The first Dad’s Army feature film was shot at Shepperton Studios and premiered in 1971. Even then, with the television show consistently topping viewing figures, the big screen version received a mixed reception.
Perhaps the key to the success, or otherwise, of the forthcoming Dad’s Army film will be its ability to appeal to a new generation of cinema-goers with no knowledge of the Croft-Perry original.
Oliver Parker’s big screen remake will feature the writing talents of Hamish McColl, whose previous credits include Johnny English Reborn and Mr Bean’s Holiday. It remains to be seen, however, if McColl’s comic couplets can compare to those immortalised by Jimmy Perry and David Croft any more than Tom Courtenay can fill the shoes of Clive Dunn.
Let’s face it, Dad’s Army wouldn’t be Dad’s Army without all the character catch-phrases and one-liners. Will McColl be at liberty to use them?
Cinema audiences will inevitably be waiting to hear them all. Oh, come on readers, let’s indulge ourselves: “Don’t panic, Captain Mainwaring... my sister Dolly’s upside down cake... stupid boy... put that light out... the vicar’s not going to like this... would you mind awfully just falling in, in your own time...”
All of which begs the question as to what – assuming he’s allowed to plunder that little lot and more – there is left for Mr McColl to do with his pencil, other than whip up a handful of new and improbable scenarios. Insiders have hinted that the new story line will involve Catherine Zeta Jones playing a glamorous journalist sent to report on Walmington-on-Sea Home Guard before MI5 discovers a German spy in the town.
What do you think of that? Don’t tell him, Pike!
Diehard fans have already – somewhat inevitably – voiced their doubts, with Twitter and Facebook awash with comments like “please don’t ruin the greatest sitcom ever” and “very dubious about this remake”.
However, producer Damian Jones is making lots of reassuring noises, stating that the film will “remain faithful to the spirit of the original show”.
Let’s hope he and Oliver Parker are true to their word. Otherwise, like fuzzy-wuzzies, I’m pretty sure they won’t like it up ’em!


Read more: http://www.westernmorningnews.co.uk/Don-8217-t-panic-Dad-8217-s-Army-remake-match/story-23092099-detail/story.html#ixzz3FqRY0MA2 
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BIRDS STRIKE PLANES?

Why are birds numbers increasing on strikes on airplanes .Is it man ignoring the birds mitigation habits?arnithologists    are baffled .The most common birds to strike planes  are-HERRING GULLS,SKYLARKS,WOOD PIGEONS ,COMMON GULL ,SWIFT,SWALLOW.A study in AMERCIA showed that nearly half of bird strikes happen shortly before landing or just after takeoff.

GHOSTBUSTERS ARE GIRLS?

Sorry folks the next GHOSTBUSTERS film is going to be an all female line up and to be directed by Paul Feig.

Isaac Rodriguez-https://www.facebook.com/entertainmentimages AN ARTCILCE

Hi Ghostman
We are both members of
And the music never stopped Facebook group page. I am an entertainment photographer that shoots concerts and other types of entertainment. I just launched my new Facebook page. In this page I share pictures of events I attend. I would like to take this opportunity to personally invite you to take a look at my page. If you think it's good please like and share.
www.Facebook.com/entertainmentimages
Thank you and have a great day!!!!

Garlic injection could tackle tree diseases

Injecting trees with a concentrated form of garlic might help save trees in the UK from deadly diseases.
Operating under an experimental government licence, a prototype piece of technology to administer the solution is being trialled on a woodland estate in Northamptonshire.
Widespread use of the injection process is impractical and expensive.
But it could potentially help save trees of historic or sentimental value.
Garlic is one of nature's most powerful antibacterial and antifungal agents.
It contains a compound called allicin, which scientists are interested in harnessing.
The experimental injection device is made up of a pressurised chamber and eight "octopus" tubes.
The pressure punches the solution through the tubes and through special injection units in to the tree's sap system. The needles are positioned in a way to get allicin evenly around the tree.
The moment the active agent starts to encounter the disease, it destroys it. The poison is organic and isn't rejected by the tree.READ MORE AND SEE VIDEO LINK-http://www.bbc.co.uk/news/science-environment-29522647

6 FT SPIDER WEB IS COOL.

This is  a picture of a 6 ft spider web made by a spider only 1 and a half inches long outside a garage in Colerne ,Wilts.

Man believes snake spotted in East Grinstead is king cobra which has been eating cats

DEADLY: A king cobra can deliver enough venom in one bite to kill an elephant or 20 peopleA MAN who believes he saw a deadly cobra crossing a footpath outside Queen Victoria Hospital fears recent cases of missing cats could be linked to the reptile.
Trevor Gamble, 49, saw a snake outside the hospital on Holtye Road at 11.40am on Sunday morning as he was walking to his home which is on the same road.
Mr Gamble said he “almost earned a Darwin award for inadvertently doing something really stupid” after bending down to get a closer look, not believing at the time it could be dangerous because it was in Britain.
When the snake reared up and “spread what looked like a hood” around its head he suddenly panicked and stood stock still.

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He explained: “I’ve got a bit of OCD (Obsessive Compulsive Disorder) about losing things so I always look behind myself every now and then. I turned around to look back and I saw the snake come onto the path as if it had been waiting for me to pass.”
Mr Gamble then lived up to his name and decided to try and grab the snake by the tail to get a better look at its markings when it reared up and “its head came up to just above my knees”.
He added: “It was swaying there looking right at me; I had my heart in my mouth trying not to breathe. I just held my breath and kept completely still. It was a bit more than an arm’s length away from me, then it just went down and carried on going, obviously deciding I wasn’t a threat.
“That’s when I legged it.”
Mr Gamble described the snake as having a white underside and face with a dark grey body, which is typical of some types of king cobras. The snakes have enough venom in a single bite to bring down an elephant or kill 20 people.
Mr Gamble was so concerned he dialled 999 but was told it wasn’t an emergency so should call 101, the police non-emergency number, which he later did.
Police advised him to contact the RSPCA who passed him on to a company called Proteus Reptile Trust, who deal with the welfare of captive snakes.
Staff there explained they do not deal with snakes spotted in the wild.
A spokeswoman for the RSPCA has since said they were unable to send out an inspector because of a lack of resources meaning they would only do so if they could be directed to the snakes exact location.
Mr Gamble said: I’m just worried because there have been a lot of missing cat posters up in this area recently and I’m thinking maybe they have been dinner for this snake. And I haven’t seen any rats or mice recently either thinking about it."
The RSPCA spokeswoman said: "Because of the volume of calls, our inspectors cannot go out looking for a snake when we don't know where it is but we would ask that if anyone sees it, they could monitor it from a safe distance so we can come out and collect it quickly and take it into safe care.
"As we only have one inspector per 100,000 people and often only one inspector covering a county we do not have the resources to scour the wood looking for a snake.
"In this instance the call was logged as an advice call. We cannot identify snakes over the phone which is why we sometimes ask people to ring other specialised animal welfare organisations."
Mr Gamble said his friends have been somewhat sceptical of his claims. He said: "I told a few friends what I saw and they said 'Trev, had you been drinking?' I said 'no, but I needed a couple of pints afterwards'."
Have you seen the snake around the Holtye Road area? Call our newsdesk on 01737 783860


Read more: http://www.eastgrinsteadcourier.co.uk/Man-believes-snake-spotted-Queen-Victoria-king/story-23034871-detail/story.html#ixzz3FqB4APP1 
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LONELY?

Heard on the radio about people feeling lonely in Devon.Part of this is to in my opinion the following -getting access to transport to get to local groups /clubs the another is we still hang on to the old ways when most of Devon is now full of folk from cities who have a less friendly attitude.

VAMPIRE SLAYING KIT

Picture is of a Victorian Vampire Slaying Kit displayed via Terror and Wonder -The Gothic Imagination Exhibition -British Library ,London.

Sunday, 5 October 2014

FILM PROPS FOR SELL.

There is going to be an array of Hollywood props to go under the hammer -October 6.10.2014 .Vue Entertainment and Prop Store Auction,London among the 375 items are stuff from -James bond,star wars,back to the future,terminator,batman and may more.

Saturday, 4 October 2014

Aids: Origin of pandemic 'was 1920s Kinshasa'

Kinshasa in 1955Kinshasa in 1955 Kinshasa, pictured in 1955, was at the centre of the pandemic, scientists say Continue reading the main story Related Stories Early HIV drugs are 'not a cure' Aids can be 'under control by 2030' HIV origin 'found in wild chimps' The origin of the Aids pandemic has been traced to the 1920s in the city of Kinshasa, in what is now the Democratic Republic of Congo, scientists say. An international team of scientists say a "perfect storm" of population growth, sex and railways allowed HIV to spread. A feat of viral archaeology was used to find the pandemic's origin, the team report in the journal Science. They used archived samples of HIV's genetic code to trace its source, with evidence pointing to 1920s Kinshasa. Their report says a roaring sex trade, rapid population growth and unsterilised needles used in health clinics probably spread the virus. Meanwhile Belgium-backed railways had one million people flowing through the city each year, taking the virus to neighbouring regions. Experts said it was a fascinating insight into the start of the pandemic. HIV came to global attention in the 1980s and has infected nearly 75 million people. It has a much longer history in Africa, but where the pandemic started has remained the source of considerable debate. Family affair A team at the University of Oxford and the University of Leuven, in Belgium, tried to reconstruct-READ MORE-http://www.bbc.co.uk/news/health-29442642

SPIDER IN THE WETROOM

Did this rat carry the PLAGUE? 'Mummified' rodent found during building renovations dates back to the Black Death

The rat (pictured) was discovered in the late 1990s in Cornwall. It was originally found covered in black hair, which has since faded. It is said to be more than 650 years old, and experts believe it may have been interred while still alive, to protect the homeowners. But, no evidence of the disease was found on the rat’s bodyThe rat (pictured) was discovered in the late 1990s in Cornwall. It was originally found covered in black hair, which has since faded. It is said to be more than 650 years old, and experts believe it may have been interred while still alive, to protect the homeowners. But, no evidence of the disease was found on the rat’s body +3 The rat (pictured) was discovered in the late 1990s in Cornwall. It was originally found covered in black hair, which has since faded. It is said to be more than 650 years old, and experts believe it may have been interred while still alive, to protect the homeowners. But, no evidence of the disease was found on the rat’s body However, no evidence of the disease was found on the rat’s body. The mummified remains were found during renovations to the staircase at 107 The Terrace, Penryn. It was originally covered in black hair, but this has faded since the rat was removed. Read more: http://www.dailymail.co.uk/sciencetech/article-2774983/Mummified-rodent-building-renovations-dates-Black-Death.html#ixzz3FBUOvBs3 Follow us: @MailOnline on Twitter | DailyMail on Facebook

I AWAIT A BLOOD TEST

I await upstairs to get my blood test,surrounded by beige walls,green carpets such the norm for a doctors,people sitting by you in a  monk like silence  ,staring into space with frowns on their heads,the door opens the nurse pops out in a cuckoo clock way,so be my turn hurrah.To take the blood a band goes around the arm beware sharp scratch ,blood flows into vessels looking similar to ketchup in horror movies,ready to go to the lab,its over again to next time i hope not soon.

INSECTS FOR TEA

The new food to feed the world  as mentioned by many an expert-insects like- meal worms,thai green curry crickets,barbeque - flavored worms,choc-covered scorpion,buffalo worms.Can,t wait to try  but if the current human population keeps expanding may be in a supermarket soon in future.

TRUE OR FALSE-DORLING KINDERSLEY-£12.99

HEAD LICE LIKE DIRTY HAIR-False-clean or dirty  lice will  jump in and make themselves at home.WE SHARE 96% OF DNA WITH CHIMPS-True-chimpanzees are closest to man with almost identical genes .But as we now all know  every living known organism come from the same family tree.YOU CATCH A COLD FROM BEING CHILLY-False-the only way to catch a cold is from a cold virus.CROCODILES CRY WHEN  EAT PREY-True this happens due to the crocs tear glands  keep moist  and located in their throats,so when the croc feeds by ripping and swallow whole it puts pressure on the glands and hence tears.THE PYRAMIDS WERE BUILT BY SLAVES-False-example -THE GREAT TEMPLE  OF GIZA -was built by a willing workforce from all works of life ,all these facts are part of this book ,worth a read my dear reader.

EARTH WILDLIFE FALLING

A study by WWF has found that earths  wildlife population has dropped by half in past 40 years.The  poorer countries are the biggest fall -58% due to hunting and deforestation.

Wednesday, 1 October 2014

How to give a talk

How to give a talk

So you've been asked to give a talk in front of a seminar--or possibly in front of a much larger audience. Or maybe you've been giving lots of talks, but you wonder about how you can make your talks more effective?The purpose of this page is to present some ideas about presentation style. These are all surface issues and do not address the actual content of your talk (because it is, of course, spectacular). Every single point can be argued, so a justification for the point is given. If you disagree with a point and want to state a reason why you disagree, or have additional tips to share, please send a message to meand your comments will be included if they're reasonable.)I would like to thank James Allen. I used to give lectures and harangues containing this material at Cornell, and James had the idea of writing it down (and making it "somewhat humorous" as some authorities on the Web dryly characterize this page). I can't promise it will be useful for you, but I can say that my students, who followed this advice, have gotten great jobs after graduating as you can see here.What I tell my students about giving talks and writing papers is: Most students, initially, have little idea how to do either. At least I have an idea about this. Try my way for five years. One possibility is it works great for you, and you can use it. The other is it doesn't, and then you can react to it and develop your own style in response. But you can't start with no idea and "react to" that and develop your own style: if you multiply by zero you get zero. By the way, no one in my lab has ever rejected these ideas; instead they have refined them and improved them. You can too.These tips were created in the days of overhead transparencies, but, surprisingly still people find them useful even in the PowerPoint era and beyond. Nevertheless, I have tried to update this with some comments on PowerPoint and other computer projection methods, without repeating the usual advice on "how not to use PowerPoint" (I have my own advice on how not to use it :-) And also how to use it.Translation into Belorussian . They dig it in Vitebsk!  Q. Will the audience be annoyed if you sit instead of stand?A. Yes One of the most important things you can do is watch other speakers. Figure out what you like and what you don't like about what they do and then try to do or not do those things. Ever been annoyed at a speaker who puts of an overhead with such tiny print you can't read it at all? Then be sure you use a larger font. How about those people who constantly block the screen so you can't see it? Maybe you should try not to do the same thing.Great speakers sometimes codify their techniques. You should read Patrick Winston's Lecturing Heuristics.

Hints for a good presentation

Speak clearly. It shouldn't be too much of a shock, but people can't hear you if you mumble or talk really quietly. Most audiences are afraid of sitting too near the front of a class, either because they're worried about being called on, or because their third grade teacher spit during lectures. Remember the ones in the back (who are thinking of sneaking out early) and speak up and speak distinctly (so they'll stay).Use large fonts. Anything smaller than 24 point is probably a mistake. If you photocopy a paper from a book and project that, you deserve severe punishment. The only exception is if you are trying to impress the audience with the density of something, or otherwise make a point that specifically requires dense and unreadable text.  Use figures instead of words! Use lots of figures. A picture is worth a thousand words. If your work is very mathematical, try to develop a talk that is entirely in pictures. Then go back and add one or two words per slide.Point to the projection (screen), not the source. You want to point out part of a picture or a bullet item on a slide to make it clearer what you mean. Walk up to the screen and point at the bullet or picture. Do not point to the transparency on the projector itself. There are several reasons for doing this:You are not blocking the projection. Ever had someone point at the overhead while their shoulder is blocking the light from most or all of the projection? Ever been in an audience where the speaker is continuously standing between you and the text being projected? Doesn't that annoy you? It should.The slide doesn't jiggle. It's annoying to have a slide jiggle every time the speaker touches it. So don't touch the slides.There are occasions when you cannot reach the projection to point at it directly. Put your hand into the light and make shadow pictures: use the shadow of your hand to point at the part you want to deal with. You probably do not want to use a pointer.Do not use a pointer. A pointer seems particularly useful if you cannot reach the projection. Those laser pointer things seem totally cool, too, don't they? Well, they're annoying and should be outlawed. Why?Pointers are guaranteed to annoy at least 35% of your audience. If you're nervous, the pointer dramatically magnifies the shaking of your hand. It looks like you're conducting an orchestra or something. That leaves a bad impression. Even if you're not nervous, it still jiggles unpleasantly. This is why wooden pointers, folding pointers, and laser pointers are all equally bad.People cannot find where a laser points very quickly. You probably zip it around and circle things. You're making your audience dizzy. Or you say "like this here" and they don't see where you point because the laser is already somewhere else. Disgusting habit.Very few speakers are capable of speaking without playing with the thing that's in their hands. It's distracting. Watch the speaker who folds and unfolds the pointer repeatedly. Yuck. You shouldn't have things in your hands. Period.A Fine Point: Using your shadow is infinitely better than using a pointer. But, if you can reach the screen, you should touch it (the screen) to point to things, instead of using your shadow. The audience will like the tactility of this gesture.It's ok if your hand makes a slight noise when you hit the screen, or the screen shakes. This discontinuity may wake a few people up. Seriously.Do not adjust the slide unless it's falling off. Ever watch someone adjust each overhead over and over again? Ever want to slap them and tell them to stop? It's pointless. Who cares if it's 10 degrees off vertical? The little jiggering of the slide doesn't make it easier for the audience to read it. And it makes you look really nervous. Get away from the projector and point at the screen. You won't be blocking the view of your audience and you won't look as nervous. Of course, if the slide's about to fall off the projector....Be sure the projection is on the screen. How many times have you watched a speaker talk and talk and talk without ever noticing that the projection is somewhere to the left of the screen and you can't read it? You want to yell but are afraid you'll annoy people. So you should be sure it's pointing the right place. Of course, if you walk up to the screen and point at the projection, you're addressing this problem at the same time, aren't you? (Amazing how multi-purpose these tips can be.) Using large margins is helpful for this one, too, since there is less text to spill off the sides.Be sure the text is projected at the top of the screen. This is related to the previous point, but refers more to where the text is than to where the projection is. Position the slide so that the first line of text is as far toward the top of the screen as possible. That means that people in the back can see what's on the screen even though some big-headed person is partially blocking their view. Having trouble figuring out where the slide should be lined up? Point to the screen and you'll clear up this problem, too.Watch the time. Try not to go over your given time. Even if you start late, it's a courtesy to the audience to end as close to on time as possible. A good lecture room will have a clock positioned so that you can see it. (A spectacular lecture room will not have one positioned where the audience can see it, so they're less likely to fidget.) Pay attention to it. If you're running behind, skip a slide, or gloss over one, or talk a bit faster, or don't accept questions. Yes, your work is exciting and interesting, but your audience has other appointments, too. If not, they'll talk to you afterward.Walk in front of the projection occasionally. This one seems kind of silly, but it serves two purposes. First, it gets you to the other side of the room so that the people on that side will have you in the way of the projection (only sometimes since you'll usually be up near the screen); it is only fair to share the discomfort. Second, the sudden bright flash of light reflecting back to the audience as you break the projection beam will wake a few people up. Seriously.Talk to the audience, not the screen. This sounds simple, but it's amazing how many people look at the screen and talk at it rather than at their audience. If you have to face the screen, speak a bit louder while you're facing it so that your voice will reflect from it and back to the audience. Better: don't talk to the screen. Contort your body, or point at the screen and then turn around.Do not cover up parts of the slide. The "overhead striptease" act is one of the most common and most annoying features. What in the world do you think you're accomplishing by feeding the words on the slide to the audience one line at a time? It's infuriating. It makes it harder to pay attention to the speaker, too: the audience keeps having to read a line, look back at you and listen, watch you fiddle with the slide, read another line, turn back to you, and so on and so forth. Tiresome. Why not let the audience skim the slide and then talk about it all at once? Are you afraid they'll be so busy reading that they won't hear you talk? Then make your talking more interesting. (The term "overhead striptease" is alleged to have been coined by Tufte.) Consider using an overlay transparency if you need to keep something in suspense. They're sometimes a bit hard to get lined up, but not too bad. However, beginners should use this technique sparingly, until you practice a lot and get the multiple-overlay technique to be fast, slick, and good-looking.Modern machine-driven slide display (e.g., from Powerpoint) make it really easy to do these sort of "multiple overlay" talks. These are a bit easier, and sometimes even quite effective.Summary: Never cover up your slides! avoid the striptease! Overlays are often useful to build up a palimpsest of information gradually -- much better than putting up one dense hairy slide to annoy the audience. Audiences tend to like overlays pretty well.The only thing worse than the "overhead striptease" is leaving part of the slide covered and never revealing what's under it. You will be convincing the audience that something embarrassing is under there (a naked person?). Bad move. Who cares if it's an old slide that's no longer quite appropriate; just don't talk about the extra stuff. Adds a bit of mystery to your talk, but in a nice way.Do not read your slides to the audience. Why would I want to come to your talk to hear you read your slides? Unless you're a famous poet or novelist reading your own work, what is the point? (Not even sure there's a point then.) The slides should be an outline of the talk to help the audience follow what you're saying. Or complex equations or pictures or something that you can't convey easily with words. A simple trick is to leave out all of the articles and connectives--e.g., "simple trick: omit articles, connectives". Then if you have no better imagination, you can read it back to the audience with the articles and connections put back in. At least your presence serves a purpose then.  Props good, fire bad. Use props. Talks are about show and tell and keeping your audience amused, so you can inform them painlessly about what you are doing. Whenever possible, bring and use props: videotapes, robots, pieces of robots, models of molecules, a gear your algorithm machined, circuit boards implementing your algorithm in silicon, etc. However, if you use videotapes, be sure to have them cued up beforehand and practice turning them on and off so it goes smoothly.Use color. It used to be that you could use LaTeX and make black & white slides for a talk. This worked, because LaTeX typeset things nicely, and no one had color printers. Now we do have color printers (and copiers, and 35mm slides) and black LaTeX slides look (a) all the same and (b) boring. Monochrome slides give the impression you are not colorful either. These days, there is no excuse for a monochrome talk. Use colored pens if you are making your talk by hand. If you're using the computer, use color LaTeX or Powerpoint, or Adobe Illustrator, and print out your slides on a color printer. For better or worse, audiences these days expect color; it's easy to use, and you can convey more information with it.In my opinion, it is better to have nice colorful hand-drawn slides with lots of figures, than to have B&W LaTeX slides with no figures.If you are using colored pens, use the permanent kind. The erasable kind may seem more convenient, but during a talk, you sweat, and they shmear all over. It's awkward, disgusting, and avoidable.Use several different colors. If you have a hand-drawn talk, it is criminal to use only one color.If you must use math/equations (it is better to use pictures), then color code them, e.g.,Green for vectors, black for constants, red for matrices.Or, make inputs be black, unknowns be red, and outputs be green.Or, if Gamma and Rho are important in your talk, make Gamma be green and Rho red.And be consistent! Rho should be the same color in the equation as in the accompanying figure. (What, you don't have a figure illustrating every equation?! You should!!)How Not to Use PowerPoint

Case Study: How to Commit "Talk Suicide"

Sometimes you'll be presenting results from a paper of yours, or by someone else. Here is example of how not to do it. In particular, here is an example of a terrible talk, which violates almost all of the rules above. (Actually, it is only the PowerPoint slides for a terrible talk, but the talk using the slides was equally terrible). It looks as if the student simply scanned in paragraphs from the paper and stuck them into PowerPoint. During the presentation he simply read the text and symbols. So the student behaved more like a parser, than a lecturer. Not only that, the scanned-in images are fuzzy and ugly! The entire talk is black-and-and white (no color), there are almost no figures (other than a few black-and-white line drawings scanned in from paper), there is no attempt to teach the audience something or explain the results -- the talk is merely a garbled recitation of (putative) verbatim sections of the paper. Needless to say, this is terrible: don't ever do this!  Two slides from a truly horrible talk. The student simply scanned in paragraphs from the paper and stuck them into PowerPoint. During the presentation he simply read the text and symbols. This talk violates almost every rule on this page. It was a miserable, brain-frying experience. Don't ever do this!  

Spandau Ballet reflect on 80s 'hedonism'

Eighties pop group Spandau Ballet have been reunited for the premiere of a film about their career.
Soul Boys Of The Western World was screened at the Royal Albert Hall in central London as well as at more than 200 cinemas across the UK.
The film traces their career from the streets of north London, through their experiences at Soho's Blitz Club to sell-out concerts around the world.