wednesday 15 may philippine duck ( anas luzonica ) philippine duck fact file - find out more - print factsheet philippine duck description with its rusty - cinnamon head and bluish - grey bill, the philippine duck is a rather distinctive bird. the cinnamon coloured head is boldly decorated with a black crown and a black stripe through the eye, while the rest of the plumage is brownish - grey. when in flight, a well - defined patch of glossy green on the wing can be clearly seen ( 2 ), which is bordered with black and has a narrow white edge ( 3 ), and the underside of the wing is also white ( 2 ). immature philippine ducks have slightly duller plumage than that of adults, while ducklings are olive - brown with a bright yellow face and neck ( 2 ). it calls with a typical duck - like quack ( 3 ). - length : 48 – 58 cm ( 2 ) philippine duck biology this shy and nervous species, which will quickly fly off if approached, may be seen in large flocks outside of the breeding season, but usually occurs in pairs or small groups ( 2 ). the breeding season is thought to extend between march and november, with a peak in activity in july and august, although this may vary throughout the range ( 2 ). the philippine duck constructs a nest obscured from view under a thick cover of aquatic vegetation, such as water bindweed. clutches consist of 8 to 10, sometimes 15 to 16, eggs, which are dull white with a brownish tinge. these are incubated for 25 to 26 days ( 2 ). most active in the early morning, late afternoon, and during moonlit nights, the philippine duck forages in shallow water for plants, molluscs and crustaceans ( 2 ). fish and frogs may also be consumed, as well as insects, rice and the shoots of young plants ; some farmers have complained of the damage this duck had done to newly sown fields and sprouting crops ( 4 ). top philippine duck rangetop philippine duck habitat the philippine duck can be found in both freshwater and saltwater habitats, including small streams in forests, lakes, marshes, swamps, mangroves, tidal creeks, and the open sea ( 2 ) ( 4 ). it prefers areas with marsh vegetation, which offers vital food and cover, and is found up to elevations of 300 to 400 metres ( 2 ). top philippine duck status classified as vulnerable ( vu ) on the iucn red list 2007 ( 1 ). top philippine duck threats hunting


marsh vegetation, which offers vital food and cover, and is found up to elevations of 300 to 400 metres ( 2 ). top philippine duck status classified as vulnerable ( vu ) on the iucn red list 2007 ( 1 ). top philippine duck threats hunting and habitat loss pose the greatest threat to the philippine duck ’ s survival, and evidence from the last 20 years suggest that numbers are declining ( 2 ). since the 1960s, high levels of hunting and trapping of this species have been recorded, with thousands allegedly shot each week in certain months in the late 1980s ( 3 ), for both food and sport ( 5 ). many wetland habitats of the philippines have been drained, or converted for aquaculture and shrimp - or fish - ponds ( 3 ) ( 5 ). most devastating to this species was the drainage of candaba marsh in the 1990s, which was once one of the most important sites for the philippine duck, but is now too dry to support a large population ( 5 ). the recent extensive use of pesticides on rice - fields may also have had serious impacts on the philippine duck ( 3 ). top philippine duck conservation the philippine duck receives legal protection at five locations, including lake naujan national park on mindoro and maria aurora memorial natural park on luzon ( 3 ). in addition, hunting of all bird species is illegal in the philippines, with the government banning firearms in 1972, although unfortunately, this law lacks enforcement ( 3 ) ( 5 ). education and awareness programmes are required to enable local people to understand the effects of hunting on birds and the relevant laws ( 5 ). further protection of the philippine ’ s wetlands is also essential for this species ’ survival ; for example, the protection and restoration of candaba marsh has been recommended ( 3 ). top find out more for further information on the conservation of the philippines ’ wetlands see : - society of the conservation of philippine wetlands : for more information on this and other bird species please see : - birdlife international : authenticationthis information is awaiting authentication by a species expert, and will be updated as soon as possible. if you are able to help please contact : email @ example. comtop - the cultivation of marine or freshwater food fish or shellfish under controlled conditions. - diverse group of arthropods ( a phylum of animals with jointed limbs and a hard chitinous exoskeleton ) characterised by the possession of two pairs of antennae, one pair of mandibles ( parts of the mouthparts used for handling and processing food )


phylum of animals with jointed limbs and a hard chitinous exoskeleton ) characterised by the possession of two pairs of antennae, one pair of mandibles ( parts of the mouthparts used for handling and processing food ) and two pairs of maxillae ( appendages used in eating, which are located behind the mandibles ). includes crabs, lobsters, shrimps, slaters, woodlice and barnacles. - a species or taxonomic group that is only found in one particular country or geographic area. - a diverse group of invertebrates, mainly marine, that have one or all of the following ; a horny, toothed ribbon in the mouth ( the radula ), a shell covering the upper surface of the body, and a mantle or mantle cavity with a type of gill. includes snails, slugs, shellfish, octopuses and squid. - iucn red list ( april, 2008 ) - kear, j. ( 2005 ) ducks, geese and swans. oxford university press, oxford. - birdlife international ( april, 2008 ) - birdlife international. ( 2001 ) threatened birds of asia : the birdlife international red data book. birdlife international, cambridge, uk. - crosby, m. j. ( 2003 ) saving asia ’ s threatened birds : a guide for government and civil society. birdlife international, cambridge, uk. myarkive offers the scrapbook feature to signed - up members, allowing you to organize your favourite arkive images and videos and share them with friends. terms and conditions of use of materials copyright in this website and materials contained on this website ( material ) belongs to wildscreen or its licensors. visitors to this website ( end users ) are entitled to : - view the contents of, and material on, the website ; - download and retain copies of the material on their personal systems in digital form in low resolution for their own personal use ; - teachers, lecturers and students may incorporate the material in their educational material ( including, but not limited to, their lesson plans, presentations, worksheets and projects ) in hard copy and digital format for use within a registered educational establishment, provided that the integrity of the material is maintained and that copyright ownership and authorship is appropriately acknowledged by the end user. end users shall not copy or otherwise extract, alter or manipulate material other than as permitted in these terms and conditions of use of materials. additional use of flagged material green flagged material certain material on this website ( licence 4


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the 1913 armory show : much ado about everything in the 1940s, modern art came to new york. jackson pollock dripped shimmering skeins of paint onto capacious canvases. mark rothko constructed sublime floating rectangles of diaphanous color while willem de kooning mutilated the female form using frenzied brushstrokes loaded with frighteningly vivid hues. gone were explicit references to the figurative, recognizable perspective, and narrative - in their place were amorphous shapes, splashes, drips, and “ zips. ” this new art, “ abstract expressionism ” as it was deemed by a critic, did not spring up in a vacuum ; it was possible because modern art had already come to new york almost thirty years earlier. in 1913, a single exhibition changed the face of american art forever. the international exhibition of modern art, known as the armory show, endeavored to combine the newest and most striking examples of european art with their american counterparts in a magnificent, unparalleled show. it has often attracted general attention and scholarly analysis for its impact on the abstract expressionists of the forties. it was by declaring new york a contender in the modern art milieu, by exposing american artists to the artistic movements of cubism, post - impressionism, and fauvism, and by ultimately legitimating such aesthetic practices that post - wwii artists in america began to subvert, deny, challenge, and transform the prevailing notions of what was considered “ good ” or “ true ” art. however, the armory show is also fascinating for its reception in its own day - for how the press and public reacted to the shocking paintings that hung on the walls of the 69th infantry regiment armory. the shocking nature of the show facilitated intense media interest and widespread curiosity ; newspaper accounts and editorials ranged from commending to condemning and varied from tacit approval to virulent disparagement. the press coverage reveals the armory show as a disruption to the predominant aesthetic discourse, but one that was ultimately welcome and necessary. an understanding of the impact of the armory show requires a familiarity with the narrative of american art. the earliest american masters painted luminous, crisp portraits of political leaders and new england families. john singleton copley earned a name for himself by painting the likenesses of paul revere, samuel adams, and the winthrop family. his contemporary benjamin west drew from the european history painting heritage to construct images of grandeur, solemnity, and dignity. as the revolution gave birth to


for himself by painting the likenesses of paul revere, samuel adams, and the winthrop family. his contemporary benjamin west drew from the european history painting heritage to construct images of grandeur, solemnity, and dignity. as the revolution gave birth to a republic, charles wilson peale, emmanuel leutze, and gilbert stuart immortalized its leaders with heroicized, romantic portraits and depictions of their wartime exploits. in the 1800s, the country was enthralled with the vast, unexplored lands in the west, promulgating “ manifest destiny ” to travel, populate, and tame the beguiling wilderness. artists responded accordingly, depicting jagged, monumental mountains, serenely still pools and rushing waters, dense and dark thickets of pines, brilliant sunsets, and astonishing cloud formations. albert bierstadt, thomas cole, frederick church, and asher brown durand exemplified the american adaptation of european romanticism, forever immortalizing the hopes their countrymen had for the unsettled wilderness of the west. new england luminist artists like martin johnson heade, fitz hugh lane, and john frederick kensett placidly depicted the coasts, harbors, isolated dunes, and stately ships that heralded both a vibrant shipping trade and a quiet coastal lifestyle on the shores of the atlantic. as the forests and empty territories disappeared and cities began to achieve prominence, art looked to the urban world. monuments arose in cities, buildings grew taller and grander, and occasionally a brash realism seeped into the canvases of the late 19th century. thomas eakins, john sloan, george luks, and winslow homer shied away from john singer sargent ’ s radiant, mildly impressionistic society portraits to illustrate ironworkers, rowing competitions, playing children, and grappling wrestlers. at the turn of the century, the national academy of design ( nad ) was the most influential presence in the american art scene, if the word “ scene ” can be employed to describe the loose grouping of painters and sculptors. nad was a fundamentally conservative and elitist association of artists that held annual exhibitions of primarily european art. the leaders of nad were exceedingly slow to accept new styles or subjects ; many small organizations tried to challenge its narrow - mindedness but found it impossible to truly construct an alternative to the virtual hegemony of the academy. it was in this context that the first strains of modern art began to subtly seep into the canvases of some american painters. john marin and arthur dove began using sheer washes of


construct an alternative to the virtual hegemony of the academy. it was in this context that the first strains of modern art began to subtly seep into the canvases of some american painters. john marin and arthur dove began using sheer washes of color in the first decade of the 20th century, the former using watercolors to frenetically paint the brooklyn bridge in cool tones of blue and green and the latter painting abstract, organic shapes in rich fauvist color. most american artists, however, were still grounded in realism ; many had not even seen what their european counterparts had been up to for the past decades. landscapes, society portraits, and city scenes ( like those of the “ ashcan ” painters ) were commonplace. new york as an art capital lagged far behind paris and berlin with little gallery space, few if any sales for modern painters and sculptors, and the conservative dominating presence of the nad. it should not be surprising, then, that the armory show caused an impact. the state of american art before 1913 was assuredly not modern. the few artists that experimented with such strategies, like marin, dove, and max weber, were subject to derision. the environment was decidedly inhospitable for abstraction and distortion of the traditional hallmarks of successful painting, especially while the nad was presiding atop the art world. something had to be done to bring the vanguard of european art to america and support the few american artists who were discontented with the state of affairs. a group of american painters and sculptors, including henry fitch taylor, walt kuhn, arthur b. davies, walter pach, and william glackens, decided to take action. they formed the association for american painters and sculptors ( aaps ) in 1912 and elected davies president. in a personal letter to his wife, kuhn wrote : my idea about the new society is this : a big broad liberal organization embracing every kind of art, even those which i do not like, one that will interest the public … the thing must be started so that it can grow and be as big or bigger than the academy within two or three years. almost immediately, ideas for a grand exhibition began germinating in the members ’ minds. some had participated in the wildly successful “ independents ” show in 1910 that sought to combat the nad ’ s influence by showcasing the work of early american modernists. the aaps was far more ambitious and began looking abroad to discover the origins, impetus, and current practices of modernism in art. the sonerbund exhibition


that sought to combat the nad ’ s influence by showcasing the work of early american modernists. the aaps was far more ambitious and began looking abroad to discover the origins, impetus, and current practices of modernism in art. the sonerbund exhibition in cologne was just what the men had been looking for - kuhn immediately flew to germany and caught the exhibition right before it closed. his letters to his wife are characterized by enthusiasm and excitement for his task - he worked feverishly with dealers, collectors, and artists, and traveled extensively. he picked up many of the most significant post - impressionists like cezanne, van gogh, and gauguin, met the nervous but pulchritudinous edvard munch ( unfortunately only one of munch ’ s drawings would be featured in the show ), became enthralled with the work of odilon redon, and subsequently traveled to the art capitals of paris and munich. davies met kuhn abroad and the two continued the business of collecting the most striking examples of the european avant - garde for the show. davies, who was more conversant with the developments occurring in european painting, was responsible for the few examples of german expressionism - one kandinsky, one kirchner - that made it into the exhibition. the two also gathered up astonishing examples of cubism, as seen in the work of picasso, braque, and duchamp ; impressionist masters like monet and renoir ; the italian futurist work of brancusi ; and the fauvist canvases of matisse. the trip was extremely successful in amassing most of the remarkable collection that the show would feature. kuhn ’ s letters reveal his sentiments on the state of art at home and abroad. he felt both that “ we have not been able to judge at home what this thing over here really means. the few imitators we knew, could not do justice to it. you have no idea of the enormity of it ” and that “ the more i get about the more i feel that new york is the coming place for art and every thing else. ” the statements might seem contradictory, but they exemplify the burgeoning discourse concerning contemporary art ’ s future. indeed, the best and most avant - garde art was in europe, but new york was beginning to awaken to such currents and would, in time, become the art capital of the world. kuhn ’ s words were quite prescient. once back in new york


most avant - garde art was in europe, but new york was beginning to awaken to such currents and would, in time, become the art capital of the world. kuhn ’ s words were quite prescient. once back in new york, the aaps began to confront the logistical elements of setting up their exhibition. along with the help of clara davidge, owner of the madison art gallery, one of the strikingly small number of public galleries that exhibited modern art, they booked the sixty - ninth regiment ’ s armory on lexington and 24th / 25th streets and began fundraising. the exhibition space was “ a vast, high - ceilinged space, a parade ground without internal walls that paintings could be hung on. so the organizers used screens covered in fireproof burlap, dividing the floor into eighteen octagonal rooms - a maze inside a cavernous hall. ” davidge planned the opening reception and used her social ties to ensure that the guest list was dazzling and exhaustive. the more than 1300 works of art were hung in only two days, an extremely impressive feat. the show officially opened on february 17th, 1913 and ran until march 15th when it then traveled to chicago and boston. the show represented more than three hundred artists, with one - third american and the rest foreign. the main european movements were covered - impressionism, post - impressionism, cubism, fauvism, and symbolism. as previously mentioned, only a few german expressionist paintings were exhibited. futurism was represented by brancusi, but eventually the press would ignorantly begin to deem all of the most “ confusing ” modern works futurist pieces even though they were expressly incongruent with that particular movement. the american artists shown are recognizable names in the present day, but were mostly unknowns in the art world when they were featured in the armory show. they included marsden hartley, john marin, joseph stella, edward hopper, stuart davis, and charles sheeler. the new york ashcan school was well represented, but their individual artistic style was perhaps the most provincial and outdated compared to the european works hanging nearby. at the exhibition ’ s formal opening, john quinn presented a speech that deserves to be printed at length, effectively detailing what the aaps was intending to accomplish with the armory show : - the members of this association have shown you that american artists - young american artists, that is - do not dread, and have no need to dread, the idea or culture of europe. they believe that in the domain of


with the armory show : - the members of this association have shown you that american artists - young american artists, that is - do not dread, and have no need to dread, the idea or culture of europe. they believe that in the domain of art only the best should rule. this exhibition will be epoch making in the history of american art. tonight will be the red - letter night in the history not only of american but of all modern art. the members of the association felt that it was time the american people had an opportunity to see and judge for themselves concerning the work of the europeans who are creating a new art. now that the exhibition is a fact, we can say with pride that it is the most complete art exhibit that has been held in the world during the last quarter century. now that an overview of american art and the factual basis to the armory show have been discussed, it is necessary to delve into the press accounts of the show to discover how it was received during its day. the newspaper and magazine articles do much to elucidate the surprise, shock, confusion, and excitement felt when the show debuted in new york. almost all of the major newspapers had something to say about it the day it opened, and many devoted space in subsequent weeks to different opinions, new controversies, and further attempts to understand what was being shown. an analysis of the media coverage can begin with looking at first impressions of the show. the new york sun was particularly devoted to covering the armory show. an article was published the sunday before the show opened entitled “ notable international art show now ready. ” the reviewer eagerly expressed his desire for the show to open, noting that “ nothing so ambitious has been attempted before. ” he detailed previous exhibitions that were moderately successful and endeavored to bring european art to america, but explained that their overall impact was muted. the 1913 show, by contrast, “ will stand alone in its special field for magnitude and importance. ” he attempted to capture the reasons for putting on such a show, and succeeded - “ the aim of the international show … is to stimulate our american artists by showing them what the rest of the advanced world is about. ” he concluded that the show would no doubt be a remarkable success if the widespread interest that was already surging through new york was any measure. a discerning hypothesis indeed, but the buzz was intense and it was only logical to conclude that it would be a triumphant accomplishment for the aaps. unsurprisingly, two days later the sun had only glowing


york was any measure. a discerning hypothesis indeed, but the buzz was intense and it was only logical to conclude that it would be a triumphant accomplishment for the aaps. unsurprisingly, two days later the sun had only glowing accolades to offer its readers clamoring for information on the exhibition. the headline announced “ international art show a sensation : an extraordinary array. ” the reviewer opened his article by proclaiming, “ sensational is the only word to apply to the international art show ” and the aaps have “ wrought something very like a miracle. ” he felt that there was a refreshing lack of agenda or desire for controversy, that the organizers merely wanted their viewers to make up their own minds concerning the relative merits of the paintings and sculptures on display. a tour of sorts explained for the readers the various rooms and movements, and at times the writer lapsed into verbal reverie about certain artists. cezanne was an object of his affection - “ the still voices of these pictures come to you with something like a thrill. if the exhibition had brought nothing beyond these cezannes to the ken of americans in their own country, it would have been worthwhile. ” even the jarring colors of matisse barely offended, and readers of the sun were exhorted that the show “ is an event not on any account to be missed. ” the chicago tribune focused on the show both the day before and the actual day of opening. on february 16th, the writer, harriet monroe, proclaimed that the “ insurgents ” - a common word used to describe the more controversial artists - had come to new york and that it was a show to be seen ; it “ promises to be worth going miles and miles to see - and hear. ” on february 17th, monroe had a lot more to say, wavering between approbation and confusion. she began her article by noting the cosmopolitan nature of the show. she believed that it was “ enthusiastic, exuberant ; it offers the glad hand to any one, young or old, who has something to say in modern art. ” she was ambivalent about the cubist room, however, and offered tacit criticism mingled with amusement. the cubists along with matisse were likened to children, but monroe was not too hard on them - “ we cannot always tell what they mean, but at least they are having a good time. ” finally, she observed with triumph that the american works seemed to hold their own against the europeans ’. albert pinkham ryder,


too hard on them - “ we cannot always tell what they mean, but at least they are having a good time. ” finally, she observed with triumph that the american works seemed to hold their own against the europeans ’. albert pinkham ryder, with his dark, simple, and mysterious scenes of the sea and dusky rural pathways was a notable success. it is thus jarring to realize that monroe ’ s headlines read : “ art show open to freaks … american exhibition in new york teems with the bizarre … all schools welcome … queer conceptions of ‘ insurgents ’ vie with conservative ’ s works. ” one can only surmise that she was perhaps shocked by the art that was featured but recognized the significance of its inclusion in such a worldly, modern show of incredible proportions. the new york tribune also mixed notes of derision with praise when it reviewed the show on february 17th. the headline encapsulated such a point of view - “ a remarkable affair despite some freakish absurdities. ” the writer clearly relished his or her addition of witticisms into the article when it came time to evaluate. one such finely - drawn critique read : “ we would counsel the reader to keep his head, to beware of the swooning sophist who, without presenting any intelligible reasons for the faith that is in him, simply declares in rhapsodical fashion that this or that post - impressionist or cubist work is a masterpiece. ” many of the paintings look foolish, not terrible, the reviewer wrote, and “ with picasso and the rest of the cubists the farce grows wilder. they throw upon the canvas a queer agglomeration of line and color. ” there was an evident gross pretension to some of the more extreme artists, who felt they could take all the liberties their hearts desired and distort and destroy “ art. ” but the tribune ’ s piece was not entirely negative. the reviewer found the pictures well hung and many were aesthetically pleasing. the conclusion was that “ there is rubbish in this show, but as we have said, it does not preponderate. ” the new york world was a little harsher. their headline and following comic on february 17th have since become one of the most famous and amusing lampoons of the show - “ nobody who has been drinking is let in to see this show. ” the sub - headline continued with - “ he ’ d have bellevue for next stop after futurist art exhibition, scoffers assert.


amusing lampoons of the show - “ nobody who has been drinking is let in to see this show. ” the sub - headline continued with - “ he ’ d have bellevue for next stop after futurist art exhibition, scoffers assert. ” the article complained that the futurists ( as mentioned, there were basically no futurists in the show ; this was a blanket term given to the cubists and other advanced modernists ) were untutored and peculiar. the piece also related a humorous and hyperbolic anecdote ( no doubt fallacious ) about an elderly man who approached a john marin painting and was disconcerted that the spectators around him were heaping lavish praise upon the piece and that somehow he had missed its import. the man “ became very red in the face. he was certainly disgusted with himself. suddenly he withdrew about a yard, placed his high silk hat on the floor, bent over and surveyed the picture between his legs. the light of understanding was in his eyes when he resumed an erect position. ” the comic strip above the article did even more to poke fun at the art of the avant - garde. one small sequence entitled “ the unsuspecting art critic does the show ” featured a critic in five stages of emotion ranging from contemplation to bewilderment to shock, and in the last depiction, being carted off in an ambulance to bellevue. it was an absurd commentary, but quite representative of the style in which reporters and critics attacked the show. confusion, bewilderment, anger, and stubbornness were ubiquitous in the reports on the armory show. some reviews were vitriolic and derisive in tone, often accompanied by comic strips and little rhymes that mocked and jibed the artwork. critics were almost as innovative in fashioning an aspersion as the artists were in composing the pictures that received them. the criticism flung at the show on its opening day did not abate as the exhibition stretched into march. first impressions of the vastness of scale, the cosmopolitan aura, and the significance of new york as a venue were not denied, but the art itself, particularly the cubists and the rest lumped under the “ futurists, ” were mercilessly attacked. an editorial in the new york times found the art ugly and juvenile. the jumble of lines and colors and the distortions of perspective resembled “ savage ” art of the primitives and children, according to bolton brown, the writer. the repulsive art was so backward


new york times found the art ugly and juvenile. the jumble of lines and colors and the distortions of perspective resembled “ savage ” art of the primitives and children, according to bolton brown, the writer. the repulsive art was so backward that “ the formula for their production is to compel a painter to use only 2 per cent of either his knowledge or his taste. ” the world ’ s headline on february 23rd read “ cubists and futurists have reached america … they are to be seen at the sixty - ninth regiment armory - a colossal exhibit of up - to - date art, some of it understandable. ” the reviewer, charles henry dorr, opened his piece with some generally flattering comments on the impressive nature of the exhibition and the credible and progressive elements of the american painters ’ work. dorr was quick to turn to the fascinatingly ambiguous works by the cubists, however, and noted that that room was the “ chief volcanic eruption ” of the show. he then delved into the issue of duchamp ’ s “ nude descending a staircase, ” a controversy to be discussed momentarily. on the same day the new york times offered a deeper analysis of the show, delineating the progression of the featured art from the earliest piece of ingres to the most contemporary work by picasso, matisse, and duchamp. the first paragraph equated the sheer force of the post - impressionist and cubist works to a cacophony of bass drums and violins playing simultaneously, succinctly stating that the exhibition “ makes a lot of noise. ” the critical analysis was relatively straightforward but shifted in tone when matisse was reached. the reviewer concluded that matisse ’ s work exhibited many defects, all the more disconcerting because his canvases overwhelmingly relied upon the basic structure of the human form as their subjects. the eschewing of psychology in the paintings was repellant, but the reviewer concluded, perhaps to his chagrin, that matisse had indeed allowed younger artists to become looser and freer with color and planes. harriet monroe, the writer for the chicago tribune, included an anecdote about an indignant american artist at the show, who exclaimed, “ i can ’ t see why this person is tolerated! … i believe the critics don ’ t dare speak the truth about abominable monstrosities … he ought to be pilloried! ” one of the most ridiculous and colorfully outrageous critical reviews of the armory show was printed in the new york


… i believe the critics don ’ t dare speak the truth about abominable monstrosities … he ought to be pilloried! ” one of the most ridiculous and colorfully outrageous critical reviews of the armory show was printed in the new york herald, entitled “ flying wedge of futurists armed with paint and brush batters line of regulars in terrific art war. ” the entire commentary used the analogy of war between the modernists and the conservatives, opening with “ general sherman was right. war is all he said it was and then some. ” the modern artists - the “ futurists ” - were against the traditional artists - the “ regulars. ” j. a. fitzgerald, the writer, equates some of the modern paintings with the sanguinary battlefield scenes of war, stating, “ the bleeding pictures that line the walls, every line indicating the awful agony of the artist, are shrieking evidence of the ferocity of the struggle. ” the war motif continues - “ armed to the teeth with brushes and pencils, the rival factions are attacking each other ’ s artistic ideas at every opportunity. ” the cubist room was likened to a psychopathic ward because of the violent colors, frenzied brushstrokes, and off - kilter perspective. fitzgerald then ruminated on the hypothetical scenario of an individual asking a futurist to paint their portrait, derisively sneering, “ you may not be a prize beauty now, but what a futurist would make of you would be a shock that you couldn ’ t possibly survive. ” the review ends with fitzgerald ’ s adaptation of the everyman, first - person point - of - view to describe a trip through the galleries where the titles of the works contemplated vastly differed from what one ’ s eyes thought they glimpsed. when a title was actually illustrated by that which it suggested, the joy of the spectators was unbounded. one painting of a cow with an apposite title caused one man to celebrate for seven minutes. “ ‘ i was afraid it was going to be a bridge or something like that, ’ he explained. ‘ if it hadn ’ t turned out to be a cow i was going right down to bellevue to reserve a place in the observation pavilion. ” fitzgerald ’ s piece was accompanied by comic drawings poking fun at the artwork. comic strips were remarkably popular in the first few decades of the 20th century and were frequently utilized by the critics of the armory show to further illustrate their concern and frustration with the seemingly


fitzgerald ’ s piece was accompanied by comic drawings poking fun at the artwork. comic strips were remarkably popular in the first few decades of the 20th century and were frequently utilized by the critics of the armory show to further illustrate their concern and frustration with the seemingly incomprehensible paintings. one mild - mannered example showed an elderly woman with a large quilt on her lap and was labeled “ the original cubist. ” another showed a well - dressed couple looking at a drawing by abel faivre with the woman asking, “ perhaps it is a map of the balkan mountains? ” yet another took familiar scenes of the statue of liberty, the brooklyn bridge, and chambers street and redid them in the style of the newest artists ; the finished scenes are unsurprisingly messy and unappealing. a similar one above the headline “ extreme art draws crowd at opening ” featured a street scene of new yorkers on their way to the exhibition, depicted in weird, unnatural shapes and in odd situations, as in the horse - drawn carriage actually being pulled by a giraffe - like creature. in one called “ the new art, ” a painter composed a painting by flinging a hammer at it, using a rapier to spread paint, spraying it with essence of garlic, and using his feet to add detail ; in the final square he stood proudly behind the composition and deemed it “ the kneeling woman. ” finally, a barnyard scene showed a hen standing proudly above her nest with three eggs in it. they were no ordinary eggs, however - the caption to the comic read “ the latest in easter eggs. ” the eggs were, in fact, multifaceted cubist shapes. little ditties were also written to disparage the armory show, many of them clever, many painfully unfunny. one lively one read : i called the canvas cow with cud and hung it on the line, altho ’ to me ‘ twas vague as mud, ‘ twas clear to gertrude stein. another humorous one called “ a post impression ” went like : awful lack of technique awful lot of paint makes a cubist picture look like what it ain ’ t. writers clearly spared no excess of humor or creativity in fashioning responses to the show. the exhibition even attracted notice and elicited a response from theodore roosevelt, the former president. in a lengthy article in the outlook after the show had closed, roosevelt denigrated the pieces of modern art he had seen. he did not dismiss the necessity of bringing european


notice and elicited a response from theodore roosevelt, the former president. in a lengthy article in the outlook after the show had closed, roosevelt denigrated the pieces of modern art he had seen. he did not dismiss the necessity of bringing european art to america for her citizens to examine, but heartily disagreed with the aaps on the merits of such art. he felt that the modern aesthetic did not necessarily mean life and progress but that such changes in the visual arts could instead embody death and retrogression. he succinctly averred, “ probably we err in treating most of these pictures seriously. ” although the lack of banalities in all of the work featured pleased roosevelt, “ this does not in the least mean that the extremists whose paintings and pictures were represented are entitled to any praise, save, perhaps, that they have helped to break fetters. ” it was not that roosevelt decried forward - thinking artists, but he was quick to turn his nose up at the ones who seemed to be part of a radical fringe. like previously mentioned newspaper critiques, he thought that they exemplified a regression. he marveled at the inability of the artists to portray man in any realistic manner, equating them with the paleolithic artists of caves. he even poked fun at the names “ futurists ” and “ cubists ” by writing, “ there is no reason that people should not call themselves cubists, or octagonists, parallelopipedonists, or knights of the isosceles triangle, or brothers of the cosine, if they so desire. ” his concluded his review in a manner not dissimilar from other critics at the time. the armory show was valuable not for the examples of the european art themselves, but for the influence they had upon american artists, who profited from the exuberant modernist tendencies of the europeans and strove to create work of heightened line, color, and originality. as a sort of side note, roosevelt was not the only critic extremely impressed by american efforts. although it may not immediately appear to be a point worth dissecting with any great analytical effort, the fierce approbation of american artists was in fact oftentimes an insult to the europeans and a subtle denial of the validity of modern art. hindsight and more astute critics in 1913 recognized that the european works were actually far superior to those of the americans, some of whose efforts were indeed brilliant but most whose paintings were vastly inferior.


and a subtle denial of the validity of modern art. hindsight and more astute critics in 1913 recognized that the european works were actually far superior to those of the americans, some of whose efforts were indeed brilliant but most whose paintings were vastly inferior. the new york times published an article pointing to the influence of the european school and the perceivable preeminence of the americans : - beneath the superficial resemblance lies, so far as we have observed, in almost every instance that spirit of moral reticence which is peculiar to america and differs entirely from the moral anxiety of the english spirit as it is revealed in the arts and, of course, still more from the sincere concerns of the modern european schools with primitive forces. the writer may have been essentially correct in his observation of the psychological concerns that plagued the european artists, but it is precisely those elements of moral contention that elevated their art and made most of the american paintings in the show look timid, tame, and placid. the piece of art that was absolutely the furthest from timorousness and garnered the most virulent criticism, disdain, wonder, and bafflement was marcel duchamp ’ s cubist “ nude descending a staircase. ” after the armory show opened, it was only a short amount of time before that particular work captured new york ’ s attention and became a sort of rallying point for those who questioned the legitimacy of the modernist aesthetic. to contemporary eyes, it was an inscrutable, messy composition that was the furthest thing from “ real ” art that could possibly be imagined. the critics heartily embraced the discourse of disparagement and pulled out all of the stops. in the “ topics of the times ” section of the new york times, duchamp ’ s work was discussed. it “ looks like almost anything except a nude descending a staircase, and most - though not much - like an explosion in a shingle mill. ” the painting was then compared to the fairy tale of “ the emperor ’ s new clothes, ” with duchamp apparently trying to convince his audience that there was indeed a picture there when there really was not. in charles henry dorr ’ s review for the world, “ ‘ nu descendant un escalier, ’ by duchamp, is decidedly a puzzle of the cubist variety. it suggests an elevated railroad stairway in ruins after an earthquake. ” the world, in the same sarcastic article about the need for bellevue after looking at futurist art, examined duchamp


saying, “ realism is receiving its death blow and individualism is asserting itself once more. and the new art which is arousing so much discord and opposition is an expression of this self - assertion, of this effort of the individual to emerge from the mass. ” a mr. hoeber felt the show had extreme historical significance, while a mr. borglum explained to his audience, “ do you know what ’ s the matter with american art today? we ’ re timid. americans haven ’ t any aesthetic courage. ” the armory show was a way to release the inhibitions of american artists. the sun noted the intense public appeal of the show : - nothing like this exhibition in point of its appeal to public interest has been seen in the town in way of an art show, according to veterans of the game. not only the 25 cent afternoon and evening hours have been crowded, but the armory has been well filled also in the mornings from 10 to 12 when the admittance fee is $ 1. the sun even contributed another article to the pantheon of armory show press on the day after the show left new york, with the headline “ cubists migrate ; thousands mourn. ” the title smacked of subtle sarcasm, but the article gave a straightforward account of the show ’ s popularity, pointing to impressive sales and attendance and the genuine interest stirred up by the artwork. one media attendee remembered that closing night was the “ wildest, maddest, most intensely excited crowd that ever broke decorum in any scene that i have witnessed … everyone came to witness the close, and the audience created a show equally as phenomenal as the exhibition itself. ” a straightforward account of the armory show ’ s actual press coverage from 1913 cries out for some sort of explanation, some summary of what it all meant - what the negativity, befuddlement, and delight said about the american and european art worlds and the american public. it is abundantly clear that newspaper reporters and art critics did not always understand the new work and oftentimes refused to even attempt to do so. it was seen as an example of moral degeneracy or capricious absurdity. when viewed in light of the tradition of american art, it was a dramatic break. only a few of the american artists featured in the show, including stuart davis, john marin, and marsden hartley, were involved with the modernist aesthetic. the others like the members of the ashcan school were blatant examples of america ’ s realist tendencies and reluctance to


american artists featured in the show, including stuart davis, john marin, and marsden hartley, were involved with the modernist aesthetic. the others like the members of the ashcan school were blatant examples of america ’ s realist tendencies and reluctance to experiment with color, perception, and theory ; these artists were favored by critics who disliked the avant - garde art. by contrast, the european “ isms ” were bold forays into uncharted territories, challenging antiquated notions and values. the european artists were demanding that their viewers contemplate the work with a more penetrating eye and open their minds to the heightened optical and theoretical possibilities that their work offered. to have such pieces of art in new york was seen as a great honor and as a sign of new york ’ s future importance in the art world. this fact above all else shines through even the most critical and disparaging writings on the armory show - the fact that for an exhibition of this magnitude and popularity and success to come to new york signaled america ’ s growing legitimacy as a purveyor of culture. most of the critics grudgingly admitted that the show was impressive and grand despite their dislike for some of the art hung on the walls. the show ’ s success with the public was also difficult to ignore. the best estimate is that over 87, 000 people attended the show. it also made a copious amount of money and most of the art sold amazingly well to american galleries and institutions. like most examples of art that seem absurd or frightening or novel, it did not take long for their ideas to seep into the work of american artists and come to be respected by the public. the europeans ’ approach to the visual arts inspired american artists to break through the boundaries that previously constricted them. in the two decades that followed the show, artists like georgia o ’ keefe and charles demouth emerged, blending colors into abstract compositions of stunning grace and vibrancy. stuart davis and marsden hartley continued their experimentation with modernism ; their canvases of the 1920s and 1930s were eye - poppingly bright, busy, and mesmerizing. and of course, the artists of the 1940s and 1950s who were mentioned much earlier were absolutely indebted to the armory show ’ s introduction of cutting - edge examples of avant - garde painting and sculpture. without the path - breaking works of picasso, duchamp, and matisse crossing the atlantic, it is difficult perhaps to imagine the abstract expressionist ’ s total engagement with paint, perception, and abstraction


1. what is sequestration? a : sequestration is a fiscal policy procedure adopted by congress to deal with the federal budget deficit. simply put, sequestration is the cancellation of previously approved spending — an automatic form of spending cuts. as modified by the fiscal cliff deal passed by congress january 1, sequestration will take effect march 1, 2013 but impose cuts over a period of nine years, 2013 – 2021. some federal programs are called “ mandatory ” and are mostly spared from sequestration. however, the rest of the government, the so - called “ discretionary ” programs, are subject to significant cuts starting in 2013 that will be divided between nondefense spending ( $ 700 billion ) and defense spending ( $ 500 billion ). 2. why is sequestration happening now? a : a law passed by congress and signed by the president in august 2011 created a congressional supercommittee to deal with the federal budget deficit and pass a package of spending cuts by thanksgiving. as an incentive for democrats and republicans to reach agreement, the law contains the threat of the across - the - board cuts ( sequestration ) if the deadline arrived and the deal wasn ’ t struck. congress failed to reach agreement, thus triggering sequestration in january 2013. 3. can sequestration be stopped? a : yes. although sequestration is the law right now, congress can pass another law that would repeal it. however, additional spending cuts would most likely be required to replace the automatic cuts. last year, the house and senate proposed legislation that would have replaced the sequester, but would also have imposed dramatically deeper cuts to education and all other nondefense discretionary programs. for example, a house - passed republican bill would have prevented any cuts to defense by increasing the cuts to domestic programs, including education, by $ 19 billion. the president ’ s fy13 budget proposal also would have eliminated the need for sequestration by reducing government spending in most areas ( although it proposed a slight increase in education spending ). 4. what can i do? a : send messages to your senators and representative urging them to repeal sequestration. first, use the sequestration effect calculator on the sequestration page to determine the dollar amount of cuts that your school budget or programs will face if sequestration is not repealed. then, go to the action center and use the figure generated by the calculator to customize the e - mail message to your lawmakers. ^


a collective biography of the nine children of queen victoria and prince albert, who included king edward vii ; victoria, princess royal, later empress frederick ; and alfred, duke of edinburgh buy your copy! queen victoria and albert, prince consort, had nine children. despite different characters and temperaments, they always remained a closely - knit, mutually supportive family group. some married into european royal families and experienced the painful division of loyalties inevitable in the ever - changing world of 19th - century political and nationalist feeling. the life of victoria, princess royal, later consort of the german emperor frederick iii, was soured by the merciless opposition of chancellor bismarck and later her son, emperor william ii ( ' kaiser bill ' ). similarly the marriage of alfred, duke of edinburgh, to a russian grand duchess, gave britain a dynastic alliance with a country whom she had defeated in the crimean war, and nearly cause her to take up arms against her old enemy once more. even the prince of wales, later king edward vii, inadvertently provoked german anger by taking a danish princess as his bride. yet their lives were not totally dominated by political controversy. all made their own contributions to public life in britain and europe. alice, grand duchess of hesse, whose children included the last tsarina of russia, worked tirelessly throughout her tragically short life on behalf of welfare and educational services in germany, an example which her younger sisters faithfully followed in england. leopold, duke of albany, was an active patron of the arts, although he died at the early age of 31, while arthur, duke of connaught, served with distinction in the army, and as governor - general of canada. after the death of edward vii in 1910, the four surviving children of queen victoria all lived through the family tragedy of the great war ; all but one witnessed the outbreak of hitler ' s conflict in 1939, it was fortunate for vicky ( the empress frederick ), alice ( grand duchess of hesse ) and affie ( duke of edinburgh and of saxe - coburg gotha ) that they had all died at comparatively early ages, for the heartbreak of being at war with the country of their birth would surely have been too heavy a burden for them to bear. as it was, there would be distressing divisions of loyalty among the next generation. charles, duke of saxe - coburg, and ernest, grand duke of hesse, were sovereign princes in the fatherland. like prince and princess henry of prussia, they were on much more friendly terms with their easy -


one summer, bob lehr pushed a videocassette of “ rain man ” into his vcr. it was a movie he had put off seeing, despite dustin hoffman ’ s oscar - winning performance as an autistic man. sitting in the room with lehr was his 16 - year - old son, ben, who at a young age had been classified as autistic. currently, the lehrs were told, he had an i. q. of about 37 and the reasoning ability of a preschooler. although ben attended high school in syracuse, he wasn ’ t taking academic classes, and there was no evidence that he could read or understand arithmetic. his vocabulary was limited, and some of the things he said made no sense at all — they seemed to be random phrases picked up from television and school. over the years ben had gouged himself with knives, ripped electrical sockets out of walls, taken a hatchet to the fiberglass bathtub and used his head to smash most of the windows in the house. in calmer moods, ben liked to stare at objects, like tape - recorder reels, or stand at the kitchen sink, running the water through his fingers for hours. when raymond babbitt, the hoffman character, appeared on the screen, ben rocked back and forth, moaned and hit the side of his neck, until his father grabbed a nearby laptop computer and asked, “ is there something you want to say? ” with his hand resting on bob ’ s for support, ben typed out, “ that man is autistic. ” ben was using “ facilitated communication, ” a writing technique introduced to the united states from australia in late 1989 by douglas biklen, director of the division of special education and rehabilitation at syracuse university. as the name suggests, it is not a cure for autism but an aid to communication : a parent or teacher supports the arm of an autistic person as he or she types out messages on a keyboard, using the hunt - and - peck method. in the syracuse area, 45 autistic children and adults using facilitated communication are expressing their feelings and helping explain some of the enigmatic behaviors associated with autism. autism is characterized by, among other things, an inability to feel love or form social attachments, a lack of self - awareness, mental retardation, difficulty understanding speech and an inability to grasp abstract concepts or symbols. biklen ’ s researchers, however, are finding that some people who have been labeled unteachable can read


, a lack of self - awareness, mental retardation, difficulty understanding speech and an inability to grasp abstract concepts or symbols. biklen ’ s researchers, however, are finding that some people who have been labeled unteachable can read, write, calculate and do schoolwork appropriate for their age. preschoolers use facilitation to tattle on classmates, and teen - age boys try to find out if girls are interested in them. at their keyboards, students write poetry, tell lies and even crack jokes. when ben lehr was asked, as part of his biology homework, to name two causes of high blood pressure, he answered, “ cholesterol and tests. ” at home, ben has been using the keyboard to try to help his family understand his behavior. he attempts to describe the difference between being the gentle, likable young man so fondly regarded by his teachers and many friends, and being capable of such anger that it frightens him. it ’ s not “ ben ” who causes such damage and pain, he has spelled out, but “ host, ” a term his sister penny guesses came from his biology classes. explaining host seems excruciating for ben ; in one two - hour session he ekes out the typing while screaming, banging his head on the floor, biting himself and hitting his mother, sue, and his sister sherry. facilitation has given ben and others a voice, not a cure. it is therefore profoundly encouraging and profoundly frustrating. “ what the students are telling us is that they don ’ t want to have autism, and that they want to be able to talk, ” biklen says. “ and these are things that are probably not going to change. ” biklen ’ s work in syracuse has already challenged the traditional understanding of autism. if it can be applied to a broader group of autistic people, facilitated communication could upset a half - century of thought about this baffling cluster of disabilities. before 1943, when leo kanner, a child psychiatrist at johns hopkins university, published the first systematic description of the disorder in a medical journal called nervous child, autism was generally regarded as “ childhood schizophrenia ” or “ childhood psychosis. ” kanner ’ s term, “ infantile autism, ” pointed to the child ’ s apparent preference to dwell in a self - generated world rather than form relationships with other people. and for decades, such withdrawal was blamed on insufficiently nurturing parents, popularly called “ refrigerator mothers. ”


powerful muscle spasms and point accurately to her answers. in 1979, mcdonald successfully sued for the right to leave st. nicholas hospital and has lived with crossley ever since. mcdonald went on to college and published journal articles about rights of the disabled. her case generated a white - hot controversy, with australian psychologists and speech therapists accusing crossley of putting words in mcdonald ’ s hands, as it were. but the supreme court of the state of victoria decided otherwise, ruling that mcdonald could control her own life and finances. five years ago, the government recognized crossley ’ s work with nonverbal people by honoring her as a member of the order of australia. while giving a series of talks in 1985 on integrating the disabled into conventional schools, biklen had dinner at crossley ’ s house in melbourne and observed facilitation in action. he had never doubted that such a technique could work for some people with cerebral palsy, many of whom have normal or above - average i. q. ’ s. but a year later when he got a letter saying that crossley was using the same technique with an autistic child, he replied perfunctorily. “ they were nice people, and i didn ’ t want to have to say, ‘ you ’ re crazy, ’ ” he recalls. “ from what i knew about autism, and i knew quite a bit, it just didn ’ t make sense to me. ” curious nonetheless, he revisited australia twice, briefly in november 1988, and for six weeks in mid - 1989. there he observed crossley ’ s work at the deal ( dignity, education and language ) communication center. supported by the government, the center has helped more than 800 people with non - speech communication. some australian professionals warned biklen away from the center, calling it a hoax. but the clients biklen saw communicating through facilitation — including people labeled autistic — erased his doubts. among them was the autistic boy crossley had written to biklen about in 1986, who, she says, had been used in australia as a benchmark of the “ unteachable, unreachable autistic child with no potential. ” in biklen ’ s presence, with a staff member ’ s hand resting on his shoulder, the boy typed : “ i like dougg butt hhe is maad... he talks to me like i ’ m human. ” on returning to the united states, biklen described


digital painting fundamentals with corel painter 12 : draw what you see - part 2 make a fresh quick clone of the apples in a bowl. sample a warm light brown from the wooden planks or just choose a pleasing neutral color for the paper. use the technique for changing paper color you did earlier, or just “ pour ” the new color into the clone with the paint bucket. it won ’ t matter unless you erase. my motto, incidentally is “ life is short [ md ] don ’ t erase. ” i actually had 500 golf pencils printed up. make a cloner you can turn a variant from any category into a cloner brush instantly. all you do is click the little rubber stamp icon in the color panel. the hue ring and value / saturation triangle will go gray, indicating that your brush is now using clone color. you can toggle regular color control back on by clicking the rubber stamp icon again. instead of working with the chalk cloner this time, turn square hard pastel from the custom palette into a cloner, by enabling clone color. increase its size to about 25 pixels. a hard pastel shows paper grain very boldly, so it ’ s important to choose a paper that will enhance the painting. figure 2. 18 shows three possible textures that are available in the paper library. from left to right, they are italian watercolor, coarse cotton canvas, and pebble board. you can adjust the size of the paper grain, as well as its strength, by changing the brightness and / or contrast of the paper element. open the papers panel, shown in figure 2. 19, to make those changes as desired. the challenge at this stage is to keep from getting too “ tight ” and simply reproducing the original photo. also, it ’ s tempting to rely on cloner brushes too much. remember to take control from time to time, using colors that you actually pick yourself! a good drawing will have a focal point or two, with other sections less important. ways to reduce the visual impact of portions of your drawing include blurring, erasing, and altering color or contrast.


rheumatoid arthritis back surgery rheumatoid arthritis ( ra ) is not an age - related degenerative form of arthritis of the spine such as spondylosis, but can sometimes be treated through back surgery to relieve patients ’ pain and discomfort. this is particularly true of cervical rheumatoid arthritis where nerve problems in the neck may be caused by inflammation and changes in the structure of the joints. decompression back surgery, or cervical spinal surgery, may be able to relieve the pinched nerves and provide stability to the spine. although the usual perception of this condition is of patients having deformities in the hands and feet, rheumatoid arthritis of the spine is evident in around 20 % of ra patients and can cause significant disability and pain. most patients will be given a treatment programme incorporating conservative therapies such as anti - inflammatory medications and analgesics, immuno - suppressant drugs, and physical therapy before surgery is considered for ra. the goal of rheumatoid arthritis back surgery if, however, a patient with rheumatoid arthritis has pain which no longer responds to medication and is suffering neurological dysfunction, or if the cervical spine is unstable, weak, and is causing myelopathy, then it is likely that surgery is required. back surgery for rheumatoid arthritis aims to decompress the structures of the spine and remove the material causing pinched nerves or spinal cord compression ; it also aims to restore or maintain spinal stability. where spinal deformity and instability are present, back surgery for rheumatoid arthritis will usually involve some element of spinal fusion using instrumentation and bone grafts. surgery for rheumatoid arthritis is more effective when done early on in the disease ’ s progression in order to decompress the back and remove material causing pinched nerves. as the disease becomes more virulent the chances of back surgery easing a patient ’ s pain or relieving their condition become less likely with diseased joints and spinal structures often osteoporotic and degenerated beyond repair. back surgery at this stage may do more harm than good as surgical trauma can increase inflammation, raise stress levels, and affect the immune system in all patients, which can clearly have more damaging consequences for those with an inflammatory autoimmune disease such as rheumatoid arthritis. patients will usually be given more medication to help with pain management. treating rheumatoid arthritis effectively relies on catching the disease early and using


dhaka : calcium supplements may increase the risk of having a heart attack by two - fold and should be ‘ taken with caution ’, researchers say. the findings also indicate that, increasing an overall calcium intake from dietary sources confers no significant advantage in terms of staving off heart disease and stroke. previous research has linked higher calcium intake with a decreased risk of high blood pressure, obesity, and type 2 diabetes, all of which are risk factors for heart disease and stroke. calcium supplements are commonly recommended to older people and women who have gone through the menopause to prevent bone thinning. the authors base their results on almost 24, 000 participants of one of the german arms of the european prospective investigation into cancer and nutrition ( epic ) study in heidelberg. all the participants aged between 35 and 64 when they joined the study in 1994 - 8. normal diet for the preceding 12 months was assessed using food frequency questionnaires and they were enquired about whether they regularly took vitamin or mineral supplements. their health was followed for an average of 11 years, during which time 354 heart attacks, 260 strokes, and 267 associated deaths occurred. after taking account of factors likely to influence the results, those whose diets included a moderate amount ( 820 mg daily ) of calcium from all sources, including supplements, had a 31 percent lower risk of having a heart attack than those in the bottom 25 percent of calcium intake. but those with an intake of more than 1100 mg per day did not have a significantly lower risk. there was no proof that any level of calcium intake either protected against or increased the risk of stroke, which backs up the findings of other research, say the authors. but when the analysis looked at vitamin / mineral supplements, it discovered that those who took calcium supplements regularly were 86 percent more likely to have a heart attack than those who didn ’ t use any supplements. and this risk increased further among those who used only calcium supplements. they were more than twice as likely to have a heart attack as those who didn ’ t take any supplements. “ this study suggests that increasing calcium intake from diet might not confer significant cardiovascular benefits, while calcium supplements, which might raise [ heart attack ] risk, should be taken with caution, ” said the authors. in an accompanying editorial, professors ian reid and mark bolland from the faculty of medical and health science at the university of auckland in new zealand said that the safety of calcium supplements “ is now coming under increasing scrutiny. ” they point to previous research, showing a link between these supplements and kidney stones


mark bolland from the faculty of medical and health science at the university of auckland in new zealand said that the safety of calcium supplements “ is now coming under increasing scrutiny. ” they point to previous research, showing a link between these supplements and kidney stones, and gut and abdominal symptoms, and note that while trial evidence suggests that calcium supplements cut levels of cardiovascular risk factors, this doesn ’ t actually turn into fewer heart attacks and strokes. they also suggest that many women taking calcium supplements to ward off brittle bones are already healthier than those who don ’ t, and that the overall protective effect is modest - in the order of just 10 %. the authors claim that the evidence that dietary calcium is helpful while calcium supplements are not can be explained by the fact that dietary calcium is taken in small amounts, spread throughout the day, so is absorbed slowly. they suggest that the supplements, on the other hand, cause calcium levels in the blood to soar above the normal range, and it is this flooding effect which might ultimately be harmful. “ calcium supplements have been widely embraced by doctors and the public, on the grounds that they are a natural and therefore safe way of preventing osteoporotic fractures, ” the authors write. “ it is now becoming clear that taking this micronutrient in one or two daily [ doses ] is not natural, in that it does not reproduce the same metabolic effects as calcium in food, ” they said. they insist that given the fact that it is neither safe nor effective, boosting calcium intake from supplements should be discouraged. “ we should return to seeing calcium as an important component of a balanced diet, and not as a low cost panacea to the universal problem of postmenopausal bone loss, ” they add. the study has been published in the online issue of the journal heart. bdst : 0900 hrs, may 28, 2012 edited by : tania afrin, newsroom editor all rights reserved. sale, redistribution or reproduction of information / photos / illustrations / video / audio contents on this website in any form without prior permission from banglanews24. com are strictly prohibited and liable to legal action.


timothy acker and drake brannon perform water quality tests. students in james galvin ’ s agriculture classes are getting hands on education in fresh water shrimp production. yes, that ’ s right fresh water shrimp. the students are involved with the production with five hundred fresh water shrimp. the shrimp that the students are working with are close relatives of the shrimp that swim in the ocean, but these shrimp live in a fresh water environment. achs students are raising their shrimp in a closed recycling tank system. when working with this type of system students are taught that water quality is critical. each day students must test the water for oxygen content, ph, ammonia, nitrate and nitrite levels. the students have discovered that the temperature of the water must be maintained at 80 degrees. students learned that when the water temperature falls below 75 degrees that the shrimp will live, but will not consume feed and grow. students working with the shrimp can clearly see and understand how chemistry, math and biology principles effect and play into everyday life. technology plays a very large role in helping students test the water and maintain the environment for proper water quality and balance. students have developed a strong interest in the shrimp project and look forward to continuing on with its development. the students would like to thank mr. starr for his continued support and enthusiasm for the project. the fresh water shrimp project has partnered with white water aqua farms and they have been providing tremendous amount of technical advice, knowledge and experience to enhance this project. kaleb wright prepares the feed for fresh water shrimp.


sugar ' comforts babies during immunisations ' it appears that sugar really may help the medicine go down - studies suggest a few drops can comfort babies who are having their jabs. the cochrane team reviewed 14 studies involving more than 1, 500 infants going for routine childhood immunisations or a heel - prick blood test. babies given a sugary solution to suck as they were about to be injected cried far less than those given water. while sugar may pacify, it is unclear if it also relieves pain. experts say more research is needed to explore this. end quote dr david elliman royal college of paediatrics and child health if you do the usual holding and comforting, i ' m not sure how much sucrose would add ” a small study published a couple of years ago in the lancet medical journal looked at the responses of 44 infants given either sugar or water as they had a heel - prick blood test. the sugar did not appear to make a difference to pain - all babies similarly grimaced and had comparable electrical activity measured with eeg readings in areas of the brain that process pain. the lead researcher in the cochrane review, dr manal kassab of the jordan university of science and technology in irib, jordan, said : " giving babies something sweet to taste before injections may stop them from crying for as long. " although we can ' t confidently say that sugary solutions reduce needle pain, these results do look promising. " dr david elliman of the royal college of paediatrics and child health said sugar solution was not used routinely in practice. " generally, doctors recommend that the mother holds the baby and comforts it while they have their immunisation. if she is breastfeeding still, she might want to breastfeed her baby at the same time. " with older children we try to distract them. if you do the usual holding and comforting, i ' m not sure how much sucrose would add. " what we do know is that using a shorter needle tends to be more painful, even though this might seem counterintuitive. that ' s because the injections need to go into the muscle. " by the time a child has reached its second birthday it should have had around 10 different injections to protect against various infectious diseases, including measles, mumps and rubella.


by john myers even if scientists, regulators, politicians and industry leaders find common ground on how much sulfate is too much for wild rice, the issue of sulfate in minnesota waterways isn ’ t going away. scientists studying wetlands in northern minnesota recently published the findings of a study that ties elevated sulfate to elevated toxic mercury levels and shows that, when sulfate stops flowing into a wetland, the level of toxic mercury goes back down. “ sulfate is an issue even if and where wild rice is not, ” said ed swain, research scientist for the minnesota pollution control agency and a national authority on mercury in the environment. scientists know the same bacteria that convert sulfate to hydrogen sulfide, which might damage wild rice, are the same ones that convert benign mercury that falls from the sky into methyl mercury — the toxic form of mercury that is unsafe for animals and humans in large doses. that means the more sulfate, the more active the bacteria, and the more bacteria, the more mercury turns toxic, at least in areas of low oxygen, such as underwater in wetlands. swain said added sulfate will not stimulate bacterial growth if there is no organic matter such as plants and weeds. wetlands and lakes that have a lot of plant growth would be much more affected by an increase in sulfate than a fast - moving stream that has a gravel bottom and little organic matter, he added. added sulfate from human activity also has more impact in waters that had been low in sulfate naturally. mercury “ concentrations in fish may be the result of increased sulfate ” in what had been low - sulfate waters, an earlier study by minnesota scientists notes. a study published this summer by minnesota scientists in the journal environmental science & technology confirmed the correlation. scientists are also tracking down a link between sulfate in the water and higher levels of phosphate, a key ingredient in algae blooms. that may be why some lakes that have seen increased levels of sulfate are showing signs of rapid aging, with more weeds and algae growth, a process called eutrophication. when bacteria convert sulfate to sulfide, it releases phosphate from sediment into the water, swain noted, making it available for algae. that ’ s because phosphate is usually held in the sediment by iron, but sulfide binds with iron so that it no longer holds onto the phosphate. meanwhile, higher water temperatures from a warming climate may be bolstering the bacteria that make all the conversions possible. the mercury comes from all over the world, going up in smoke from power plants as far away as china, and as close as taconite plants on the iron


a warming climate may be bolstering the bacteria that make all the conversions possible. the mercury comes from all over the world, going up in smoke from power plants as far away as china, and as close as taconite plants on the iron range. the sulfate also can come from all over the world, in the form of acid rain, but also originates locally, in the runoff from mining operations. suddenly, sulfate has become a hot topic in minnesota environmental protection. and officials agree that efforts to reduce the flow of sulfate into the environment are only likely to grow. “ its time has come, ” mark tomasek, the pca ’ s supervisor of water quality standards, said of sulfate. in the past, the primary source of human - caused sulfate increases came for acid rain. but rain has been getting less acidic for more than 20 years, thanks to controls on coal - burning power plants and other manufacturing. now, the main sources of sulfate to minnesota streams are municipal and industrial wastewater discharges and diffuse sources such as runoff from waste rock piles on the iron range, swain said. nancy schuldt, water quality coordinator for the fond du lac band ’ s environmental program, said the pca is late to the game in addressing the sulfate issue. sulfate should have been a key part of water pollution permits for industry for decades, she said. but the state only recently began raising the issue, prompting vocal resistance from industry and the legislature. “ we ’ ve been concerned about sulfate for years, ” schuldt said. “ we ’ re hoping this means the state is going to take it seriously. ” sulfate naturally leaches from rock and soil. but it is often seen at higher levels in some areas because of human activity, such as mining, mills and treatment plants. some sulfate comes from the sky during rain and snow. and some runs off the land as water flows into local streams and lakes. on the iron range, it ’ s coming out of wastewater ponds and old stockpiles of mine rubble left behind by operations long since closed. the st. louis river, for example, appears to have had a natural sulfate level of about 3 parts per million. but below mining areas, the river runs as high as 50 parts per million sulfate. research by department of natural resources scientists, however, notes that the amount of methyl mercury in streams below mining areas is about the same as nearby streams that don ’ t see runoff from mining, water where any sulfate would come from air pollution or naturally, hinting that sulfate from


want to live longer? eat less. sorry. don ’ t kill the messenger. calorie restriction is the only strategy that has been consistently shown to extend life in every species studied so far. feed rats about one - third less than they normally eat, and faster than you can say “ methuselah, ” they live approximately 50 percent longer than their normal lifespan. it ’ s worked in yeast, fruit flies, mice, the aforementioned rats, and — most recently — in rhesus monkeys. and though the likelihood of a long - term human trial comparing “ free - eating ” and “ calorie - restricted ” subjects over a couple of decades is pretty remote, all indications are that reducing calories would extend life in our own species just as it does in every other one that ’ s been studied. so that ’ s simple enough, right? just reduce your calories by about 33 percent, and you ’ ll have a nice, long, healthy life. ok, class dismissed, lesson learned. yeah, right. as you can imagine, that particular strategy is not winning the popularity sweepstakes. which is why there ’ s been so much attention focused on a little plant chemical called resveratrol. to understand exactly how resveratrol exerts its antiaging magic, we have to go back to those calorie - deprived rats. apparently, caloric restriction turns on a set of genes known as the sirtuin genes, which are considered to be major influencers of how long we live. “ the sirtuin genes are the holy grail of medicine and nutrition, ” says mark houston, md. “ these genes turn on or turn off different metabolic pathways that are designed to promote longevity and health. ” back in 2003, david sinclair, md, a researcher at harvard medical school, began investigating the sirtuin genes. to everyone ’ s delight, sinclair discovered that there was another way to turn on these genes. he and his associates published a now - famous paper reporting that plant compounds known as polyphenols could activate the human sirt1 gene. and the polyphenol that seemed to do this best was resveratrol. resveratrol is found in red wine ; the skin of young, unripe red grapes ; grape seeds ; purple grape juice ; and, to a lesser extent, in peanuts and mulberries. recent research has shown that resveratrol may reduce insulin resistance, a key factor in metabolic syndrome and type 2


##ripe red grapes ; grape seeds ; purple grape juice ; and, to a lesser extent, in peanuts and mulberries. recent research has shown that resveratrol may reduce insulin resistance, a key factor in metabolic syndrome and type 2 diabetes. if resveratrol lives up to its promise, it may not only extend life, but also improve its quality. resveratrol has been shown in studies to inhibit the growth of several cancer cell lines and tumors. it ’ s a powerful antioxidant and anti - inflammatory ; it ramps up detoxification enzymes in the liver ; protects the heart through several different mechanisms ; and also protects brain cells. so should you add resveratrol to your daily supplement regimen? i certainly think so, and i ’ m not alone. the total amount of resveratrol in a capsule isn ’ t as important as the amount of trans - resveratrol — the bioactive form that seems to have all the benefit. the higher quality resveratrol products on the market are “ standardized ” for a certain percentage of trans - resveratrol. “ no one knows the correct dose in humans, ” says houston, “ but any amount should have health benefits. ” the smart money is betting that 250 milligrams or more of the trans - resveratrol form should have an effect on aging and health. for 500 - milligram capsules standardized to 20 percent trans that would be two - and - a - half capsules per day, three just to be safe! enzymatic therapy resveratrol forte is a high - potency supplement formulated with 100 percent trans - resveratrol, the most absorbable form. reserveage organics world ’ s finest resveratrol 250 mg is a potent combination of organic french red wine grapes and wild - crafted natural polygonum cuspidatum root extract. nature ’ s way resveratrol synergic formula combines a comprehensive blend of antioxidants, including red wine and grape seed extracts, to protect cells against lipid peroxidation and free radicals.


description of the procedure the male, if fertile, refrains from ejaculating for two or three days. he then collects semen through masturbation. penile scar tissue or other conditions may block the natural release of sperm. if this is the case, a sperm aspiration from the testicles may be done. sometimes, the man ' s sperm can be frozen ahead of time. if the male partner is unable to produce viable sperm, donor sperm may be used. if male sperm counts are low, the chance of successful fertilization may be improved by directly injecting the sperm into the egg. this is called intracytoplasmic sperm injection ( icsi ). an ultrasound - guided technique is often used to harvest the eggs. the ultrasound probe has a needle attached to the end. the instruments are inserted into the vagina. the ultrasound uses sound waves to view the ovaries and the developed egg follicles in the ovaries. the needle punctures the egg follicles. fluid and eggs are removed through the needle. the fluid is inspected. it is immediately placed in a clean, nutritive culture material. the fluid will be kept in an incubator. between 50, 000 and 100, 000 of the most mobile, healthy sperm are chosen. they are mixed with the harvested eggs. sometimes, icsi may be done. it may help to increase the chances of fertilization. the culture dish is kept at normal body temperature inside an incubator for 2 - 3 days. during that time, sperm are expected to fertilize 60 % - 80 % of the eggs. once fertilized, early cell division begins and embryos develop. a certain number of the embryos ( usually 1 - 5 ) are placed into your uterus ( womb ). fewer embryos decrease the chance of multiples ( such as twins, triplets ). the other embryos may be frozen. they may be saved for future ivf cycles. you may also choose to donate them to other infertile couples. a catheter tube is inserted into the vagina. it will be threaded through the cervical canal and into the uterus. the embryos are then passed into the uterus. you may be positioned face down with your knees at your chest. a special table that tilts the uterus downward may also be used. these positions allow gravity to help keep the embryos in the uterus for implantation. at the care center following egg harvesting,


face down with your knees at your chest. a special table that tilts the uterus downward may also be used. these positions allow gravity to help keep the embryos in the uterus for implantation. at the care center following egg harvesting, expect to rest at the center for a few hours before going home. following embryo transfer procedure : - you will probably be able to resume normal activities within a few days. - follow the instructions for any medicine given. - return in 10 - 12 days for a pregnancy test. - if the pregnancy test indicates conception, an ultrasound will be scheduled for a few weeks later. it will be able to see if more than one egg is growing. - if all is going well, you will start your prenatal care. it is important to go to all of your scheduled appointments. it can be difficult to wait two weeks for the results. even if pregnancy occurs, a remains a possibility. if pregnancy did not occur, the next attempt should be at least one month later. success rates for the first three cycles are about the same ( about 10 % per cycle ). the rates then start to decrease. success rates are influenced by both age and the cause of infertility. ivf has a 25 % - 30 % success rate.


refine my search brown sugar is a delectable addition to cakes, puddings, and vegetable glazes. it ’ s also popular in main - dish sauces and marinades. brown sugars ( light and dark ) are produced from a blending of white sugar and natural or processed molasses. they are made from sugar cane or sugar beets and add a delicate sweet flavor to a wide range of foods. light ( golden ) and dark brown sugars are classified as either sticky or free - flowing. most of the mass - produced products are a blend of purified, or refined, sugar and molasses. raw cane sugars that have a brown coating also fall into this category. piloncillo ( little pylons ) is a mexican unrefined brown sugar with no molasses, but is similar in taste to american versions. the compressed hard cone can be scraped with a serrated knife. it is sold as light or dark. other derivatives of raw brown sugars are labeled “ muscavado, ” “ turbinado, ” and “ demerera. ” these must be refined to some extent for sale in the brown sugar is also available in liquid form. store brown sugar in a cool dry place. place boxes or bags in an airtight container. hardening is a common problem. to restore, spread on a foil - lined cookie sheet and bake for about five minutes in a 250 - degree oven. you can also add a slice of bread or piece of apple – in a separate unsealed bag - to the container and leave for two days. • the choice between light and dark is a matter of taste preference, but darker color will have a heavier molasses note. unless a recipe states a specific type, it is acceptable to use either. • dissolve a little brown sugar in coffee for a pleasantly sweet taste. • for most recipe measurements, tightly pack brown sugar. • to replace dark brown sugar, use one cup granulated white plus two tablespoons molasses. • when a recipe requires brown sugar, using a substitute of any kind may affect texture and flavor. beans, cereal, catsup, fruit, ice cream, mustard, pancakes, tea


many, see text. hummingbirds ( family trochilidae ) are small birds capable of hovering in mid - air due to the rapid flapping of their wings ( 15 to 80 beats per second, depending on the size of the bird ). they are named for the characteristic hum of this rapid wing motion. they are the only birds that can fly backwards. hummingbirds bear the most glittering plumage and some of the most elegant adornments. male hummingbirds are usually brightly coloured, females duller. the males take no part in nesting. the nest is usually a neat cup in a tree. two white eggs are laid, which are quite small, but large relative to the bird ' s size. incubation is typically 14 - 19 days. the names that admiring naturalists have given to hummingbirds suggest exquisite, fairylike grace and gemlike refulgence. fiery - tailed awlbill, ruby - topaz hummingbird, glittering - bellied emerald, brazilian ruby, green - crowned brilliant - - are some of the names applied to the 233 species of the hummingbirds briefly described in meyer de schauensee ' s scientific guide to birds of south america. iridescent colors are common among hummingbirds. by changing position, the direction of the reflected light might give the effect of two completely different colors of the same plumage parts. on the hummingbird ' s glittering throat or crown, the exposed surfaces of the barbules resemble tiny flat mirrors, which send forth their resplendence in the favored direction. this mechanism plays an important role in social interaction and species recognition. all the metallic colours of hummingbirds are caused by interference. source ( skutch, 1973 hummingbirds have the highest metabolism of all animals except insects in flight, a necessity in order to support the rapid beating of their wings. their heartbeat can reach 500 beats per minute. they also typically consume more than their own weight in food each day, and to do that, they have to visit hundreds of flowers every day. but at any given moment, they ' re hours away from starving. fortunately, they are capable of slowing down their metabolism at night, or any other time food is not readily available. they enter a hibernation - like state known as torpor. during torpor, the heartrate and rate of breathing are both slowed dramatically, reducing their need for food. studies of hummingbirds ' metabolism are highly relevant to the question of whether a migrating ruby - throated hummingbird can cross 500 miles of gulf of mexico on a


the heartrate and rate of breathing are both slowed dramatically, reducing their need for food. studies of hummingbirds ' metabolism are highly relevant to the question of whether a migrating ruby - throated hummingbird can cross 500 miles of gulf of mexico on a nonstop flight, as field observations suggest it does. the ruby - throated hummingbird like other birds preparing to migrate, stores up fat to serve as fuel, thereby augmenting its weight by as much as 40 to 50 per cent - - this would increase the bird ' s flying time. ( skutch, 1973 ) - - ccson 10 : 06, 18 mar 2005 ( utc ) hummingbirds of the u. s. and canada generally migrate to warmer climates, though some remain in the warmest coastal regions. in addition, there is an increasing trend for rufous hummingbirds to migrate east to winter in the eastern united states, rather than south to central america, this trend being the result of increased survival with the provision of artificial feeders in gardens. in the past, individuals that migrated east would usually die, but now they survive, and their tendency to migrate east is inherited by their offspring. provided sufficient food and shelter is available, they are surprisingly hardy, able to tolerate temperatures down to at least - 20°c. hummingbirds owe their wide distribution to their great power of flight and wandering habits no less than to their hardiness. hummingbirds and people hummingbirds will use feeders, particularly red ones. a suitable artificial nectar consists of one part sugar to four parts water. it is easiest to dissolve the sugar in boiling water, then cool it completely before putting it out for the birds. sweet foods other than white sugar, such as honey, ferment too quickly and can injure the birds. some commercial hummingbird foods are available, but they contain red dyes which are unnecessary and have been anecdotally reported to poison the birds. they also contain small amounts of nutrients, but hummingbirds apparently get their nutrients from the insects they eat, not from nectar, so the nutrients are also unnecessary. thus plain white sugar and water make the best nectar. the feeder should be rinsed and the water changed weekly, or more often in warm weather. at least once a month, or whenever black mold appears, it should be soaked in a solution of chlorine bleach. hummingbirds tend to avoid feeders that have been cleaned with soap, possibly because they dislike the smell. much more detailed information is available at. hummingbirds sometimes fly into


, it should be soaked in a solution of chlorine bleach. hummingbirds tend to avoid feeders that have been cleaned with soap, possibly because they dislike the smell. much more detailed information is available at. hummingbirds sometimes fly into garages and become trapped. it is widely believed that this is because they mistake the hanging ( usually red - colored ) door - release handle for a flower, although hummingbirds can also get trapped in enclosures that do not contain anything red. once inside, they may be unable to escape because their natural instinct when threatened or trapped is to fly upward. this is a life - threatening situation for hummingbirds, as they can become exhausted and die in a relatively short period of time, possibly as little as an hour. if a trapped hummingbird is within reach, it can often be caught gently and released outdoors. it will lie quietly in the space between cupped hands until released. the ohlone tells the story of how a hummingbird brought fire to the world. traditionally hummingbirds were placed in the order apodiformes, which also contains the swifts. in the modern sibley - ahlquist taxonomy, hummingbirds are separated as a new hummingbird order trochiliformes. there are between 325 and 340 species of hummingbird, depending on taxonomic viewpoint, divided into two subfamilies, the hermits ( subfamily phaethornithinae, 34 species in six genera ), and the typical hummingbirds ( subfamily trochilinae, all the others ). hummingbirds have been thought by evolutionists to have evolved in south america, and the great majority of the species are found there. all the most familiar north american species are thought to be of relatively recent origin, and are therefore ( following the usual procedure of lists starting with more ' ancestral ' species and ending with the most recent ) listed close to the end of the list. genetic analysis has indicated that hummingbirds diverged from other birds 30 to 40 million years ago, but fossil evidence has proved elusive. fossil hummingbirds have been found as old as a million years, but older fossils had not been securely identifiable as hummingbirds. then, in 2004, dr. gerald mayr of the senkenberg natural history museum in frankfurt - am - main identified two 30 - million - year old german hummingbird fossils and published his results in nature. the fossils of the extinct hummingbird species, eurotrochilus inexpectatus ( " unexpected european hummingbird " ) had been sitting in a museum drawer in


to use all functions of this page, please activate cookies in your browser. with an accout for my. bionity. com you can always see everything at a glance – and you can configure your own website and individual newsletter. - my watch list - my saved searches - my saved topics - my newsletter acute renal failure acute renal failure ( arf ), also known as acute kidney failure or acute kidney injury, is a rapid loss of renal function due to damage to the kidneys, resulting in retention of nitrogenous ( urea and creatinine ) and non - nitrogenous waste products that are normally excreted by the kidney. depending on the severity and duration of the renal dysfunction, this accumulation is accompanied by metabolic disturbances, such as metabolic acidosis ( acidification of the blood ) and hyperkalaemia ( elevated potassium levels ), changes in body fluid balance, and effects on many other organ systems. it can be characterised by oliguria or anuria ( decrease or cessation of urine production ), although nonoliguric arf may occur. it is a serious disease and treated as a medical emergency. acute renal failure is usually categorised ( as in the flowchart below ) according to pre - renal, renal and post - renal causes. in general, renal failure is diagnosed when either creatinine or blood urea nitrogen tests are markedly elevated in an ill patient, especially when oliguria is present. previous measurements of renal function may offer comparison, which is especially important if a patient is known to have chronic renal failure as well. if the cause is not apparent, a large amount of blood tests and examination of a urine specimen is typically performed to elucidate the cause of acute renal failure, medical ultrasonography of the renal tract is essential to rule out obstruction of the urinary tract. kidney biopsy may be performed in the setting of acute renal failure, to provide a definitive diagnosis and sometimes an idea of the prognosis, unless the cause is clear and appropriate screening investigations are reassuringly negative. acute renal failure may be reversible if treated promptly and appropriately. resuscitation to normotension and a normal cardiac output is key. the main interventions are monitoring fluid intake and output as closely as possible ; insertion of a urinary catheter is useful for monitoring urine output as well as relieving possible bladder outlet obstruction, such as with an enlarged prostate. in the absence of fluid overload, administering intravenous