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a classroom, but from a lover in the world. She must learn as she experiences. Every new experience she has and every new word she learns is an epiphany. Even though these epiphanies become commonplace, I think they are sacred experiences, if not in a religious sense. Love is a sacred thing, and so is everything else t... |
is taken for granted by those who already know it, but for her each word is something completely new, and her joy in learning words is expressed to other people. Frank took my hand. “Thank you God…” I tried to keep my eyes closed, but the urge to examine the table, the people, Brian – who I had looked at many times bef... |
was somehow different – was overwhelming. The prayer droned on and I closed my eyes again and waited for something terrible to overtake me. The plane ride had been filled with admonitions about what I shouldn’t say and shouldn’t do and shouldn’t be. Without saying anything at all, he had transmitted these fears through... |
felt too short against my neck. I couldn’t free my hands to adjust my sweater to hide my androgyny. I was stuck exposed with what I was sure was atheist, feminist whore written on my forehead. An itch began to creep up my arm. I breathed deeply and practiced acceptance. Jesus looked down from above the mantle, chiding ... |
Buddhist practice. “…and thank you Jesus for bringing Brian and Marisa safely from New York to be with us on this special day. Amen.” Brian squeezed my hand. It was the first time he had acknowledged my presence since we’d arrived. The drive from Milwaukee was the first indication that I would be spending the holiday a... |
him to drive. The humming silence of the engine and the tires on the road was broken only occasionally by church gossip and exits fast approaching on the left and right. I sat quietly passing judgment about the infrequency of his calls home and the wayward brother he never talked about and the religion he had so wholeh... |
regret. His childhood home was unassuming. The siding matched the sparse lawn and said nothing of the trauma contained within its boxy four walls. I couldn’t remember why we’d come here. I thought maybe after five years some of the pain would have washed away. Selfishly, I wanted to see where he’d come from. I wanted t... |
bad. I wanted to erase his memories. F rank finished eating and got up without a word. The television flickered back on and, beer in hand, he faded away. I asked Margie about her job and about the renovations in the basement, but the words seemed hollow. I washed the dishes while they looked up cell phone plans and Bla... |
internet. The kitchen felt cold. Rather than argue in the house, we went out and cranked up the heat in the car. I wanted to tell him to come back. I wanted him to know how much it hurt to be in the same room with him and feel alone. I wanted to shake him and see the light come back on behind his |
eyes. But we didn’t speak. We didn’t say a word. The radio clicked on and we sat staring straight ahead listening to the Christmas music they erroneously play before Thanksgiving. I glanced over at him and he was looking back. The tears ran down his face. I took his hand and we waited for the words that could, however ... |
days and at least 3 or 4 drafts later, I'm still struggling to communicate my ideas. I was quite interested in the "inexpressibility topos". Hence the struggle. I actually picked up a book about Montale by Clodagh Brook that specifically tackles the inexpressibility topos in Montale's work. While much of it was irrelev... |
Modernists), which I found quite illuminating. There is certainly more than one connection to be made with Sputnik Sweetheart, but a few stood out: (1) Brook highlights the significance of WWI for the Modernists - “One of the primary theories to emerge is that a world which had undergone such radical transformations in... |
(Brook 6). I wonder if the same might be said of the impact of the Tokyo gas attacks on Murakami. On reading Underground, I found a number of places in which he questions his own capacity to represent the realities of the individuals he interviewed. He was especially struck by an interview with Ms. "Shizuko Akashi", wh... |
lost both her memory and ability to speak. When faced with the necessity to speak for her, he questioned "just how vividly could [his] choice of words convey to the reader the various emotions (fear, despair, loneliness, anger, numbness, alienation, confusion, hope…) these people had experienced” (236). This problem ta... |
that terrorism and perhaps violence in general is the manifestation of a need for self-expression that exceeds the capacity of words and language. Given the timing of Sputnik Sweetheart's publication, it seems likely that many of the themes and issues that the Tokyo gas attack provoked for Murakami were still reverbera... |
a formalist reading of the novel, it doesn't seem like much of a stretch to imagine Sumire as a kindred spirit to Murakami. She seems to share his uncertainty about the capacity of her prose. By her own account, her writing is lacking something essential. “Problem is, once I sit at my desk and put all these down on pap... |
the gate. Although Murakami returns several more times to the baptismal blood bath, its meaning is never revealed. Through his use of metaphor, Murakami extends the practice of elevating the ineffable. The very thing that would make Sumire's writing complete and perhaps, because of her sense of the inextricable link be... |
is "some form of truth harboured beyond the word" (Brook 1). (3) All of these themes come to a head with Sumire’s last words, so to speak. Sumire’s epiphany at the end of the document that K reads on her computer is simultaneously revelatory and dissatisfying for the reader. It on the one hand offers an acknowledgment ... |
hints at an explanation for Sumire’s disappearance (which would be an epiphany for the reader) and on the other hand denies the reader closure by ending with an unanswered and perhaps unanswerable question. “I’m in love with Miu. With the Miu on this side, needless to say. But I also love the Miu on the other side just... |
struck me it was like I could hear – with an audible creak – myself splitting in two. As if Miu’s own split became a rupture that had taken hold of me. One question remains, however. If this side, where Miu is, is not the real world – if this side is actually the other side – what about me, the person who shares |
the same temporal and spatial plane with her? Who in the world am I?” There is an incapacity of language to answer the question of her own reality. The novel is ultimately just an ellipsis, a sort of meta-aposiopesis, “pointing towards it without voicing it” (Brook 11). In Underground, Murakami writes, “Reality is crea... |
Singapore, the tropical city-state situated off the southern tip of the Malaysian Peninsula, is a carefully managed combination of Western progress and Eastern and Colonial history. Clusters of skyscrapers and malls dominate the island's downtown but restored colonial buildings lay beneath Singapore's modern veneer. Si... |
District, where public buildings, hotels and cricket grounds were the domain of British residents. Singapore's appealing ethnic quarters of Little India, Chinatown and Arab Street retain their own distinct flavor. Equatorial Singapore's high humidity, abundant rainfall and uniform temperature of 27ºC - 31ºC, (81ºF - 88... |
tropical greenery found throughout the island and in it's first-rate nature and wildlife reserves. Shaped like a flattened diamond, Singapore is 42km/26mi across and 23km/14mi north to south. Most of the four million inhabitants are descended from those arriving from China, India, Malaysia and Europe. Singapore thrives... |
minimal unemployment; a result of Singapore's compliant population agreeing with their government to put the interest of society ahead of the interest of the individual, in return for once unimaginable levels of prosperity. Some of the ensuing regulations seem extreme: jaywalking, chewing gum and eating on public trans... |
significant fines. The outcome is that Singapore is a clean, safe place to visit, and its public places are smoke-free and hygienic. Since the 13th C the island has been named Singapore (Singapura) or Lion City when a Sumatran sultan sheltering on the island sensed that the lion he sighted |
was a good omen and decided to build a new city. Singapore remained a Sultanate until 1819, when the astute Stamford Raffles of the British East India Company arrived and quickly struck a treaty with local rulers to set up a British trading post. An influx of Malays, Chinese, Indians, |
Arabs and Europeans arrived at the British port and Singapore's population grew. Singapore's progress declined during World War II when the island fell into the hands of the Japanese. After the war citizens started lobbying for independence from Britain, achieving it in 1965. Singapore receives over a million visitors ... |
International cruise-ships call at the Singapore Cruise Centre on the south end of the island. Changi International Airport is situated in the east. Singapore is connected by causeway to Malaysia. Well-paved roads, on which drivers stay left, connect all parts of the island. Singapore has an excellent public transporta... |
but can also be toured on foot, to discover small shops, temples, or the daily scene. The entire state is compact enough to be explored in a few days. 5 Shenton Way Unit 37, Singapore, Singapore 068808, Singapore |
Let's Talk About: Cosmic collisions Share with others: It has been almost 100 years since Edwin Hubble measured the universe beyond the Milky Way Galaxy. Today, astronomers believe that as many as 100 billion other galaxies are sharing the cosmos. |
Most of these cosmic islands are classified by shape as either spiral or elliptical, but stargazing scientists have discovered galaxies that don't quite fit these molds. Common to this "irregular" category are galaxies that interact with other galaxies. These gravitational |
interactions are often referred to as mergers, and their existence invites the question: Is the Milky Way collision-prone? To evaluate the probability, look to the Andromeda Galaxy. Located more than 2.5 million light-years away, Andromeda appears as a small fuzzy |
patch in the sky. However, there is nothing miniature about it. Similar to the shape (spiral), size and mass of the Milky Way, Andromeda is home to a trillion other stars. Astronomers have known for decades that our galactic neighbor |
is rapidly closing in on us -- at approximately 250,000 miles per hour. They know this because of blueshift, a measured decrease in electromagnetic wavelength caused by the motion of a light-emitting source, in this case Andromeda, as it moves |
closer to the observer. Recently, data collected from the Hubble Space Telescope has allowed astronomers to predict a merger with certainty, in 4 billion years. Our sun will still be shining, and Earth will most likely survive the impact. Reason |
being, galaxies, although single units of stars gravitationally tied together, are mostly gigantic voids. One can compare a galaxy-on-galaxy collision to the pouring of one glass of water into another. The end result is a larger collection of water, or |
in the case of a cosmic collision, a larger galaxy. Future Earth inhabitants, billions of years from now, could look up and observe only small portions of such an event because it will take 2 billion years for these cosmic |
Modeling is the process of taking a shape and molding it into a completed 3D mesh. The most typical means of creating a 3D model is to take a simple |
object, called a primitive, and extend or “grow” it into a shape that can be refined and detailed. Primitives can be anything from a single point (called a vertex), a |
two-dimensional line (an edge), a curve (a spline), to three dimensional objects (faces or polygons). Using the specific features of your chosen 3D software, each one of these primitives can |
be manipulated to produce an object. When you create a model in 3D, you’ll usually learn one method to create your model, and go back to it time and again |
when you need to create new models. There are three basic methods you can use to create a 3D model, and 3D artists should understand how to create a model |
using each technique. 1. Spline or patch modeling: A spline is a curve in 3D space defined by at least two control points. The most common splines used in 3D |
art are bezier curves and NURBS (the software Maya has a strong NURBS modeling foundation.) Using splines to create a model is perhaps the oldest, most traditional form of 3D |
modeling available. A cage of splines is created to form a “skeleton” of the object you want to create. The software can then create a patch of polygons to extend |
between two splines, forming a 3D skin around the shape. Spline modeling is not used very often these days for character creation, due to how long it takes to create |
good models. The models that are produced usually aren’t useful for animation without a lot of modification. Spline modeling is used primarily for the creation of hard objects, like cars, |
buildings, and furniture. Splines are extremely useful when creating these objects, which may be a combination of angular and curved shapes. When creating a 3D scene that requires curved shapes, |
spline modeling should be your first choice. 2. Box modeling: Box modeling is possibly the most popular technique, and bears a lot of resemblance to traditional sculpting. In box modeling, |
one starts with a primitive (usually a cube) and begins adding detail by “slicing” the cube into pieces and extending faces of the cube to gradually create the form you’re |
after. People use box modeling to create the basic shape of the model. Once practiced, the technique is very quick to get acceptable results. The downside is that the technique |
requires a lot of tweaking of the model along the way. Also, it is difficult to create a model that has a surface topology that lends well to animation. Box |
modeling is useful as a way to create organic models, like characters. Box modelers can also create hard objects like buildings, however precise curved shapes may be more difficult to |
create using this technique. 3. Poly modeling / edge extrusion: While it’s not the easiest to get started with, poly modeling is perhaps the most effective and precise technique. In |
poly modeling, one creates a 3D mesh point-by-point, face-by-face. Often one will start out with a single quad (a 3D object consisting of 4 points) and extrude an edge of |
the quad, creating a second quad attached to the first. The 3D model is created gradually in this way. While poly modeling is not as fast as box modeling, it |
requires less tweaking of the mesh to get it “just right,” and you can plan out the topology for animation ahead of time. Poly modelers use the technique to create |
either organic or hard objects, though poly modeling is best suited for organic models. A Workflow that Works The workflow you choose to create a model will largely depend on |
how comfortable you are with a given technique, what object you’re creating, and what your goals are for the final product. Someone who is creating an architectural scene, for example, |
may create basic models with cubes and other simple shapes to create an outline of the finished project. Meshes can then be refined or replaced with more detailed objects as |
you progress through the project. This is an organized, well-planned way to create a scene; it is a strategy used by professionals that makes scene creation straightforward. Beginners, on the |
other hand, tend to dive in headfirst and work on the most detailed objects first. This is a daunting way to work, and can quickly lead to frustration and overwhelm. |
Remember, sketch first, then refine. Likewise, when creating an organic model, beginners tend to start with the most detailed areas first, and flesh out the remaining parts later, a haphazard |
way to create a character. This may be one reason why box modeling has grown to be so widely popular. A modeler can easily create the complete figure before refining |
the details, like eyes, lips, and ears. Perhaps the best strategy is to use a hybrid workflow when creating organic models. A well planned organic model is created using a |
combination of box modeling and poly modeling. The arms, legs, and torso can be sketched out with box modeling, while the fine details of the head, hands, and feet are |
poly modeled. This is a compromise professional modelers seek which prevents them from getting bogged down in details. It can make the difference between a completed character, and one that |
is never fleshed out beyond the head. Beginners would be wise to follow this advice. Another aspect of proper workflow is creating a model with an ideal 3D mesh topology. |
Topology optimization is usually associated with creating models used in animation. Models created without topology that flows in a smooth, circular pattern, may not animate correctly, which is why it |
is important to plan ahead when creating any 3D object that will be used for animation. The most frequently discussed topology is the proper creation or placement of edgeloops. An |
edgeloop is a ring of polygons placed in an area where the model may deform, as in the case of animation. These rings of polygons are usually placed around areas |
where muscles might be, such as in the shoulder or elbow. Edegeloop placement is critical when creating faces. When edgeloops are ignored, models will exhibit “tearing” when animated, and the |
model will need to be reworked or scrapped altogether in favor of a properly-planned model. The next step to creating great models is simply to practice and examine the work |
of artists you admire. Some of the best 3D modelers are also fantastic pencil-and-paper artists. It will be well worth your time to practice drawing, whether you’re a character creator |
or a wanna-be architect. Good modeling requires a lot of dedication. You’ll need to thoroughly understand the software you’re using, and the principles of good 3D model creation laid out |
above. Character artists will need to learn proportion and anatomy. By understanding these basics of modeling you’ll save yourself a lot of frustration and discouragement, and you’ll be well on |
Is there such a thing as too much money? by Fred E. Foldvary, Senior EditorWhat is inflation? There are two economic meanings of inflation. The first meaning is monetary inflation, |
having to do with the money supply. To understand that, we need to understand that the impact of money on the economy depends not just on the amount of money |
but also on its rate of turnover. We all know that money circulates. How fast it circulates is called its velocity. For example, suppose you get paid $4000 every four |
weeks. You are circulating $4000 13 times per year. Then suppose you instead get paid $1000 each week. Your total spending is the same, but now you are circulating $1000 |
52 times per year. The velocity of the money is 52, but the money you hold has been reduced to one fourth its previous amount, although the money held times |
the velocity is the same. The effect on the economy is the money supply times the velocity. Monetary inflation is an increase in the money supply, times the velocity, which |
is greater than the increase in the amount of transactions measured in constant dollars. Simply put, if velocity does not change, monetary inflation is an increase in money that is |
greater than the increase in goods. Price inflation is an on-going increase in the price level. The level of prices is measured by a price index, such as the consumer |
price index (CPI). Usually, price inflation is caused by monetary inflation. So let’s take a look at recent monetary inflation. The broadest measure of money is MZM, which stands for |
money zero maturity, funds which can be readily spent. The Federal Reserve Bank of St. Louis keeps track of various measurements of money. Its data show that on an annual |
basis, MZM increased by 13 percent in January 2008, 36 percent in February, and 23 percent in March. These are huge increases, since gross domestic product, the total production of |
goods, increased at an annual rate of only .6 percent during these months. In 2006, MZM grew at an annual rate of only 4 percent. High monetary inflation results in |
high price inflation. Indeed, in May 2008 the consumer price index rose by 4.2 percent from the level of May 2007. For the month, the increase for May was .6 |
percent, an annual rate of 7.2 percent. The “Consumer Price Index for All Urban Consumers” (CPI-U) increased 0.8 percent in May, before seasonal adjustment, for an annualized increase of 9.6 |
percent. The “Consumer Price Index for Urban Wage Earners and Clerical Workers” (CPI-W) increased 1.0 percent in May, prior to seasonal adjustment, for a whopping annual increase of 12 percent. |
The rapid rise in oil prices fueled the increase in the price of gasoline, while the greater demand for grains made food prices rise, but beneath these rises is the |
monetary inflation that creates a higher demand for goods in general. The government reports that “core inflation,” not counting gasoline and food, is lower, but what counts for people is |
everything they buy, including food and fuel. If you have to pay much more for food and gasoline, there is less money for other things, so of course these will |
not rise in price as much. In making monetary policy, the Federal Reserve targets the federal funds interest rate, which banks pay when they borrow funds from one another. During |
the financial troubles during the first few months of 2008, the Fed aggressively lowered the federal funds rate to 2 percent and also indicated that it would supply limitless credit |
to banks that borrowed directly from the Federal Reserve. The Fed lowers the interest rate by increasing the supply of money that banks have to lend; to unload it, banks |
charge borrowers less interest. To start, the Fed buys U.S. Treasury bonds from the public. The Fed pays for the bonds not by using old money it has lying around |
but by increasing the reserves held by the banks in their accounts at their local Federal Reserve Bank then using that new money. This increase in reserves or bank funds |
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