Highly Sensitive Refuge
a highly sensitive person in a relationship

10 Things You Should Know About Being in a Relationship With an HSP

HSPs are highly lovable; not high-maintenance.

What does being a highly sensitive person (HSP) mean exactly?

Being Highly Sensitive Is a Survival Advantage

Frankly, it’s hard to understand what being highly sensitive means it when you’re not the one experiencing it. This fact can make relationships a little tricky for you at times.

Dr. Aron’s data also shows that approximately 34 percent of love relationships involve at least one highly sensitive person, with the HSP usually being the unhappy one of the pair. That’s because highly sensitive people may feel extra stressed or disappointed when their needs go unmet in a relationship.

And sadly, many highly sensitive people feel misunderstood, or worse, like they’re a problem for others — even unlovable at times. Sometimes labeled as picky and overly emotional, HSPs struggle because they’re keenly aware of their surroundings, and well… feeling different.

But you know what? Different is fabulous, and high sensitivity can be an asset in any relationship. So if you’re a highly sensitive person, stop feeling alone in this matter and thinking of yourself as high-maintenance. And if you love a highly sensitive person, here are 10 things you should know.

If You’re in a Relationship With an HSP

1. HSPs feel deeply.

At times, highly sensitive people feel others’ emotions as intensely as their own.

Yes, they may cry easily when watching movies or reading books. It’s like they’re living the character’s life, fully taking in the experience as if it were their own.

When we walk into a room or are with the people we care about, we often sense what they need, even before they do.

Remember that being emotional is not being irrational. In fact, there’s a growing body of evidence that suggests that emotional intelligence leads to better decision making.

So if you can’t handle tears or jubilation, you’re with the wrong person. Don’t call your highly sensitive partner emotional or moody. Instead, see their empathy as a gift and innate ability to be there for people in need. They’ll be there for you when you’re down or confused. And when you’ve hit a high, they’ll be elated along with you, too.

2. HSPs have acute hearing.

They may even hear things others don’t — hear them more intensely. This includes sounds of bubble gum chewing, the rattling of keys, or background noise when they’re trying to concentrate.

But just as a highly sensitive persona’s acute hearing can bring discomfort, it can be a blessing.

Aside from the practical survival advantages, the HSP’s super-sensitive ears allow them to enjoy fine symphonies and soulful ballads. They will melt if you write them a song on your guitar.

3. HSPs can have delicate taste buds and food sensitivities.

Highly sensitive people may have very specific tastes in foods and have food sensitivities, too.

Imagine not being able to eat anything you want and seeing others delight in a buttery lobster or perfectly al dente wheat pasta. For an HSP, a lemon may taste excessively sour and arugula excessively bitter. But, oh, they will revel in the sweetness of one single square of dark chocolate and your kisses that will never be enough!

Be warned: They probably do not wish to discuss or be reminded of their perceived food issues at every meal. They’ll eat what they can and want to, and that’s that!

And please don’t fret if they seem to make dinner dates more complicated. Just call ahead and make sure there’s at least one item on the menu your HSP partner can enjoy.

4. HSPs may have an enhanced sense of smell.

And if the smell of cooking chicken makes your sweetie gag, there’s probably something wrong with it, and you’d better not eat it either. Their olfactory system is on alert for danger, and you’ll benefit from that, too.

That said, their noses are also meant for enjoyment. Their pheromones have been called to a higher duty. Get the fragrance right, and you’ll be in for a passionate night!

Clothing tags and itchy fabrics may drive them mad. For Valentine’s Day, think suede and silk. HSPs want nothing but soft fabrics — and you — next to their skin.

6. HSPs experience physical pain intensely.

In the same way that highly sensitive people feel touch, they feel pain: it’s magnified. If your partner is in pain, please understand that they’re not faking it or trying to get your attention.

7. HSPs notice the subtleties others miss.

Call them picky, but HSPs may even see more than most people.

Whether it’s a typo in your resume, a missing button, or spinach in your teeth, they’re going to notice — just like they pay attention to the way you bite your lip when you’re nervous or smile a certain way when you’re amused.

Highly sensitive people are constantly processing thoughts and information and integrating them into their consciousness. It’s that depth of processing and innate curiosity that can help them solve complex problems — including relationship ones — in an incredibly creative way.

8. HSPs get easily overwhelmed.

So if you want your HSP to be at his or her best, encourage them to take time and space to decompress (especially if they’re introverted, too) because they need longer periods of being with their thoughts than others might require.

9. HSPs get their feelings hurt easily.

Their depth of processing is not limited to the physical senses.

Highly sensitive people have grown up hearing comments like, “Don’t be so sensitive,” “Don’t take things so personally,” and “Toughen up!” When they hear these things as adults — especially from their partners — it’s likely to send them into a tailspin. They start to worry that you’ll think they’re too much, or worse, that you’ll move on from them.

10. Lastly, HSPs love passionately.

Finally, know that they don’t take anything lightly, including commitment. So, when they’ve found their true love, they are not likely to stray.

However, as HSPs become more aware of their sensitivities, they can learn to adapt and grow with you.

So if you recognize yourself in this description, give yourself some compassion. The heightened beauty you see, hear, touch, sense, and feel brings a richness to your relationships. Even more than this, your unparalleled ability to notice, solve problems, and heal pain makes this world a much better place. And if you’re not sure you’re highly sensitive, take this test to find out, or check out this post, 21 Signs That You’re a Highly Sensitive Person.

If you’re lucky enough to love ah HSP, embrace them and their needs fully — and reap the benefits, too. Love your partner right and help them to optimize their gift of sensitivity, and you can expect a lifetime of loyalty, connection, passion, wonder, and joy.

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Written by Lisa Petsinis for YourTango, this article originally appeared on that site; it is republished here with permission from the author.


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1 Big Reason Your Art isn’t Getting the Attention it Deserves

Are you doing the work, but not getting engagement?

For years, I struggled in the art world. I wasn’t growing a following outside of friends and family. My social media accounts were going nowhere. I’d post something and get crickets. Even my event sales were the definition of pathetic…

Despite the fact that I was making art and displaying it, few people seemed engaged with what I was doing. Then in 2017, everything magically shifted and more people were finally paying attention to what I was doing.

But how? What changed?

I didn’t suddenly become a more skilled artist. I didn’t start creating art that people were more interested in. What I changed was how I connected with my audience.

There is so much noise in the art world, and I made the mistake of just adding to it. There are thousands of artists all vying for the same attention, and they collectively sound a little like this:

“Look at my art!” “Do you like it?” “Would you buy this?” “Do you think this is good?” “Want to visit my store?” “Support me as an artist!” “Tell me I’m worth it!” “Could I sell this?” “How much do you think this is worth?” “Shop now!” “Come to my art show!” “Vote for my art!” “Like this if you want to see more!” “Enter this giveaway!” “Follow me!” “Which piece is your favorite?”

Now, pretend that you are an outsider or a potential customer and read that again. Does it feel a little overwhelming? It does to me. Which is what finally shifted for me around the time I started to gain traction in the art world. I stopped trying to be one of those many voices demanding attention and started to provide entertainment before asking anything of my audience.

So the 1 big reason your art might not be getting the attention it deserves is this:

You’re asking too much of your audience without giving enough in return.

We don’t realize how much we are asking of our audience at first when we interact with them. Even when you just present your art in person or online, you are asking for something.

“Hey, will you look at my art?” And then it quickly moves to “Will you follow me? Do you want to buy this?” All without us giving something additional in return.

You might be thinking that you’re offering art, and art is valuable. Shouldn’t that be enough? If someone really loves your art, yes that’s enough, but if someone just thinks it’s cool then they are going to need a bit more from you before you start asking for anything beyond “Will you look at my art?” Think of this like a balanced relationship. Give, take, give, take, and repeat.

For every request that you have for your audience, you should have something more to offer. At events, that could be pleasant conversation, a compliment, or a recommendation of art supplies to use. On social media, it could be entertaining process videos, a funny story, a moment of vulnerability that others can connect to, or inspiration.

When you display your art, think of your audience. What can you and your art do for them? Before you push someone to visit your store or follow you on social media, give them more to connect to.

I’m not saying to physically give things away or anything like that. If you want your art to get more attention, you can do a few simple things to really pull in an audience without begging them for their attention or appearing needy.

1. Entertain your audience with your visual content.

Imagine a busy art event. On your left is an artist yelling “Hey! Come over here and look at my art!” and on your right is an artist enthusiastically painting on a large canvas without saying a word. Which would you gravitate towards? The one screaming for your attention, or the one allowing you to watch their process? The one loudly invading your bubble or the one inviting you into theirs?

Creating entertaining content goes beyond posting a picture of just a piece of art. It’s about creating a story with your photos, or showing your art process unfold. If you create content that is enjoyable in itself like time lapse videos, tutorials, and beautiful photos, you are offering something more than just your art.

Your visual content can make people inspired. It can make them dream of a different life. It can take them out of their lives and make them forget their daily stressors. Even if it’s seen for just 10 to 60 seconds, your content can make a long lasting impression on your audience.

2. Make your audience feel something positive.

Basically, start meaningful conversations. This means that a caption saying something like “18”x24″ acrylic on canvas, DM to purchase” should not be your go-to caption style. Or when people walk over to your event display, don’t start with “all prints are 50% off.” Start with a human connection.

When you are conversing with potential customers in person or writing captions for an Instagram post, think about how you can make a positive impact. Whether this is giving someone encouragement to pursue their own dreams, to create their own art, or asking them how their day is going with a genuine smile.

Add something to your viewer’s life. When you then push for a sale or encourage someone to follow you on Instagram, they won’t feel like you’ve demanded too much.

3. Show your audience that you care about their story too.

Have you ever sat down on a date or with a potential new friend and all they did was talk about themselves and their problems? I’ve experienced this quite a few times, and I find myself less and less interested in asking that person questions or giving them further attention. Why? People who only take drain your emotional battery.

When you are interacting with your audience, ask questions. Give people an opportunity to share their stories. Even if it’s just a question of what art supplies they like, it’s still giving them an opportunity to feel heard. Share your stories, and connect to the similar stories of your audience. Don’t just take.

4. Be confident in what you’re making.

Even if you think your work is garbage, resist the urge to ask your audience for validation. Do you know how often I look at my work and wonder if it sucks or declare that it is crap? Probably not, but that’s because I try not to present those particular insecurities on social media or in person. It would put a burden on my audience. Plus, you eventually get to a point where, crap or gold, you’re still going to keep creating and sharing your work.

Feign confidence until it starts to feel genuine, and reserve your insecurities for those in your inner circle who can offer support. Or just repeat this little pep talk to yourself:

“My work doesn’t suck. I love what I do. Even if other people don’t like it, I know I will find my audience. Good or bad, I’m going to keep creating, because it’s something that brings me joy.”

What do you think? Is asking too much from your audience a possible reason why your art isn’t getting the attention it deserves?

Further Reading:

How to Pick an Artist Account Name for Instagram

Are you thinking about starting an Instagram account just for your art, but have no idea what to name it? Obviously, names are important. Your name sends a message about your art and who you are as an artist. You want to present yourself as a professional, but you can still have fun with it.

Nobody can tell you exactly what your name should be. You have to choose what feels authentic to you, but I’ve put together a list of things to consider while brainstorming. As you go through this post, have a pen and piece of paper nearby and start jotting down key words that come to mind that could possibly become part of your new Instagram account name.

Basic Name Anatomy

Before getting started, people will often choose a few different name structures for their account:

  • Artist’s name
  • Artist’s name with creative discipline attached (art, drawing, photography, etc.)
  • Artist’s nickname or pseudonym
  • Art related brand name (doesn’t include artist’s name)
  • General creative brand name (doesn’t have to be art related)

When I first started my online presence in 2014, I choose the last option because it was the right fit for my creative identity. Now, let’s see what works for you:

1. Consider your personality.

You are unique. Even if you don’t believe it, you have to start telling yourself that you have something different to offer your audience. And you can include a little hint of this uniqueness in your name. Your name can set you apart from others by capturing your personality.

Think about who you are as a person. Are you fun, carefree, or spunky? Are you serious, dark, laid back, or funny? What parts of your personality come through your art? How do you interact with people in person? What’s your communication style?

It might even be helpful to talk to a friend and have them describe you.

2. Consider your art style.

What kind of art do you make? Are you a painter, fluid artist, illustrator, graphic designer, etc.? What subject matter do you focus on? Nature, portraits, animals, abstract? Or do you create anything and everything under the art umbrella?

You can use words like “art”, “drawing”, and “illustration” in your name to explain what you make. Or, you can use your subject matter.

3. Consider the area of the art world you want to enter.

All artists do not operate in the same areas of the art world. There are many places to find success with art like in galleries, museums, craft fairs, art fairs, flea markets, digital platforms, and more. Your name may communicate which area you fit into.

If you are going for a gallery/museum career path, your real name is probably most appropriate. It’s clean and professional. If you are having fun in more casual spaces, you can get more creative with your name.

4. Your real name is perfectly appropriate.

Artist’s real names are often their brand names. If you feel a close connection to your name, then go ahead and use that as your social media username.

If your name is taken, consider using a period between names, or add a creative discipline like art, illustrations, design, paintings, drawings, doodles, etc..

Ex: “firstlast.art”, “firstlastdesign”, “first.last”, “firstlast”

5. Consider a name with a deeper meaning.

You don’t have to have your real name. You don’t have to include anything involving art. You can get creative and make people think about the meaning a little more.

You can look into old mythologies, science, astrology, and more. Think of something that connects to you and your work, but requires a little more thought to understand. Or even names that involve a childhood nickname, or inside jokes and stories. Think about your backstory. (This is what I focused on when I chose @messyeverafter.)

6. Make it easy to say out loud.

This is a personal rule of mine while I’m out at events or chatting with people about what I do. How would your name sound if you ran out of all of your business cards and just had to say your social usernames out loud to customers?

If you have a bunch of symbols or numbers, things can get a little long.

Ex: “My Insta is jenny dot rainbow underscore three five dot art”

Or: “My Insta is jenny rainbow art”

It’s a simple thing, but it helps avoid awkward “wait, where is the underscore?” types of conversations.

7. Check for similar accounts.

Take advantage of the Instagram search bar and start looking up the names you’ve thought of. If a name you thought of is taken by another artist, brainstorm other names. I do not recommend just adding underscores or periods to a name that is taken to make it “unique” unless it is your actual legal name.

This will help you avoid any complaints from fellow creators in the future. I can speak from experience (considering there are currently 15 accounts on Instagram that play off @messyeverafter), it’s not pleasant to have your name taken. Don’t fall in love with a name that someone else has trademark rights to if you plan on using your account for a business.

8. Check all social media platforms.

Once you find a good name, you’re going to want to plan for the future. Check Twitter, YouTube, Facebook pages, Tumblr, Reddit, TikTok, and .com domain names. Even consider searching Trademark databases and your state’s registered business names.

You’re building a presence that will last for years, so make sure you can snatch up the same name across all the platforms you can to make it easier for followers to find you no matter where they look.

Example Accounts:

Obviously, these names are taken, but check out how the account names interact with the artist’s real name, art style, and branding. And give them some love 😉

Remember: You have a little wiggle room for change if you realize you don’t like your chosen name.

Whatever name you decide on today doesn’t have to be your name forever. If you have no idea who you are as an artist right now, you can change your name once you figure it out. I encourage you not to change your name often, and not to change your name once your following starts to grow, but you can re-brand yourself if you really feel you need to.

I just can’t help but always think of Puff Daddy changing to P. Diddy as a good example of what not to do. Once you establish your branding and have enough people who know your name, it’s really hard to break away from that first name. But, with an Instagram account, you have a lot of wiggle room until about 5,000 followers. Use that time to really figure out who you are as an artist.

I hope this post was helpful, but if you are looking for a little extra support, feel free to check out my consulting services. I offer an Instagram assessment to help artists and creatives get a jump start on growing their following.

Further Reading:

Why Your Artwork Being Copied is a Good Thing

Dealing with copycats comes with the territory of being an artist…

And I don’t believe it’s a bad thing.

You’ve spent days, months, years, and even decades honing your craft. Experimenting with materials. Finding your personal style. Making a name for yourself as an artist. Then one day, an artist comes along and decides to take your creation and copy it. They see everything you’ve done, copy it, possibly bastardize it, and leave you feeling used and frustrated.

It happens to all of us, but I don’t think copycats are the worst thing in the world. In fact, I look at copycats as a good thing.

Copying is what we do as humans.

We are born to copy others until we figure out our own identity. Language, clothes, traditions, holidays, mannerisms, body language, slang, jewelry, music, books, etc.. We copy and then we build on what we’ve copied with more copied material until we figure out what feels right for us.

When you scroll through Instagram and see your favorite celebrity styled in a way that’d make you look awesome, the urge to recreate the ensemble is the same urge that artists have when they copy your work. You copy. I copy. We all copy.

When one influential creator introduces something new to the public, that design concept trickles down and gets manipulated over and over again. Other artists will build off of it. They will cut things out. Rearrange components. Introduce new changes.

This scene from The Devil Wears Prada keeps popping in my head…

Gah, I love you, Meryl.

A lot of what we do as creators is built off of the artists before us. Techniques, supplies, and styles. It all gets copied and reworked.

To fight the urge to copy is a losing battle, and to control how people interact with your art is impossible. If you show somebody your art, it’s going to inspire something inside of them.

What about copyright and all that?

It’s reasonable to want to protect your art. I mean, it’s your baby, right? I know that feeling. There are legal actions you can take against copycats. If you want to concern yourself with those things, go ahead, but I personally think it ruins the fluidity of the art world.

If you want to truly protect your artwork from ever being copied, the only way is to never let anyone see it. Never. Period. Keep it locked up. Take no photographs. Keep it off the internet. Don’t display at local events or galleries. Don’t show your art to anyone.

Here is the thing about art: It’s like a virus. When you come into contact with art of any kind, it does something to you. It makes a home inside of you and compels you to share it with others. It compels you to make creations of your own. Then others become infected by your art and the propagation of creative ideas continues.

Your art will get copied if you share it. That’s how you know it’s working.

Be the voice of a new genre.

How do you think new art genres are formed? There was one guy who was like “I’m going to create the impression of a landscape…” and then so many other people copied the style that it became its own genre. Impressionism.

Same with Pop Art, Expressionism, Surrealism, and so on. One artist does things a little differently and their work inspires a whole new group of people.  It’s kind of awesome.

Which is why I think you should WANT your art to get copied.

Yes, it can be frustrating to have someone mimic the work you do. Whether it’s an exact replica or just work inspired by your creations. Every artist has this territorial gut reaction when they first see their work copied. It can be painful, annoying, or devastating, but rarely do we feel something positive when we see our work copied, because we feel threatened.

But, I think we should be excited about seeing copies of our work.

When someone copies your work it can mean quite a few good things:
  • You are influential enough to inspire another creator (High five!!)
  • Your art is being exposed to a wider audience. (Double high five!)
  • Your work is pretty cool. (Woooo!)
  • That artist has no idea what their own style is yet and your art is helping them discover it.
  • That artist looks up to you.

In my experience, the majority of copycats out there do not have malicious intent. They don’t mean to step on your toes. They don’t mean to be your competition or take your business. A copycat is not a threat for the most part. Those copycats are actually your biggest cheerleaders and can help you grow your brand.

Have you ever witnessed an artist (or you may have done this yourself) recreate the art of a more well known artist and then post it on social media saying something like “This was inspired by @artist”? Because I have seen this over and over again and it’s beautiful!

If you encourage people who have created art inspired by yours to share it on social media and tag you, it will only be good for you. (I do this with #messyeverafter.) The more people who see your name, the better. Build a community around your art and your brand.

Yes, you will have copycats recreate your work and post it without credit, but just think back to the days where you were learning how to draw and you went running up to a friend and showed them your version of your favorite piece of art. It’s pretty much the same thing.

When Copycats make us lose our sh*t.

This last year, I have seen a few situations of copying/suspected copying turn into incredibly stressful confrontations. If someone copies your work there is one thing you most definitely need to do: Give yourself time to work through your emotions before confronting the copycat and/or putting anything on a public forum.

If you are reacting with your emotions, it’s quite likely it will turn into a sh*ts show real quick. Sleep on it. Talk to a close friend or another artist. Let the emotions pass. You don’t need to react in all situations.

When non-professional artists (novices, beginners, hobbyists, etc.) copy a professional artists work, it’s usually safe to assume this is in the pursuit of their own personal style or just for having fun. It’s almost definitely not a threat to the artist being copied. This is the type of copying that has been most common for me and I actually encourage my followers to do this. It’s likely not going to harm your business or your brand at all unless you fly off the handle and publicly shame them (and that’s on you).

If the copycat is a professional artist and they don’t credit it, or they choose to sell the work, this is where things get frustrating. It still might not be worth your time though. I always think about these things: Are they making direct copies or are they interpreting it with their own style? Does the artist have a large following? Do they appear to copy others too? Do they have their own distinct style? Is this going to affect my business? Am I just feeling threatened? Most of the time, after I run through these questions, I deem it’s not worth my time to do anything more than show a picture of the copied work to my other half or artist friends, vent, and move on.

If a well know artist copies your work and you aren’t well known, they take credit for it, and probably make money off it then by all means confront the sh*t out of that situation. Never take advantage of the little guys. It’s not cool. They should know better.

If a business or corporation rips off your work and sells it, this is where you have every right to put your sassy pants on and make a lot of noise. There is no excuse for this, and this is where I feel copyright laws are appropriate. This is not done in the spirit of creativity, but only with greed and they should be punished and shamed.

Since I’ve established copying isn’t always bad, I should go over some rules.

We all copy, but it’s important to be a courteous copycat. Here’s how:

  • If you are making nearly identical copies, don’t claim the art as your own and make sure to give credit to the original creator. (Depending on the artist, you may need to ask permission to display your recreation.)
  • Copy in the pursuit of developing your own art style and not with the intent to profit off of another artist’s ideas. It takes a really long time to develop an art business. Don’t try to take shortcuts at the expense of another artist.
  • Understand that some artists are more protective of their work than others. I openly tell people to try out my style and share it on social media, but you will encounter the exact opposite artists out there. Respect their wishes.
  • Keep your copies for yourself. Don’t try to sell the work that you copied in a business setting. Sure, selling to friends and family is more acceptable, but the moment you go to an art fair to sell copied work is the moment you start to lose integrity as an artist.

When I see my work get copied, I celebrate, and I think you should too. Being an artist is a lifelong journey and the more you create, the more your art will evolve and inspire others. An artist copying your work can help you build your brand and grow your audience if you react in a positive manner.

Encourage community interaction. Encourage other creators to explore their artistic identities through your techniques.

But, if you really want to prevent your art from inspiring people, don’t share it with anyone.

At least, that’s how I look at it.

As always, leave your questions and comments below while commenting is open or reach out to me directly through Instagram or email. I’d love to hear from you! Also, please subscribe to my email list if you never want to miss a blog post, and consider becoming a Patron of Messy Ever After on Patreon to support the creation of these posts.

Further Reading:


Home Islamabad Islamabad Traffic Police family gala concludes

Islamabad Traffic Police family gala concludes

A colorful two-day Islamabad Traffic Police (ITP) Family Gala and Food Festival on Sunday concluded here at Fatima Jinnah Park, F-9, providing traffic awareness and entertainment to the residents of the capital city.
During two-day festival, a large number of people from different walks of life mostly women and children, visited the family gala. The visitors enjoyed various entertainment stalls of edible and other items including jewelry, clothes and others.
The gala was aimed to provide an opportunity to the families of the police to interact with each other and spend their free hours in good atmosphere in the company of their children.
A large number of people of twin cities of Islamabad and Rawalpindi visited the gala. Special magical shows, puppet show, gymnastic, bicycle show, jumping castles, face painting, ‘mehndi‘, cartoon character, tall men, fire fighting show, and other programmes were organised for children.
It was a good opportunity for the visitors to enjoy various kinds of entertaining programmes.
The two-day family gala was aimed to ensure friendly police ecology and strengthen relations between police and public.
Number of cultural activities was arranged including Food Fest, Food stalls, Kids carnival, Magic Show, Cartoons characters, Puppet show, Fire Dance, Talent hunt, Birds Show, Face painting, Painting competition, Photography competition and Gifts hampers.
A special musical night was arranged to entertain the visitors of family Gala. Famous singers including Asrar Ahmed Shah, Amanat Ali, Awais Niazi, Umar Khayali and Rizwana Fatima performed in the musical show and enthralled the audience.—APP


What would you do, if you had no undo?

I’ve written posts in the past about the act of committing to your decisions. When we create art, we have to commit to our decisions along the way: where to place the tripod, when to click the shutter and when to say when something is finished / complete. There are many stages along the way where we have to make a choice knowing we can’t go back.

But there seems to always be a need to have an undo button with the software we use. We think that the undo button is pretty neat. Don’t like what we’ve done? We can undo it. It’s powerful. We now have more options in front of us, and that makes things more powerful, more creative, right?

Well, I don’t think so.

Having a way of being able to undo a decision is a cheap way of saying ‘I don’t have to worry about any decisions I make, and therefore, I can take them less seriously than if I knew that once they are made, I can’t go back.

What would you do if you had no undo feature with your software?

Would you be more careful with your edits? Would you think twice before you delete something? Would you find that every decision you made became quite difficult? Would you slow down? Would you find yourself torn, unsure of what to do?

Being a creative person is all about taking risks, of accepting that you may fail. Failure is good for us. Being able to be comfortable at failing when experimenting means that you open up your chances of doing something surprising. It also means you aren’t following the beaten path of the derivative.

Having no undo, means you have to stand by your decisions and learn to let go if things go wrong.

Having no undo means you are free. Because as soon as you are no longer scared to screw up, you are free to try anything you want, and to see where it goes.

Creativity cannot be controlled, perfected, done with no room for failure. Failure is part of the creative process, and having no undo button is actually a good thing. Having an undo button is actually stopping you from letting go, and from trusting yourself to give things a go because you believe in what you do.


What was Harry Truman’s middle name?

What was Harry Truman’s middle name?

He didn’t have one. The S in Harry S. Truman did not stand for anything.

Why do flamingos stand on one leg?

Flamingos often stand on one leg, the other leg tucked beneath the body. The reason for this behaviour is not fully understood. Recent research indicates that standing on one leg may allow the birds to conserve more body heat, given that they spend a significant amount of time wading in cold water.

Who is Zeus in Roman mythology?

Zeus (Roman Jupiter): Father and ruler of the gods on Mount Olympus, he is the god of the sky and lightning. He once led the young Olympian gods in a rebellion against the older Titans, and he married his sister, Hera (Roman Juno).

Where is Tartar?

Tatar, also spelled Tartar, any member of several Turkic-speaking peoples that collectively numbered more than 5 million in the late 20th century and lived mainly in west-central Russia along the central course of the Volga River and its tributary, the Kama, and thence east to the Ural Mountains.

Who has the power to impeach the vice president?

The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors. The Constitution, Article I, Section 3: The Senate shall have the sole Power to try all Impeachments.

Is the femur the longest bone in the body?

The head of the femur articulates with the acetabulum in the pelvic bone forming the hip joint, while the distal part of the femur articulates with the tibia and patella forming the knee joint. By most measures the femur is the strongest bone in the body. The femur is also the longest bone in the body.

Are foxes Social Animals?

Alongside cats and tigers, foxes are solitary hunters. There has been the rare sighting of a vixen hunting with her cub, but in general they will forage and hunt for food alone. Although a fox is classified as a carnivore they are omnivorous and will eat almost anything including fruit and vegetables.

What does mig stand for in welding?

MIG welding stands for Metal Inert Gas welding (inert). An inert gas (rare gas) is e.g. Argon or Argon + Helium. Its task is to protect the welding deposit, the melting wire electrode and the arc against the oxidising effects of oxygen in the air. Application: in nonferrous metals.


Global Citizen is a community of people like you

AP Photo/Nati Harnik

5 Times Bill Gates Inspired Us With His Actions in 2018

Why Global Citizens Should Care
There is still much work to be done to ensure all people have access clean water and sanitation, nutritious food, health services, and education, and a healthy environment. Bill Gates is a key leader in the fight against extreme global poverty. Join him in taking action here for a more equitable and sustainable future.

Bill Gates is a billionaire, philanthropist, and persistent champion in the global fight against extreme poverty. Since its founding in 2000, the Bill & Melinda Gates Foundation has donated more than $40 billion toward eradicating extreme poverty.

This year, Gates was busy advocating for education, the environment, and sanitation for all, among other issues.

From giving money to schools to funding clean energy startups to promoting off-the-grid toilets, Gates was at the center of social good and innovation in 2018.

These are some of his most inspiring moments of the year.

Take Action: Call on the Indian Government to Promote Hygiene and End Diseases of Poverty

1. Gave $1 Billion to Fight Malaria

Gates pledged $1 billion for the prevention and treatment of malaria at the Malaria Summit in London in April. The mosquito-borne disease affects more than 200 million people each year in nearly 100 countries, but imposes the heaviest social and economic burden on those living in poverty in sub-Saharan Africa and South Asia. Progress against malaria has stalled for the second year in a row, according to a recent report published by the WHO. There is still much work to be done to prevent Malaria and ensure all people have access to quality healthcare — luckily people like Gates are taking on this challenge.

2. Stood by Teachers Struggling to Pay for School Supplies

Bill and Melinda Gates amplified donations to DonorsChoose — a crowdfunding site that allows people around the world to help teachers purchase the supplies they need for their classrooms. The Gates contributed $1 for every $2 donation, which provided a major boost for teachers going back to school at the end of August, especially since 94% of US teachers surveyed reported paying for classroom supplies without reimbursement during the 2014-2015 school year.

Schools across the US often do not have enough funding to provide students with the resources they need to thrive in the classroom. With the pay gap at an all-time high, many female teachers especially cannot afford to cover the cost of books, art supplies, and learning materials.

3. Teamed Up with Ban Ki-moon to Fight Climate Change

Alongside former UN Secretary-General Ban Ki-moon, Gates launched the Global Commission on Adaptation in September with the goal of bringing experts and citizens together to discuss solutions to climate change. The commission will support resiliency efforts such as water and flood management and smart agriculture in cities.

People living in poverty face the greatest challenges in the face of extreme climate events.

As storms, floods, and heatwaves become more frequent and dangerous around the world, communities must be equipped for adaptation. Moving toward a more sustainable, resilient future demands leadership from individuals like Gates and Ban, as well as everyday citizens taking action on behalf of the environment.

4. Led Fund Investing $1 Billion in Clean Energy Startups

Gates also spearheaded Breakthrough Energy Ventures (BEV), a fund that will invest $1 billion dollars into clean energy startups that could radically lower carbon emissions by experimenting with anything from hydropower to nuclear fusion. BEV's portfolio includes startups innovating in five sectors — electricity, transportation, agriculture, manufacturing, and buildings.

By investing in alternative energy startups, Gates is investing in a better future for all people and the environment. More than 90% of children around the world breath toxic air every day, and those in low and middle-income countries are at the highest risk, according to the WHO.

5. Introduced the Toilet of the Future

Gates has been a long-time advocate for sanitation equity. But in November, he took this advocacy to the next level when he introduced the design for a new off-the-grid toilet while holding a jar of human poop, at the Reinvented Toilet Expo in Shanghai, China. Since the toilet relies on chemical treatment instead of sewage systems or waste infrastructure, it can operate just about anywhere — and could be a game-changer for urban and rural communities around the world that lack access to basic sanitation.

An estimated 2.3 billion people around the world still don't have access to basic sanitation facilities, according to the World Health Organization (WHO). People living in poverty often bear the health consequences of poor sanitation, which is linked to the spread of diseases and estimated to cause 280,000 diarrheal deaths per year.


programs gym photos nutrition videos

Training Plan for Friday February 2nd 2019

A) 14 min to practice

- 10-60s handstand hold variation
- i) 6 tall cleans - climbing ii) 6 hang muscle cleans
- i) 8 strict toes to bar ii) 10s hanging L-sit iii) 30s hanging bent knee hold iv) 30s foot anchored sit up hold
- i) 10 alt pistols ii) 5/5 single leg step ups @3131 iii) 5/5 split squats @3131

B) every 2 min for 7 rounds

- 5-15 burpee box jumps
- i) 10-20 alt DB snatch - approx 15-25% bdywt ii) russian kb swing

C) Accessory

- 2 min ankle rotations per side
- 1 min prone Y-s

- add weight to cleans and split squats as needed in part A)
- aim to finish each round in the same amount of time or faster than the previous
- hold same numbers for all rounds


Motion detector. The key insight from a mapping of neurons in the retina is that these inner (purple) cells fire more slowly than the outer (pink) cells, and this arrangement causes the big branching cells (yellow) to fire only when light arrives from obj

Rachel Prentki/Eyewire

Computer Game Reveals 'Space-Time' Neurons in the Eye

The stumbling block is a lack of fine-grained anatomical detail about how the neurons in the retina are wired up to each other. Although researchers have imaged the retina microscopically in ultrathin sections, no computer algorithm has been able to accurately trace out the borders of all the neurons to map the circuitry. At this point, only humans have good enough spatial reasoning to figure out what is part of a branching cell and what is just background noise in the images.

Enter the EyeWire project, an online game that recruits volunteers to map out those cellular contours within a mouse’s retina. The game was created and launched in December 2012 by a team led by H. Sebastian Seung, a neuroscientist at the Massachusetts Institute of Technology in Cambridge. Players navigate their way through the retina one 4.5-micrometer tissue block at a time, coloring the branches of neurons along the way. Most of the effort gets done in massive online competitions between players vying to map out the most volume. (Watch a video of a player walking through a tissue block here.) By last week, the 120,000 EyeWire players had completed 2.3 million blocks. That may sound like a lot, but it is less than 2% of the retina.

The sample is already enough to reveal new features, however. The EyeWire map shows two types of retinal cells with unprecedented resolution. The first, called starburst amacrine cells (SACs), have branches spread out in a flat, plate-shaped array perpendicular to the incoming light. The second, called bipolar cells (BPs), are smaller and bushy. The BPs come in two varieties, one of which reacts to light more slowly than the other—a time delay of about 50 milliseconds. The SACs and BPs are known to be related to direction sensitivity, but exactly how they sense direction remains to be discovered.

Seung says the EyeWire map of how SACs and BPs are wired together holds the answer: a time-delay circuit. Because of the arrangement of BPs, the movement of an object across the surface of a SAC should make it fire up only in reaction to movement in one direction. The key insight is that BPs are not connected to the SAC branches willy-nilly, as was thought. Instead, the faster variety of BP clusters far out on the edges of the SAC, while the slower firing variety clusters close to the SAC center. Only if the light from an object moves from the center of the SAC outward does the signal from the innermost BP sync up with the faster outer BP, and that combined signal is required to activate the SAC. If instead the movement is in the opposite direction, those signals are out of sync and the SAC does not fire. Though it has yet to be confirmed experimentally, this mechanism could account for how the neurons in the retina detect the direction of movement of a moving object long before the information reaches the brain, the team reported online yesterday in Nature.

The study is “truly amazing,” says Alexander Borst, a neuroscientist at the Max Planck Institute of Neurobiology in Martinsried, Germany. Last year, Borst led the effort to map out a similar arrangement of neurons in the eye of a fruit fly. “This mechanism seems to be almost identical with the one proposed for direction selectivity in the insect visual system,” he says. If true, then some of the built-in functionality of the eye was likely invented more than 500 million years ago, when insects and vertebrates shared a common ancestor.


Psychology is the scientific study of internal states of mind and behaviours, involving consciousness and unconsciousness. Medical psychology is involved in human development, sports, health, clinical, social behaviour and cognitive processes.

Clinical psychologists at V-Learning™ make you able to investigate causes of behaviours using systematic and objective procedures for observation, measurement and analysis, backed up by theoretical interpretations (Theories of motivation), generalizations, explanations and predictions.

All lectures of psychology at follows medical syllabus designed and approved by international bodies and fulfils the need of every psychology students. Latest books of psychology are included e.g. “Essentials of Psychology” by Douglas A. Bernstein.

From Emotion to Psychological Disorders e.g. Addiction, Depression and other Mental Illness, all topics are covered in detail with examples from clinical case studies.

Medical Lectures


Register for a free Counselling Session

Studying Supply Chain and Logistics

When you think of Domino’s, you might of their pizzas. But a lot goes into serving you that pizzas (or garlic bread!). The company needs to source the ingredients, send them to restaurants on time and per their requirement. When you think of the number of outlets they have and the sheer number of on their menu, this ends be a mind–bogglingly complex operation.

But this is essentially what Logistics and Supply Chain Management is all about—sourcing raw materials (or ingredients), sending them to factories (or kitchens) for processing and delivering the finished goods to shops, distributors or customers, while working to budget, time and resource constraints.

Some of the most sought-after New Zealand universities, colleges and institutes you could study at are:

  • NMIT
  • ARA

Salary and Career Prospects

Supply and logistics professionals are hired by logistics and postal services companies, online retail companies, retail and hospitality companies, factories and warehouses.

Some of the roles graduates take up are Solutions Architect (Supply Chain), Supply Chain Specialist, Procurement Officer and Business Process Manager (Supply Chains).

Salaries vary depending on qualifications, location and experience. As a guide, supply chain and logistics professionals earn around $80,000 a year (37 lakhs INR).

Why study in New Zealand?

New Zealand is fast emerging as one of the best study destinations for international students. Most universities, colleges and institutions in New Zealand are government-owned and funded and maintain high teaching and learning standards.

It terms of economy, New Zealand’s is largely home-grown. Some of biggest companies based there are Air New Zealand (airliner), Spark New Zealand (telecoms company), Progressive Enterprises (retail) and Fletcher Building (construction company). Auckland ranks consistently among the world’s most liveable cities and has a thriving start-up scene.

Kiwis, as people living in New Zealand are affectionately called, enjoy year-round good weather, high salaries, access to spectacular beaches and a healthy work-life balance. The country’s breathtakingly beautiful landscape, ski resorts, lakes and national parks attract millions of tourists every year.

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CMS Dollars Part IV: VBP Made Simple - Slot Machines and High Roller Tables

Do you enjoy a good game of poker or blackjack? Does anteing up money, taking a calculated risk, and hoping for financial reward get you excited? I bet you never imagined that your hospitals and doctors would have to participate in similar games! In the hospital Value-Based Purchasing (VBP) program for 2017, participating hospitals will be placing 2% of their base operating MS-DRG payments up for grabs, working hard to improve their performance scores, and competing against other hospitals in hopes of recuperating their dollars and winning an additional 2% bet for their hospital.

The hospital VBP program was created by the Affordable Care Act (ACA) to encourage payment for quality rather than quantity of care. In this program, hospitals need to reduce adverse events, adopt evidence-based standards that improve outcomes, change hospital processes that enhance patient care experience, and improve efficiency of care by reducing Medicare spending per beneficiary. Hospitals that come out on top could feel like winners at their green felt-lined table of choice.

No Small Chunk of Change

The money on the table for the hospital VBP program is no small stack of chips. CMS calculates that for 2017 there are 2957 hospitals included in the program with $1.8B available for incentive payments. For a hospital receiving $100M in CMS payments, there is an opportunity to recoup their 2% ($2M) withholding and potentially to earn an additional 2%.

Some hospitals are not allowed to participate in VBP as the program excludes hospitals not participating in the inpatient prospective payment system, subject to payment reductions in hospital IQR program,  hospitals cited for deficiencies during the performance period that pose risk to the health and safety of patients, with less than minimum number of domains calculated, with approved disaster exception specific to VBP, or that are acute care facilities in Maryland.

VBP Domains & Measures

To perform well in the program, hospitals must improve the quality of care while controlling its cost. CMS assesses hospital performance based on 14 measures divided into 4 domains. Each domain is associated with a specific weight in the final hospital performance score.

  1. Safety (25% weight): CAUTI, CLABSI, CDI, MRSA, SSI, AHRQ PSI-90 composite

  2. Clinical Care (30% weight):

    1. Outcomes (25% weight): 30-day mortality rates for AMI, heart failure, pneumonia

    2. Processes (5% weight): Flu vaccination, elective delivery prior to 39 weeks gestation, fibrinolytics within 30 minutes of arrival for AMI

  3. Efficiency & Cost Reduction (25% weight): Medicare spending per beneficiary

  4. Experience of Care/Care Coordination (25% weight): HCAHPS Survey

For each domain, there is a baseline and a performance period of measurement, as hospitals are not only assessed for their current performance, but also for improvement of their performance over time. The measurement period varies based on domain, with some domains measured for one year while others are measured for 20 months. For all domains, the performance period is followed by a brief period of review and correction, and the payment adjustment is applied to the following fiscal year.

For example: for 2017, VBP measures baseline periods occurred 2010-2013, performance periods occurred 2013-2015, data review occurred in 2016, and the payment adjustment will be applied to this coming fiscal year.

Tipping the Odds in Your Favor

To tip the odds in your favor and improve your total performance score, we must first understand how the game here is scored. A hospital’s total performance score is the sum of its weighted domain scores.

In each domain, individual measures are given two scores: an achievement score and an improvement score. CMS compares the two and awards the highest score for each measure. It should be noted that a hospital can earn more points for achievement (up to 10) than improvement (up to 9), as CMS apparently believes that a hospital should not get maximum points just for improving!

Achievement scores are calculated using a “threshold” and a “benchmark.” CMS uses data from a prior baseline period to define a high level of performance which is known as the benchmark and the minimum level of hospital performance known as the achievement threshold. The achievement threshold is set at the 50th percentile of all hospitals’ performance during the baseline period. Benchmark and achievement thresholds vary by measure and year to year with 2017 values available here

VBP Payment Adjustments for 2017

CMS states that for 2017, half of participating hospitals will see a small change in payment adjustments between -0.5% and +0.5%. Many hospitals will have played a good game with 1,600 hospitals seeing a positive payment adjustment. Looking at the range of payment adjustments, CMS reports the highest performing hospitals could see slightly more than 4% payment increase while lowest performers will incur a 1.83% in penalty payments.

The Bottom Line

For most of us in healthcare, wading through hundreds of pages of these rules, calculations, and criteria can be daunting.  But the bottom line is that CMS has implemented Value-Based Purchasing to improve the quality and efficiency of care.  The challenging part is that hospitals are not playing the house in a table game with calculated odds.  They are working extremely hard to achieve better scores than the other players at the table to recoup their dollars, and in some cases, earn another 2% worth of chips (and an upgrade from the slot machines to the high rollers’ table).


Every decision I make has as its backdrop a horizon of meaning - it is for the sake of an outcome that will affect my social relationships etc.   The horizon itself is sustained by desires and habits which are not readily visible from within the horizon.

Obedience to transcendental Law entails taking Apocalypse to always be the horizon for conduct.  To follow the if-then chain of reasoning all the way to the end.  "What does this act do to serve the transformation of the human race into its progeny?"


The time has finally arrived for us to stop talking about our new crash monitoring service CritiMon, but to actually show it off and let our fellow developers make use of our new service.

We are now opening up registrations to our early access preview so we can get user feedback and find out what you find great about it, what’s not so great and what features are the most important to you.

We care and we greatly value the feedback we get from our customers and we will endeavour to make changes and add feature as quickly as we can.

What Is CritiMon?

CritiMon Logo

For those of you who are new here, lets explain a little about what CritiMon is. Its a cross platform, any programming language crash monitoring and error exception reporting system. We have a number of SDKs and libraries that are available such as Android, Javascript with more to come. With just a couple of lines of code you can start sending unhandled crashes, errors that might force close your software/app or stop your web page rendering or displaying information correctly.

However, receiving crashes for just major faults that force close or stop scripts processing or are very well and good, but what about the errors that happen internally and that are handled by your code, such as in try/catch blocks. These errors shouldn’t happen, but in the event they do they get handled, it might not be able to carry on with what it was doing, so you might just display an error to the user and then rely on them sending you a bug report. Can you really rely on your customers reporting issues to you. This is where CritiMon comes in.

Where you need to in your exception block, you can send the details of the exception to CritiMon. This will include all the information required to help you debug the problem, such as app version, the file, the line number and some device specific details, such as operating system for example.

Plus if you need to, you can submit custom properties as a JSON object, in any structure you see fit to provide some extra debug information that you might need to determine what caused the issue.

For each crash received, it allows you to assign them to your team members, add notes to keep tracks of what's happening with a particular error and hide particular crashes that you no longer want to see, for example crashes from previous app versions, specific crashes that you won’t be able to resolve such as external third party API issues or specific hardware bug.

Why We Built CritiMon

I’ve been a developer for 15+ years, as a hobby and as my main job. As an individual developer I was always looking for a crash monitoring platform that would cater for everything I develop in. I develop in a wide range of things such as software applications for Windows/Linux, web frontend and backend and mobile development with Android. There wasn’t a crash platform that would cater for every platform and/or that was affordable and signing up for multiple accounts to cater for each platform just wasn’t practical and wasn’t something I was prepared to do.

Another reason was out of the crash monitoring I have tried, alot of them are delayed in how quickly they notify you about a crash – some up to 24 hours. If I have a problem in a release I don’t want to wait up to 24 hours to find out there’s a problem, waiting that long could have a huge negative impact on a large proportion of our user base.

Another reason was that the Google Play Store wouldn’t always send crashes. We had an app in the play store that had around 500-1000 users with each of our web servers receiving around 2000 requests a day. Then all of a sudden, our user base started plummeting and I couldn’t see any reason why. Everytime I tested I wasn’t able to replicate any issues and the Google Play store didn’t show any crashes or errors within the app. Eventually I tracked it down to a large proportion of users uninstalling were from a specific android version. Eventually I tracked it down to a third party library had received an update automatically from Google Play services and this was causing the crash but unfortunately by the time I discovered this, the damage was already done and the app never recovered. This was the final nail and from this spawned the idea of CritiMon.

CritiMon Launch

Today is the day we open up signups to create an account and start receiving instant crash notifications of new crashes and ensure issues that make it to production are solved as quickly as possible. We are initially launching as an early access preview so we can iron out any issues and get user feedback on what features you think are most important and what parts of CritiMon you like and what parts you don’t. During the early access preview, we will initially be limiting signups to 250 users but this will be expanded on until we do a full public release.

We have three price plans, a free plan, a small plan and a pro plan so I’m sure there’s a plan that’s suitable for you, and, if you sign up during the early access, you will receive 50% off any paid plan for the liftetime of your subscription.

CritiMon Pricing

If you have any questions or want to give us any feedback then please drop us an email at [email protected].

You can also find documentation about creating your own custom SDK for platforms and/or languages not officially supported by checking out our knowledge base at

Also, if you need any help, you can raise a new support ticket, or if you want to request new features for the platform you can raise them via our support portal at

We really hope you find our new service useful and we can't wait to find out your thoughts and where we can take it next.

Chris Board
Boardies IT Solutions


An Etymological Dictionary of Astronomy and Astrophysics

فرهنگ ریشه شناختی اخترشناسی-اخترفیزیک

M. Heydari-Malayeri    -    Paris Observatory

<< < -ph pal pap par par par pas pat pec pen per per per per per Pha pha pho pho pho phy pil pla Pla pla Pla pla plu Poi pol pol Pol pol por pos pot Poy pre pre pre pre pri pri pro pro pro pro pro pro pro pse pul Pur > >>

Number of Results: 1054
  ۱) شیرجه؛ ۲) لخشه؛ ۳) شیرجه زدن
1) širjé; 2) laxšé; 3) širjé; zadan

Fr.: plonger

1a) Act of plunging.
1b) The act of descending or dipping suddenly; (steep) fall, slide from vertical.
2) Geology: The vertical angle between the fold axis or any inclined line in a geologic structure and the horizontal plane.
3) To cast oneself, or fall as if cast, into water, a hole, etc.

M.E., from M.Fr. plung(i)er, from O.Fr. plongier "plunge, sink into; plunge into, dive in," from V.L. *plumbicare "to heave the lead," from L. plumbum "lead," → plumb.

1, 3) Širjé, probably deformation of sarjé, literally "head jump" (nose dive), from sar, → head, + , from jahidan, → jump.
2) Laxšé, noun from laxšidan "to slide," variant laqzidan.

Fr.: pluriel

1) Consisting of, containing, or pertaining to more than one thing.
2) Grammar: A form of nouns, pronouns, and verbs that refers to more than one thing or (in languages that recognize the dual form) more than two.

M.E., from O.Fr. plurel "more than one," from L. pluralis "of or belonging to more than one," from plus (genitive pluris) "more," → plus.

Bišâl, from biš "much, more; great," → plus, + -âl, → -al.

  بیشال‌باوری، بیشال‌گرایی، بیشال‌مندی
bišâlbâvari, bišâlgerâyi, bišâlmandi

Fr.: pluralisme

1) A state of society in which various religious, ethnic, racial, and political groups are allowed to thrive in a single society.
2) Philo.: A belief that there are more than two kinds of principles, as contrasted to the → dualism and → monism.

plural; → -ism.

Fr.: pluralité

The state or fact of being plural or numerous.

plural + → -ity.

Fr.: plus

1) (prep.) With the addition of.
2) (adj.) Additional; → positive.
3) (n.) An addition; a positive quantity; the → plus sign.

L. plus "more," cognate with Gk. polys "much," Pers. por, → full.

Bišan, from biš "much, more; great" + suffix -an, → minus. The first component from Mid.Pers. veš "more, longer; more frequently," related to vas "many, much" (Mod.Pers. bas); O.Pers. vasiy "at will, greatly, utterly;" Av. varəmi "I wish," vasô, vasə "at one's pleasure or will," from vas- "to will, desire, wish."

plus sign
  نشان ِ بیشن
nešân-e bišan

Fr.: sign plus

The symbol + indicating summation or a positive quantity. The sign is believed to be a shortened form of the L. word et denoting "and" which was the term for addition. The signs + and - first appeared in an arithmetic book by Johannes Widmann entitled Behennde und hübsche Rechnung, published in Leipzig in 1489.

plus; → sign.

Pluton (#)

Fr.: Pluton

A → dwarf planet in the → solar system which until 2006 was known as the 9th major planet. Pluto revolves around the → Sun in a highly elliptical orbit at a mean distance of 39.5 → astronomical units once every about 248 years. The orbit → eccentricity is 0.25 (compare with the Earth's 0.02) yielding a → perihelion distance of 29.66 → astronomical units and an → aphelion distance of 48.87 AU. Its → orbital inclination is 17 degrees, which is much higher than those of the other planets. Pluto's mass is 1.308 × 1022 kg, that is 0.00218 Earth mass (0.177 Moon mass), its equatorial radius ib 0.19 Earth radius, and its → rotation period is equal to 6.39 Earth days. It has five known → satellites, in order of distance from Pluto: → Charon, → Styx, → Nix, → Kerberos, and → Hydra. Pluto's radius is estimated to be about 1150 km (0.18 Earths). Pluto is smaller than seven of the solar system's satellites (the → Moon, → Io (Jupiter I) , → Europa, → Ganymede, → Callisto, → Titan, and → Triton). Pluto's surface has an estimated temperature of 37.5 K and is composed of more than 98% → nitrogen  → ice, with traces of → methane and → carbon monoxide.

In Roman mythology, Pluto is the god of the underworld and Judge of the dead, from L. Pluto, Pluton, from Gk. Plouton "god of wealth," literally "wealth, riches." Pluto was the son of Saturn. The alternative Gk. name is Hades.

plutoniom (#)

Fr.: plutonium

A → radioactive → chemical element, symbol Pu. → Atomic number 94; → mass number of most stable isotope 244; → melting point 640 °C; → boiling point 3,235 °C. It was first synthesized in 1940 by American chemists Glenn T. Seaborg, Edwin M. McMillan, Joseph W. Kennedy and Arthur C. Wahl in the → nuclear reaction: 92U238 + 0n193Np239 + β- (23.5 minutes) → 94Pu239 + β- (2.36 days). The → half-life of 94Pu239 is 2.44 × 104 yr. Plutonium-239 is a → fissile isotope.

The name derives from the planet → Pluto. It was selected because it is the next planet in the solar system beyond the planet → Neptune and the element plutonium is the next element in the → periodic table beyond → neptunium.

Fr.: braconner

To trespass, especially on another's game preserve, in order to steal animals or to → hunt; to take game or fish illegally (

M.E., from M.Fr. pocher "to thrust, poke," from O.Fr. pochier "poke out, gouge, prod," related to poke (v.), from a Germanic source (compare M.H.G. puchen "to pound, beat, knock," Ger. pochen, Middle Dutch boken "to beat") related to poke (v.).

Beškaridan, from beškar(d), bišgar(d) "hunter, fowler; chase; game; place for hunting," variant of šekâr, → hunt.

Fr.: braconnier

A person who trespasses on private property, especially to catch fish or game illegally ( See also → hunter.

poach; → -er.

Fr.: braconnage

The illegal taking of wildlife, in violation of local, state, federal or international law.

poach; → -ing.

Pogson's ratio
  وابر ِ پوگسون
vâbar-e Pogson

Fr.: rapport de Pogson

The constant 2.512, which is the 5th → root of 100 (2.5125 = 100); the ratio between two successive stellar → magnitudes.

Pogson's relation; → ratio.

Pogson's relation
  بازانش ِ پوگسون
bâzâneš-e Pogson

Fr.: relation de Pogson

The equation that expresses the → magnitude  → difference between two objects in terms of the → logarithm of the → flux  → ratio:
I1/I2 = 2.5(m2 - m1), or
m2 - m1 = 2.5 log(I1/I2),
where m is → apparent magnitude, I flux, and log the logarithm to base 10.

Named after Norman Robert Pogson (1829-1891), the English astronomer, who introduced the magnitude scale in 1856; → relation.

Poincaré recurrence theorem
  فربین ِ باز‌آمد ِ پو‌آنکاره
farbin-e bâzâmad-e Poincaré

Fr.: théorème de récurrence de Poincaré

In an → isolated system, any initial state will occur again in the course of the → evolution of the system over a sufficiently long but finite → time.

Poincaré sphere; → recurrence; → theorem.

Poincaré sphere
  کره‌ی ِ پو‌آنکاره
kore-ye Poincaré

Fr.: sphère de Poincaré

A representation that permits an easy visualisation of all different states of → polarization of a vector wave. The equator represents → linear polarization; the north pole corresponds to right-circular and the south pole to left- → circular polarization.

Named after Henri Poincaré (1854-1912), French mathematician and theoretical physicist, and a philosopher of science; → sphere.

Poinsot's motion
  جنبش ِ پویءنسو
jonbeš-e Poinsot

Fr.: mouvement à la Poinsot

The motion of a torque free rotating rigid body in space, in general whose angular velocity vector precesses regularly about the constant angular momentum factor.

After Louis Poinsot (1777-1859), French physicist and mathematician. He was the inventor of geometrical mechanics, showing how a system of forces acting on a rigid body could be resolved into a single force and a couple.

  ۱) نقطه، پنده؛ ۲) آماجیدن
1) noqté (#), pandé (#); 2) âmâjidan

Fr.: 1) point; 2) pointer

1a) General: A sharp or tapering end, as of a dagger; a projecting part of anything.
1b) Physics: Position or time of occurrence, as in boiling point, freezing point, etc.
1c) Math.: A dimensionless geometric element whose location in space is defined solely by its coordinates.
2) To direct a telescope toward a particular position on the sky.

M.E. point(e); O.Fr. point "dot, mark, place, moment;" L. punctum noun use of neuter p.p. of pungere "to prick, pierce."

1) Noqté, loan from Ar. Pandé, variants in classical dictionaries pindé, pendé, fand "a point, dot, mole, freckle;" cf. Skt. prānta- "point, tip, border," from pra "before, forward," → pro-, + ánta- "end, limit, term;" Pali, panta- "remote, solitary;" Prakrit panta " last;" Sindhi pandu "border of a garment;" Lahnda pand, pad "end, top of sugar cane."
2) Âmâjidan, verb from âmâj "aim, goal," from Proto-Iranian base *āma-, from prefix *ā- + *ma- "to measure;" cf. Av. mati- "point, tip;" O.Pers./Av. mā(y)- "to measure;" Pers. mun/mân "measure," as in Pers. terms pirâmun "perimeter," âzmun "test, trial," peymân "measuring, agreement," peymâné "a measure; a cup, bowl;" cf. Skt. mati "measures," matra- "measure," Gk. metron "measure," L. metrum; PIE base *me- "to measure."

point mass
  نقطه‌جرم، پنده‌جرم، جرم ِ نقطه‌وار، ~ پنده‌وار
noqté jerm, pandé jerm, jerm-e noqtevâr, ~ pandevâr

Fr.: masse ponctuelle

A hypothetical object which can be thought of as infinitely small.

point; → mass.

point source
  نقطه‌خن، پنده‌خن، خن ِ نقطه‌وار، ~ پنده‌وار
noqté xan, pandé xan, xan-e noqtevâr, pande-ye ~

Fr.: source ponctuelle

A source of radiation at a great distance from the observer; an ideal source of infinitesimal size.

point; → source.

point spread function (PSF)
  کریای ِ گسترش ِ نقطه، ~ ~ پنده
karyâ-ye gostareš-e noqté, ~ ~ pandé

Fr.: fonction d'étalement du point

The two-dimensional intensity distribution about the image of a point source.

point; → spread; → function.


Researchers have pointed out at a "trend towards centralization". Although bitcoin can be sent directly from user to user, in practice intermediaries are widely used.[31]:220–222 Bitcoin miners join large mining pools to minimize the variance of their income.[31]:215, 219–222[111]:3[112] Because transactions on the network are confirmed by miners, decentralization of the network requires that no single miner or mining pool obtains 51% of the hashing power, which would allow them to double-spend coins, prevent certain transactions from being verified and prevent other miners from earning income.[113] As of 2013 just six mining pools controlled 75% of overall bitcoin hashing power.[113] In 2014 mining pool Ghash.io obtained 51% hashing power which raised significant controversies about the safety of the network. The pool has voluntarily capped their hashing power at 39.99% and requested other pools to act responsibly for the benefit of the whole network.[114]
As Bitcoin’s price hit the record $5,000 for the second time in 2017, there is probably no current investment opportunity more hyped up than cryptocurrencies and Blockchain technology. The general public and governing authorities are increasingly more aware of its advantages, and most concerns surrounding it are being refuted. A lot of companies have already invested in the technology, and it is very telling that the worldwide technology giant IBM is now considering investing “employee time and energy” into the space.
Theoretically, it is possible for a hacker to take advantage of the majority rule in what is referred to as a 51% attack. Here’s how it would happen. Let’s say that there are 5 million computers on the Bitcoin network, a gross understatement for sure but an easy enough number to divide. In order to achieve a majority on the network, a hacker would need to control at least 2.5 million and one of those computers. In doing so, an attacker or group of attackers could interfere with the process of recording new transactions. They could send a transaction — and then reverse it, making it appear as though they still had the coin they just spent. This vulnerability, known as double-spending, is the digital equivalent of a perfect counterfeit and would enable users to spend their Bitcoins twice.


1458 Tiki Lane
Lancaster, OH 43130
(740) 687-1635

Special Needs Program

There are several things about the Montessori philosophy and materials that make it a wonderful option for children with special needs. Here at Owls Acre we call these children our "Golden Ones".

  1. The materials and the environment: The Montessori classroom is filled with beautiful materials that engage all of the senses. The materials are hands-on, therapeutic, enticing, and include a built-in control of error. In most cases they teach only one skill at a time. They offer a wonderful chance for children with special needs to use their hands to explore and learn.
  2. Multi-age classrooms: In Montessori, children are put into multi-age classrooms, so they can learn from older children, and help the younger children in the classroom. If a child needs to repeat a grade, they can do so without being "held back" while watching their friends move to a new classroom.
  3. Following the child: Montessori children are encouraged to work at their own pace, without the burden of competition, test scores, and grades. They are also encouraged to follow their own interests when it comes to reading, writing, and research. This kind of freedom allows the special needs child to flourish.
  4. Consistency: The multi-age classroom means a child is with a teacher for a 3-year cycle, allowing the teacher to build a strong relationship with the parents and the child. As well, the child doesn't have the stress of always starting in a new classroom at the beginning of each school year.
  5. The philosophy of Montessori: In Montessori, there is an emphasis on peace, cooperation, and respect, making it much less likely that a child with special needs will be teased or ostracized. Instead, the other children usually make an effort to accept, befriend, and encourage a special needs child.

It has been my privilege to know Mona Scott professionally for 10 years. She has a vision of a better world for children and their families and has worked tirelessly to create innovated programs to meet the needs of all children. Mona's Montessori program at Owls Acres is one of the few early education programs in Fairfield County that practices inclusion for children with special needs. Mona knows that all children are children first and not defined by their disabilities.

I am most appreciative of the service offered at the Riding Academy. I have seen students gain language and motor skills at an unbelievable rate because of the experience of riding and grooming horses. In the past few years, Mona has brought her horses to our special needs school (hauling a huge riding ring) or has had us out to the riding academy at least 8 times so that our students with disabilities (2-22) could ride and benefit from the outdoor experience…

- Jodi K. Blais, Director of Education Services, Fairfield County MRDD


Study shows wearing life jacket significantly increases odds of surviving recreational boating accident

Requiring recreational boaters to wear life jackets would increase their odds of surviving an accident by 80 percent, according to a recent research study conducted at the University of Maryland Baltimore County in collaboration with the U.S. Coast Guard. In addition, life jacket effectiveness is at its peak when the watercraft is short: The odds of incurring a fatality are 86% higher than average if the accident involves a canoe or kayak.

NC_Wear It! (2)Although watercraft are required by law to carry life jackets, boaters often fail to use the flotation devices because they find them uncomfortable or believe that wearing one suggests inexperience as a boater or limited swimming ability. Many boaters will use life jackets only when conditions on the water are poor. Survey participants have suggested that manufacturers design better-fitting, more appealing devices; but the new study raises the question of whether mandatory life jacket use may be needed to change boaters’ habits.

The study contributes to the research that would be necessary to implement what would be a far-reaching and controversial policy of mandating life jacket use. Its primary objective is to assess the impact of a life jacket policy on the recreational boating fatality rate. “However, such a major and controversial policy cannot be implemented without a thorough investigation of life jacket effectiveness. A lot of the work focusing on reducing recreational boating fatalities lacked the availability of life jacket use data,” the authors write, indicating that their study rectifies that deficiency.

The study—“An empirical analysis of life jacket effectiveness in recreational boating”—was conducted by Dr. Christelle Viauroux, an economics professor of the University of Maryland–Baltimore County, and Ali Gungor of the U.S. Coast Guard’s Standards Evaluation and Analysis Division. The study appeared in the online version of Risk Analysis, a publication of the nonprofit Society for Risk Analysis, a multidisciplinary, interdisciplinary, scholarly, international society that provides an open forum for all who are interested in risk analysis.

Using data for the years 2008 to 2011 from the U.S. Coast Guard’s Boating Accident Report Database (BARD), the researchers explain the number of fatalities and their variation across types of vessels. They measure the effect of life jacket use relative to other significant environmental and individual factors affecting fatalities in recreational boating accidents.

MO_paddleboarding-in-virgin-islandsViauroux and Gungor predict, based on their analysis, that if boaters wore life jackets, the number of deaths from boating accidents could be cut by about 80 percent. In addition, they conclude that the odds of dying are 86 percent higher than average if the accident involves a canoe or kayak, but 80 percent lower than average when more than one vessel is involved in the accident and 34 percent lower than average when the operator involved in the accident has more than 100 hours of boating experience. While combining multiple factors that were present during an accident, life jacket wear is therefore estimated to be one of the most important determinants influencing the number of recreational boating fatalities.

The study also investigates the combined effect of life jacket wear and blood alcohol concentration on the number of fatalities. Results show that when taken separately, without any other environmental factors included, both life jacket wear and blood alcohol concentration are significant in explaining the number of deceased in an accident: a 67 percent increase in the odds of dying when the operator does not wear his/her life jacket and a 28 percent increase in those odds for every 10 percent increase in operator’s blood alcohol concentration.

However, when including both factors simultaneously to explain the number of fatalities, results show that blood alcohol concentration becomes insignificant. Viauroux and Gungor explain that “it is possible for a factor to significantly affect the number of fatalities when it is seen as the unique explanation of the outcome but become insignificant when other factors are introduced because some of its effect is subsumed by one or more other variables”, implying that operators who do not wear their life jacket may include those drinking excessive alcohol.

The authors find other factors that influence the accident outcome to a lower extent. For example, speed and watercraft engine power are found to have a statistically significant effect on the number of fatalities: the average number of deceased is about 57 percent higher when the vessel is not moving at the time of the accident and is 65 percent lower when the vessel averages a speed of 10 to 20 miles per hour in contrast to higher speeds. The number of fatalities is also estimated to be 5 percent lower for each additional foot of watercraft length and 77 percent higher when the watercraft has two engines compared to a watercraft with only one.

Viauroux and Gungor also note that the average number of deceased is 40 percent lower when the accident occurs during the day and is estimated to be about 25 percent higher when the accident occurs during a weekday as opposed to a weekend.

Among minor factors, the authors find operator’s age to be slightly positively correlated with the number of deaths observed: It increases about 1 percent for every additional year of age of the operator. This result may capture unobserved characteristics of the operator such as overconfidence or high risk taking as experience increases. This intuition is consistent with another result on boat rentals. Viauroux and Gungor find that the number of deceased is 22 percent lower when the boat has been rented. In this case, the less experienced operator may be more risk averse, perhaps making overall fewer life-threatening mistakes. Furthermore, the lower number of deceased may also be due to the fact that rented boats may be in better condition and that renters may require life jacket wear.

life jacket collageNot surprisingly, environmental conditions are found to slightly change the accident outcome, with each additional degree Fahrenheit in water temperature decreasing the average number of fatalities by about 1 percent. Furthermore, this effect varies greatly depending on operators’ willingness to wear their life jacket: life jacket effectiveness is estimated to be much higher in cold water, perhaps reflecting the debilitating effects of cold shock.

Through their research, the authors found that between 2008 and 2011, a life jacket regulation requiring all operators to wear their devices—representing a 20 percent increase in the current wear rate—“would have saved 1,721 (out of 3,047) boaters or 1,234 out of 2,185 drowning victims. The same policy restricted to boats 16 to 30 feet in length would have saved approximately 778 victims.” Finally, such a policy “would reduce significantly the percentage of drowning victims compared to other causes of death,” the authors conclude.

Join the discussion


NICEBOTS are small wooden robots that drive around and learn based on situations and obstacles they encounter. They are part of an open atelier workshop / exhibition lasting a few months in Nice, France – led by some former ITP students.

By coin-operated.

The NICEBOTS project is a one-month long open studio exhibit, showcasing the construction and design of interactive robots. During the exhibition, the artists transform the gallery space into a working studio where the audience is able to observe and learn how the bots are built and interact with them in their space.

The open studio format allows for dynamic changes throughout the exhibition. By observing the audience’s interaction with the bots and the effects the bots have on the audience, we are able to make adjustments and “teach” the bots different behaviors. During the one month exhibition, the bots begin as infants, having only basic motor and sensor controls. As the show develops, additional bots will be built and their “brains” will evolve with our guidance. Unique behaviors will emerge giving each robot their personality.


Ovulation Induction

Day by day increasing infertility issues in India has become a growing problem. Despite the fact that India is on the top among the most populated countries. Asia’s 3rd largest economy is facing a totally unexpected problem i.e. a decline in fertility rate. Studies show that in the past 5 years, there is a rise in infertility in India is approximately 20% to 30%.

A large number of women are suffering from infertility though it is not gendered specific. Both men and women are equally responsible for this complication. IVF (In vitro fertilization) is a method to treat infertility, by which an egg is fertilized with sperm outside the body, in vitro. A couple

suffering from infertility have to visit in best IVF center in India from where they can get the solution.

Causes of infertility in women:

Ovulation problem: Hormonal imbalance, A tumor or cyst, thyroid gland problem, excess weight, irregular or brief menstrual cycle, Polycystic ovarian syndrome

Damage to the fallopian tube Endometriosis, pelvic inflammation, previous ectopic pregnancy

Older age Experts says that women have the quality and a large number of eggs during their 20s. The risk of miscarriage is higher in old age women (>35). The development and release of an ovum (Egg) from the ovaries is called ovulation and it is the most fertile period when there are high chances of women get pregnant.

Ovulation induction is the term used to describe the use of medication for the stimulation of normal ovulation in women who have healthy fallopian tubes. Ovaries develop a small follicle containing egg. This follicle will have grown into the 14 days from the last period, get matured and ovulated. During his survival period of 24 hrs, it moves to the fallopian tube and awaits fertilization by sperm. This is called a woman's fertile time.

Methods of ovulation induction:

Clomiphene citrate: Clomiphene increases the secretion of follicle stimulating hormone and luteinizing hormone by triggering the pituitary gland. Follicle stimulating hormone is responsible for inducing ovulation in anovulated women. It should be the first line treatment for those with irregular or absent ovulation.

Aromatase inhibitors: Letrozole is the best aromatase inhibitor used as an alternative to clomiphene citrate for the ovulation induction.

Metformin: Metformin is used to treat women, having polycystic ovarian syndrome associated with insulin resistance and hyperinsulinemia.

Laparoscopic ovarian drilling: Laparoscopic ovarian drilling by the laser is another method of ovulation induction in a woman with anovulatory infertility associated with the polycystic ovarian syndrome.

Ovulation induction with gonadotropins: Treatment with gonadotropins is useful in women with polycystic ovarian syndrome, resistant to clomophene citrate or failed to conceive with it.

As having a baby is the most exciting experience of a couple’s life, childlessness or infertility leads to physical and emotional stress to a couple's life. It also affects the relationship between the partners. By consulting with the right doctor at the right time can resolve your infertility problems up to some extent. If you are looking for the best IVF treatment in Delhi, then meet Dr. Vaishali Sharma, a successful infertility specialist with the sound knowledge of gynecology.


Ni Youyu working in his studio in Shanghai, 2013     Photo: Shasha Liu

Ni Youyu: An Introduction

Ni Youyu is not just an artist; he is an observer, a researcher and a collector. In his spacious, industrial Shanghai studio, one encounters antique shards of ceramics, curious objects found in flea markets, stacks of notebooks and works in progress. Commonly overlooked found objects, many of which the artist discovered while traveling, are scattered around the room.

Ni often draws from this array to create his installations, as he builds connections among previously unrelated pieces. Sometimes he keeps the objects in their initial, frequently broken state; other times he repairs or alters them. He often makes work through a process of deduction, creating new things by destroying others. These two conceptual threads – juxtaposition and generation by removal – run through his diverse practice and form its unique methodology.

Ni strives to create a space where ideas historical and contemporary can intersect. Educated in traditional Chinese ink-wash painting (a style involving ink applied to rice paper or silk, often in scroll form), he draws from the rich and deep traditions of Song (960-1279AD) and Yuan (1271-1368AD) Dynasty ink paintings, when the ancient artists pursued the unity between man and nature within the limited space of paintings. The Song and Yuan pieces emphasized the sense of historical grandeur and rationality, making a strong impression aesthetically with their precise of brush strokes. Following Chinese tradition, Ni studies and emulates the work of old Chinese masters as a daily ritual. However, he does not simply mimic these ancient artworks in his own work. Rather, he immerses himself in them to extract their essence and purposely does not include ink paintings on paper in his own work. Ni’s practice is equally informed by post-1960s conceptual art, such as the Italian modern art movement Arte Povera (1967-1972), where a group of artists attempted to break down the barrier between art and life mainly through the creation of artworks made from everyday materials.

Zilch (2013), made from found objects, involves 100 small pieces of damaged and eroded relics of Chinese figurative sculptures of people, Buddha and animals, dating from the North Song (960-1127AD) to the Qing Dynasty (1644-1912AD) that Ni collected on research trips over several years. After making molds from these ancient pieces, the artist cast soap sculptures from them. Exhibited as though they are artifacts, the sculptures juxtapose the temporality of soap with the lifespan of hard stone antiquities. In doing so, they raise questions about change and permanency, exposing both materials’ essential fragility.

Ni Youyu, Zilch, 2013, 100 soap sculptures    copyright: Ni Youyu  courtesy: Ni Youyu

As part of the work, viewers are invited to become participants and “adopt” one piece of the soap, which they are free to use however they like. In exchange, they are asked to submit a photo of the object in their home. Their treatment of the soap becomes a reflection of their understanding of the sculpture’s function and its status as both a utilitarian and an aesthetic object.

Despite his lack of formal training in Western oil painting, Ni considers the medium an important element of his artistic practice. Working outside of academic restrictions or formal limitations, he has developed his own, unique method. Ni’s initial motivation for painting grew out of not having enough resources early in his career to realize his ideas for installations; he would meticulously draw these ideas on paper and later began experimenting with painting them. Though he approached his first painting as a preparatory sketch, he felt such an overwhelming sense of satisfaction upon completing it that he decided painting should become an essential part of his practice.

Since 2011, Ni has been working on a series of paintings that exclusively use black matte and gold paint. Inspired by paintings from the Song dynasty and historical Japanese screen paintings’ sense of history, their color combinations and the precision of the brush strokes, Ni chose these colors in order to create a concrete yet illusionary visual effect. The contract of the gold semi-gloss against the black matte yields a contradictory quality, lending each scene a realistic yet dream-like aura.

Hoping to avoid solid lines, Ni developed a special method that uses pressurized water to wash away layers of paint. For each painting, he repeats this process several times; the result is a surface that appears worn, as though eroded by time. This effect is a similar to the visual device used in Song and Yuan Dynasty ink paintings. Ni creates scenes of waterfalls, landslides and flood-damaged landscapes by applying water to the painting’s surface. This interaction – between water both represented and actual – imbues the work with a sense of ingenuity and contradiction.

Song Dynasty inkwash painting in detail

Song Dynasty inkwash painting in detail

Ni Youyu, Big Waterfall II (detail)

Ni Youyu, Big Waterfall II (detail)

Ni’s work Galaxy (2008- ) re-examines and critiques the trend of costly large-scale art productions that may be impressive but possess little meaning or content. In Chinese, the phrase “to pound the money” refers to spending a large amount of money without giving it much thought. Ni physically enacts this saying, repeatedly hammering coins he has collected from around the world until their surfaces are flat enough to paint on.

Building upon his preexisting interest in miniature painting, Ni trained himself to draw ink paintings on the coins, which he flattens to approximately one inch in diameter. As though representing “a galaxy of human knowledge,” these paintings depict a range of subjects, from landscapes to anatomy. This project furthers Ni’s exploration of the relationship between deduction and addition. In destroying the coins’ surfaces, he removes their monetary value. However, this process of destruction is also generative: it transforms the coins into art objects, endowing them with a new value within the art market.

Ni Youyu, Galaxy, 2008 - 2012, Installation view   copyright: Ni Youyu  courtesy: Ni Youyu

Ni Youyu, Galaxy, 2008 - 2012, Installation view  copyright: Ni Youyu  courtesy: Ni Youyu

Ni Youyu, Galaxy (detail)    copyright: Ni Youyu  courtesy: Ni Youyu

Ni Youyu, Galaxy (detail)   copyright: Ni Youyu  courtesy: Ni Youyu

Ni subscribes to the Chinese idiom that “constant dripping wears away a stone,” and this sentiment can be applied to the development of his practice. With each work, he continues to slowly build his conceptual system, wary of rushing its progress. His stacks of notebooks contain many more ideas and drafts for installations than he is capable of producing. He can realize only a few carefully chosen ideas each year; some may have been conceived years earlier. This lag gives the artist time and allows him to reflect. This consciously chosen working method lets Ni produce slowly, as he refuses to be seduced by his own ideas or to produce to meet the demands of a hot art market. The inherent labor-intensive quality of his artworks requires the artist’s full attention and repetitive action. Ni often gets into a deep meditative state while in the process of creation, lending these works a sense of ease and grace, making his artistic practice an effortless endeavor.

Shasha Liu  刘莎莎

12/2013 Beijing

*copyright, for republishing purpose, please contact


Impacts—Ocean Acidification

Summary: The ocean is becoming more acidic because of carbon dioxide emissions. The change threatens the health marine organisms that depend on available calcium carbonate to make their shells. In this topic guide, students use models and real data to explore the relationship between atmospheric CO2 and ocean pH, and the impacts that pH changes have on marine organisms.

Concepts to teach:

  1. Increased levels of atmospheric CO2 leads to a decrease in ocean pH
  2. Ocean acidification leads to decreased amounts of available calcium carbonate that many marine organisms need to make their shells
  3. Scientists use data to create models that forecast future conditions

Standards: NGSS Performance Expectations

Specific Objectives:
Students will be able to:

  1. Use data to describe the process and driving factor behind ocean acidification
  2. Use online tools to recreate climate change model scenarios and examine effects of increased CO2 on ocean acidity and carbonate saturation levels
  3. Identify expected future impacts of ocean acidification on marine organisms and ecosystems

Activity Links and Resources:

  • Multimedia Resources about Ocean Acidification
    • Ocean Acidification—Short animation from North Carolina Aquarium at Fort Fisher introduces effects of OA on ecological interactions
    • This pH infographic summarizes findings from the Ocean Acidification Summary for Policy Makers 2013

  • The Data in the Classroom resource includes assessment components, including
    • Check for Understanding interactive questions at the end of Levels 1, 2, and 4
    • The Teacher Guide contains detailed questioning strategies, student worksheets and answer keys
    • Level 5 in the Data in the Classroom unit challenges students to come up with their own hypothesis about ocean acidification and then look for NOAA data that will support or reject that hypothesis.