Saturday 25 December 2010

Skype App Official for Symbian^3 available! | Nokia N8, C7, C6-01, E7

The folks at Skype have released an update to their Symbian app which means the newer Symbian^3 phones (N8, C7, C6-01) and E5 are now supported.



    • It includes SILK, our high quality audio codec, which should help make sure your calls are crystal clear, even when you’re on a low-bandwidth connection.
    • Skype lets you:
    • make free Skype-to-Skype calls and IM on 3G or WiFi *
    • share pictures, videos and other files from your phone
    • The update also contains a number of interface improvements, making it easier to add contacts, navigate, add a photo to your profile and set your mood message. Additionally, we’ve updated the interface to better fit larger screens.

Wednesday 8 December 2010

Funny Domain Name *Scam*; again, from china !

(It's very urgent, Please transfer this email to your CEO or appropriate person, thanks)  
Dear CEO/Principal,
 
This is Paul Wong---Senior Consultant of domain name registration and solution center in china. have something to confirm with you. We formally received an application onDecember 6, 2010, one company which self-styled "Wgo Investment Co., Ltd" were applying to register "zewex" as Network Brand and following domain names:
 zewex.asia
 zewex.cn
 zewex.co.in
 zewex.com.cn
 zewex.com.hk
 zewex.com.tw
 zewex.hk
 zewex.in
 zewex.net.cn
 zewex.org.cn
 zewex.tw
After our initial checking, we found the name were similar to your company's, so we need to check with you whether your company has authorized that company to register these names. If you authorized this, we will finish the registration at once. If you did not authorize, please let us know within 7 workdays, so that we will handle this issue better. Out of the time limit we will unconditionally finish the registration for "Wgo Investment Co., Ltd". 
 
 
Best Regards,
 
Paul Wong
Tel: +86-551-5223-174 || Fax: +86-551-5223-17510/F,Jindi International Building,No.588 MaAnshan South Road,Baohe District,Heifei. China

Thursday 18 November 2010

Sea water antenna


This is an antenna that instead of a metal pole as a transmitting element it uses a jet of sea water and a current probe. Sea water antenna is developed by “SPAWAR Systems” and uses a powered pump to build the water jet. The idea seems great. [via]
An antenna made from sea water jet – [Link]

Learn About Programmable Logic Controllers


Friday 5 November 2010

Report: Former Russian PM Chernomyrdin dies


Russian state news agency RIA Novosti is reporting that former Prime Minister Viktor Chernomyrdin, who held the post in the turbulent 1990s as Russia was throwing off communism and developing into a market economy, has died at age 72.
The agency, citing sources close to Chernomyrdin early Wednesday, gave no cause of death but said he had been ill.
Chernomyrdin served as the first head of the state gas monopoly Gazprom, from 1989 to 1992.
He joined the government in 1992, when then President Boris Yeltsin appointed him prime minister. He held the post until the financial crash of 1998, when Russia defaulted on its debts and devalued its currency.
After Vladimir Putin became president, he appointed Chernomyrdin as ambassador to Ukraine in 2001 and he remained in this post until last year.
Copyright 2010 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Wednesday 8 September 2010

Giz Explains: Why Everything Wireless is 2.4GHz

You live your life at 2.4GHz. Your router, your cordless phone, your Bluetooth earpiece, your baby monitor and your garage opener all love and live on this radio frequency, and no others. Why? The answer is in your kitchen.
What We're Talking About

Before we charge too far ahead here, let's run over the basics. Your house or apartment, or the coffee shop you're sitting in now, is saturated with radio waves. Inconceivable numbers of them, in fact, vibrating forth from radio stations, TV stations, cellular towers, and the universe itself, into the space you inhabit. You're being bombarded, constantly, with electromagnetic waves of all kind of frequencies, many of which have been encoded with specific information, whether it be a voice, a tone, or digital data. Hell, maybe even these very words.
On top of that, you're surrounded by waves of your own creation. Inside your home are a dozen tiny little radio stations: your router, your cordless phone, your garage door opener. Anything you own that's wireless, more or less. Friggin' radio waves: they're everywhere.

Really, it's odd that your cordless phone even has that 2.4GHz sticker. To your average, not-so-technically-inclined shopper, it's a number that means A) nothing, or B) something, but the wrong thing. ("2.4GHz? That's faster than my computer!")


What that number actually signifies is broadcast frequency, or the frequency of the waves that the phone's base station sends to its handset. That's it. In fact, the hertz itself just a unit for frequency in any context: it's the number of times that something happens over the course of a second. In wireless communications, it refers to wave oscillation. In computers, it refers to processor clock rates. For TVs, the rate at which the screen refreshes; for me, clapping in front of my computer right now, it's the rate at which I'm doing so. One hertz, slow clap.
The question, then, is why so many of your gadgets operate at 2.4GHz, instead of the ~2,399,999,999 whole number frequencies below it, or any number above it. It seems almost controlled, or guided. It seems, maybe, a bit arbitrary. It seems, well, regulated.
A glance at FCC regulations confirms any suspicions. A band of frequencies clustered around 2.4GHz has been designated, along with a handful of others, as the Industrial, Scientific, and Medical radio bands. "A lot of the unlicensed stuff—for example Wi-Fi—is on the 2.4GHz or the 900Mhz frequencies—the ISM bands. You don't need a license to operate on them." That's Ira Kelpz, Deputy Chief, Office of Engineering and Technology at the Federal Communications Commission, explaining precisely why these ISM bands are attractive to gadget makers: They're free to use. If routers and cordless phones and whatever else are relegated to a small band 2.4GHz, then their radio waves won't interfere with, say, cellphones operating at 1.9GHz, or AM radio, which broadcasts between 535 kHz and 1.7 MHz. The ISM is, in effect, a ghetto for unlicensed wireless transmission, recommended first by a quiet little agency in a Swiss office of the UN, called the ITU, then formalized, modified and codified for practical use by the governments of the world, including, of course, our own FCC.
The current ISM standards were established in 1985, and just in time. Our phones were one the cusp of losing their cords, and in the near future, broadband internet connections would come into existence and become magically wireless. All these gadgets needed frequencies that didn't require licenses, but which were nestled between the ones that did. Frequencies that weren't so high that they sacrificed broadcast penetration (through walls, for example), but weren't so low that they required foot-long antennae. In short, they needed the ISM bands. So they took them.

Saturday 4 September 2010

ThermOweld

The ThermOweld connection process is a simple, efficient method of welding copper to copper or copper to steel. One advantage is that NO outside power is required when using the thermOweld exothermic process. The thermOweld process uses high temperature reaction of powdered copper oxide and aluminum. The reaction takes place in a semi-permanent graphite mold. These molds should last for approximately fifty or more welds if proper care is given. The reaction takes place very rapidly; therefore the total amount of heat applied to the conductors or surfaces is considerably less than that of brazing or soldering. This is important to remember when welding to insulated cable or thin wall pipe.


This system is very field friendly, since it is light and portable and requires no outside power source. It requires very little time or skill to obtain an efficient, maintenance free connection when using the thermOweld process.

The system was used in ensuring a ground protection for all electrical instruments used in the field.


Wednesday 1 September 2010

Superconductors - Meissner effect

When a material makes the transition from the normal to superconducting state, it actively excludes magnetic fields from its interior; this is called the Meissner effect.

This constraint to zero magnetic field inside a superconductor is distinct from the perfect diamagnetism which would arise from its zero electrical resistance. Zero resistance would imply that if you tried to magnetize a superconductor, current loops would be generated to exactly cancel the imposed field (Lenz's law). But if the material already had a steady magnetic field through it when it was cooled trough the superconducting transition, the magnetic field would be expected to remain. If there were no change in the applied magnetic field, there would be no generated voltage (Faraday's law) to drive currents, even in a perfect conductor. Hence the active exclusion of magnetic field must be considered to be an effect distinct from just zero resistance. A mixed state Meissner effect occurs with Type II materials.

One of the theoretical explanations of the Meissner effect comes from the London equation. It shows that the magnetic field decays exponentially inside the superconductor over a distance of 20-40 nm. It is described in terms of a parameter called the London penetration depth.

A superconductor is fundamentally different from our imaginary 'perfect' conductor. Contrary to popular belief, Faraday's Law of induction alone does not explain magnetic repulsion by a superconductor. At a temperature below its Critical Temperature, Tc, a superconductor will not allow any magnetic field to freely enter it. This is because microscopic magnetic dipoles are induced in the superconductor that oppose the applied field. This induced field then repels the source of the applied field, and will consequently repel the magnet associated with that field. This implies that if a magnet was placed on top of the superconductor when the superconductor was above its Critical Temperature, and then it was cooled down to below Tc, the superconductor would then exclude the magnetic field of the magnet. This can be seen quite clearly since magnet itself is repelled, and thus is levitated above the superconductor. For this experiment to be successful, the force of repulsion must exceed the magnet's weight. This is indeed the case for the powerful rare earth magnets supplied with our kits. One must keep in mind that this phenomena will occur only if the strength of the applied magnetic field does not exceed the value of the Critical Magnetic Field, Hc for that superconductor material. This magnetic repulsion phenomena is called the Meissner Effect and is named after the person who first discovered it in 1933. It remains today as the most unique and dramatic demonstration of the phenomena of superconductivity.

On account of the polycrystalline nature of a typical ceramic superconductor, the Meissner Effect appears to be a bulk phenomena. This can be demonstrated by stacking two or more superconductor disks. With the addition of each disk, the magnet will be levitated higher. This result is particularly advantageous if the Meissner Effect is being demonstrated to an audience with the help of an overhead projector.

Another interesting observation is that the levitated magnet does not slide off the superconductor. This seemingly stable equilibrium is actually a manifestation of Flux Pinning, a phenomena uniquely associated with Type II superconductors, of which our high temperature ceramic superconductors are examples. Here lines of magnetic flux associated with a magnet can penetrate the bulk of the superconductor in the form of magnetic flux tubes. These flux tubes are then pinned to imperfections or impurities in the crystalline matrix of the superconductor thereby pinning the magnet.

In other words, what is happening is that you are initially forcing the magnetic field to exist in these non superconducting regions, by "squeezing" it though the cracks between the superconducting crystals. These regions of the material are surrounded by superconducting material. Think of a gallon jug, filled with water, that has a small pin hole in the bottom. The jug is the superconductor, the water is the magnetic field. This superconducting material will not allow a magnetic field to pass though it, in much the same way the jug will not allow the water to pass though it. However, the tiny non superconducting regions will allow the magnetic field to pass though, in the same way the pin hole in the jug allows the water to pass though. When you lift the magnet up, the force of gravity acting on the pellet (F=ma first semester physics stuff), is not great enough to force the trapped magnetic field to pass though the superconducting material, hence, like a weight on a string, you can lift the pellet. The string in this case is the magnetic field, and the weight is the superconductor.




Doppler effect

In astronomy, the Doppler effect was originally studied in the visible part of the electromagnetic spectrum. Today, the Doppler shift, as it is also known, applies to electromagnetic waves in all portions of the spectrum. Also, because of the inverse relationship between frequency and wavelength, we can describe the Doppler shift in terms of wavelength. Radiation is redshifted when its wavelength increases, and is blueshifted when its wavelength decreases.

Astronomers use Doppler shifts to calculate precisely how fast stars and other astronomical objects move toward or away from Earth. For example the spectral lines emitted by hydrogen gas in distant galaxies is often observed to be considerably redshifted. The spectral line emission, normally found at a wavelength of 21 centimeters on Earth, might be observed at 21.1 centimeters instead. This 0.1 centimeter redshift would indicate that the gas is moving away from Earth at over 1,400 kilometers per second (over 880 miles per second).

Shifts in frequency result not only from relative motion. Two other phenomena can substantially the frequency of electromagnetic radiation, as observed. One is associated with very strong gravitational fields and is therefore known as Gravitational Redshift . The other, called the Cosmological Redshift, results not from motion through space, but rather from the expansion of space following the Big Bang, the fireball of creation in which most scientists believe the universe was born.




Wednesday 11 August 2010

Bermuda Triangle Mystery and Answers

According to two research scientists the mystery of vanished ships and airplanes in the region dubbed "The Bermuda Triangle" has been solved.
Step aside outer space aliens, time anomalies, submerged giant Atlantean pyramids and bizarre meteorological phenomena ... the "Triangle" simply suffers from an acute case of gas.
Natural gas—the kind that heats ovens and boils water—specifically methane, is the culprit behind the mysterious disappearances and loss of water and air craft.
The evidence for this astounding new insight into a mystery that's bedeviled the world is laid out in a research paper published in the American Journal of Physics.
Professor Joseph Monaghan researched the hypothesis with honor student David May at the Monash University in Melbourne, Australia.
 
The two hypothesized that large methane bubbles rising from the ocean floor might account for many, if not all, of the mysterious disappearances of ships and aircraft at specific locales around the world.
Researcher Ivan T. Sanderson identified these mystery areas during the 1960s. Sanderson described the actual shape of these regions as more like a lozenge rather than a triangle. Some of the more famous spots include an area in the Sea of Japan, the North Sea, and of course the infamous "Bermuda (or Devil's) Triangle."

Oceanographic surveyors of the sea floor in the area of the Bermuda Triangle and the North Sea region between continental Europe and Great Britain have discovered significant quantities of methane hydrates and older eruption sites.
Because of the correlations and existing data, the two envisioned what would happen when gigantic methane bubbles explode from natural fissures on the seafloor.

 
The methane—normally frozen at great pressure as gas hydrates embedded within subterranean rock—can become dislodged and transform into gaseous bubbles expanding geometrically as they explode upwards. When these bubbles reach the surface of the water they soar into the air, still expanding upwards and outwards.
Any ships caught within the methane mega-bubble immediately lose all buoyancy and sink to the bottom of the ocean. If the bubbles are big enough and possess a high enough density they can also knock aircraft out of the sky with little or no warning. Aircraft falling victim to these methane bubbles will lose their engines-perhaps igniting the methane surrounding them-and immediately lose their lift as well, ending their flights by diving into the ocean and swiftly plummeting

Tuesday 20 July 2010

Certificates

Some of the certificates that I earned during the past two years:




Monday 14 June 2010

Summer Spirit Again !

... memories of warm long days at the beach, when you forgot your worries and time was on your side. with some nice, chilly music on, as you looked out over the sea, with the sun reflected in over thousands of waves.

Tuesday 8 June 2010

The History of Production Music

The history of Production Music is a fascinating chapter in 20th-century popular culture. What we now call "Production Music" in the U.S. — for providing incidental music for dramatic plays, pageants, radio, TV and films — was originally known in Europe as "Cinema Music", "Atmospheric Music" and then the title for which it is still known in many places — "Mood Music."
In Europe it was also known as "Effects Music" and "Background Music." Here in the US, it has been also known as "Cue music" and "Library Music." But overall "Mood Music" is still the best-known term up until the 1960s when "Production Music" seemed to take its place as a term in the U.S.
Here is a rough outline of the principal events in its history...
The art of "film scoring" began with a few lists assembled by orchestra leaders, theater organists and pianists, of various typical classical pieces to accompany scenes in silent films. So we might say "scoring" was originally a live in-person process that involved some awkward segues or even improvised bridges, as musicians scrambled to turn the pages of their well-worn individual pieces of sheet music;
In Germany original music for silent films began to be composed in the decade following the turn of the century, composed by Guiseppe Becce and Hans May; and during the 1920's Hungarian-born Sandor Totis (known later in the U.S. under his professional name of Alexander Laszlo.) But Laszlo's early experimental film music was for multiple cameras projecting colored shapes on a screen. These were known as "Farblichtmusik" (Color-Light-Music) concerts.
An ever-increasing number of original incidental music composed especially for use with silent films began to appear — released in the U.S. by such publishers as Sam Fox Moving Picture Music. His first popular sets of motion picture music in 1913 contained various characteristic piano pieces composed by Cleveland-born John Stepan Zámečník, who was known as "J.S. Zámečník" (pronounced ZAM-ish-nick.) His family had emmigrated from Bohemia (which is now part of Czechoslovakia.) At the age of 20, he went back to "the old country" and studied at the Prague Conservatory under the famous composer Anton Dvorák. Back in the U.S. he played violin with the Pittsburgh Symphony under Victor Herbert, but returned to his home town to become music director of the Hippodrome Theater in Cleveland, where he wrote incidental music for the theatrical presentations and pageants as well as 6 light operettas.
In 1913 the first volume of music cues he wrote for Sam Fox to accompany the exploding field of "silent movie music" had only 25 piano pieces; He followed it up with several volumes for full orchestra, and during his lifetime was to compose over 1500 published compositions under various pseudonyms. In 1924 Zámečník moved to Hollywood, California to begin writing entire movie scores to be performed by live orchestras at larger theaters.
While European composers had been writing original works for films for two decades, and J.S. Zámečník was dominating the field in the U.S., many smaller theaters could only afford a pianist who struggled to keep up with the projected scenes using whatever classical or popular sources seemed appropriate — sometimes improvised from memory — and sometimes with piles of individual sheet music balanced on the piano.
One example of this collected "anthology" approach — perhaps in response to all the flimsy sheet music that must have fallen from pianos and music stands at times — is a large heavy bound book published in 1924 by the G. Schirmer company in New York with the title "Motion Picture Moods." This huge 675-page collection was assembled by a busy silent film pianist and organist who held several silent film accompanist jobs in New York by the name of Erno Rapée.
Young Mr. Rapée selected not only from what we might now call "the old warhorses" of classical music — familiar compositions from the pens of Grieg, Mendelssohn, Johann Strauss, Schumann, Bizet, Brahms and Tchaikovsky; and a number of "traditional" Folk-songs, Patriotic Airs, National Hymns and National Songs; a few popular ballads of the 19th century whose copyrights had expired; but also a few compositions from lesser-known (and today mostly forgotten) composers who must have been under contract to Schirmer in the 1920's to produce a few examples of "special material" for situations that couldn't be covered by the other tuneful melodies — these latter works included such melodramatic filmic titles that were the predecessors of the underscore or "cue music" that now comprises most film scores:
    "Allegro Misterioso Nottorno" by Gastón Borch, 
    "Agitato Misterioso" by Otto Langley
    "Indian War-dance" by Irénée Berge
    "Valzer Appassionato" by Theodora Dutton
    "Western Allegro" by Edward Falck
Mood Music evolved as an outgrowth of music publishers who began supplying taylor-made light music and dramatic cues using composers who were known for Cinema Music.
Recordings on disc were soon produced. By the 1940s, in the United States, two New York selling agents (Emil Ascher, Inc. and Thomas J. Valentino) began to offer exclusive representation of various European libraries. Music packagers in Hollywood during the 1950s, found ways to re-package B-movie film cues into libraries to score the new medium of television and a few radio shows along the way.
Latter-day companies in the 1960s and 1970s evolved using modern marketing techniques to provide a variety of more contemporary music styles for not only shows and series, but for the increasing market for commercial and promotional jingles. Although such companies may be listed in media directories as sources of Production Music, we omit them from this history since, by and large, their styles do not overlap the Light Music genre, and their composer/arrangers may be a bit less skilled than those composers listed in the Light Music Hall of Fame.
The primary source of early information below on this is "Journal Into Melody", a periodical newsletter from the Robert Farnon Society, a light music society in England. Articles on Mood Music have appeared by David Ades, David Mardon, Alan Heinecke and Nick Farries. We have noted issues and pages from the newsletter as sources wherever appropriate. Other source material came from CD liner notes of Production Music/Mood Music Archival CDs. Later research from a variety of books and sources has revealed the methods of the Hollywood Music packagers.

Tuesday 18 May 2010

ZeWeX : I decided to buy the rest of my DJ equipments before July. Electrifying for [Fun]

"DJs" or "Disk Jockeys" are people who play music to the open public for parties, special events, or just plain fun. There are several types of DJs, according to setting, style, and genre of the music to be played.

Steps for playing music using CDs:

you must be familiar with all genre and types of music. Trance music, even though it is not the most important genre of music, could be considered as the best electronic dance music that could develop your skills.

1- Make sure you put out a piece of paper for requests, if people want to make requests, they will usually only do it if there is a piece of paper.

2- Begin a "set" (a list of songs to be played) before setting foot inside a DJ booth.

3- Load the first selection, and, simply enough, press play on the first side of the CD players, which will from hereon be referred to as deck 1, to begin playing the song.

4- Load the next selection into deck 2.

5- Listen to the sample of the next track on deck 2, and try to judge the tempo and adjust the pitch/tempo fader to match the track playing on deck1.

6- Start the new song in deck 2 over, and begin to find your cue point.

7- Wait for the point in the song playing on deck 1 in which you wish to begin mixing the song on deck 2 into the mix.

8- Continue to switch back and forth between decks.

And, you are Done !!

Things you need:

* A good selection of CDs within the same general genre of dance music.
* 2 professional DJ CD-players.
* A 2-channel DJ mixer.
* Quality headphones (meaning they do not distort at high volumes. This will allow you to be able to hear what is playing in the headphones equally as loud as what is presently playing from the loudspeakers).
* A decent sound system (usually two loudspeakers and an amplifier. Many professional DJs also have a subwoofer, which allows the 'thump' of the kick-drum beat to be felt by the dancers on the dance floor).
* The will to learn (this also means accepting constructive criticism from others, because you can use that to your advantage to learn as well). A good DJ does not only play the songs well, but he also listens well.
* Patience and practice.

Optional [I would prefer]: a MIDI synthesizer
Behringer UMA25S U-Control 25-Key USB Midi Controller Keyboard

Also, you could have your own Electro-Acoustic Guitar:

Godin A11 Glissentar Two-Chambered Electro-Acoustic Guitar (Natural, Fretless)

Wednesday 28 April 2010

Einstein's

The secret to creativity is Knowing how to hide your sources
Albert Einstein 1879 - 1955

Sunday 4 April 2010

Six Sigma in 3 Steps

It is not just the Green Belts and Black Belts who need to be trained, but the Master Black Belts and Champions as well. All of them are the foundations for creating the Six Sigma culture.

The training program for these businesses should be designed well to suit the needs of Six Sigma projects. A proper plan that ensures that all training needs are taken care of is vital to the business improvement process that they will be undertaking. Developing an effective training methodology should be the primary objective of any Six Sigma company.

Trainers can follow these three steps to make the training program uncomplicated and effective to develop future Six Sigma leaders.

1. Pre-training

2. Delivery

3. Feedback and analysis

Pre-training Preparation

The first thing to do before starting on the Six Sigma training schedule is to understand the customer’s expectations – in this case, the employees. By carrying out discussions with the people involved such as the deployment leader, trainee and future belts, more information and input can be given that can be used to develop and design Six Sigma training programs.

Training is a team activity and it is better to be prepared in advance with the knowledge about the participants. A plan with targets for each day of the training program can be used to observe the pace of the schedule.

The curriculum has to be a combination of games and exercises to ensure active participation and interest of all involved in training.

Delivery of Six Sigma Training

To be successful, Six Sigma training should have good delivery of the proper contents of the training material. With content, appropriate data will depend on the targeted trainees. Content for Green Belts will differ from content for Black Belts. Six Sigma is implemented serially as per DMAIC steps.

These being the underlying phases, the logical flow and their practical application has to be clearly explained. Carrying out exercises at the end of Six Sigma training sessions is useful to know the level of understanding of the trainees. They can also be given hands-on experience with the tools of the Six Sigma methodology.

For Six Sigma training to be effective, the proper delivery of the content is significant. The trainers should be well versed with the subject matter to make a convincing case for Six Sigma. The trainer’s style should be developed to suit the different types of participants.

Six Sigma trainers should hold the interest of the trainees throughout the program. Maintaining eye contact helps to create an informal and open session with participants. By giving examples related to the current work conditions, the participants will be able to understand the subject matter and the relevance of the training to their new roles.

To determine the understanding level of the employees, trainers should ask questions and encourage them to ask questions as well. The trainers may change the strategy if they find that a delivery style is not suitable for the current trainees.

Feedback and Analysis

At the end of the program, or even during Six Sigma training, feedback from the participants should be taken in order to determine their comfort level with the subject. This helps to improve future content, as well as facilitate changes in the way it is delivered by trainers.

At the end of Six Sigma Training, feedback allows companies to understand if the goals were met.

Sunday 28 March 2010

Invention of Bicycle

Millions of people the world over ride them, but who actually invented the bicycle? How did it come into being?

To answer this question David V. Herlihy has written a charming and entertaining history of the bicycle (a French word by the way), from the early 19th century right up to the current day. The book is handsomely presented with plenty of big, glossy reproductions.

Herlihy writes in a conservative, text book style, yet the material he presents is always so interesting that the book never dulls for a minute.

The Invention of the Draisine, or Velocipede

The first version of the bicycle, then called a 'Draisine' or 'velocipede', was created by the German Karl von Drais. His early bike was patented in 1818. His 1818 invention was also called a 'dandy horse' or hobby-horse. Made almost entirely out of wood, the machine had no pedals, so it was just pushed by foot along the ground.

As can be imagined, there were pros and cons with this early version of the bicycle. Going down hill was fine, but going uphill was useless. The draisine was originally a popular fad that soon died out. Obviously, due to its limited utility and hefty price, its vogue soon waned.

Pedals on Bicycles Enter the Scene

Interestingly, it took about another 50 years for the cause of the velocipede to be taken up again. This time it was France that was to make the next major contribution to the bicycle. By the late 1860s a velocipede with pedals attached to the front wheel was on the market.

The 1870s saw the invention of the penny-farthing, with the huge front wheel that facilitated quicker speeds. At this stage bicycles were still very much the domain of well-heeled recreational riders, dandies with money and time for the pursuit. The bicycle still awaited a more widespread popular usage.

The Introduction of the Safety-Bicycle

This came in the 1880s with the so-called 'safety-bicycle'. A chain system turning a back wheel allowed for a bike that was closer to the ground, hence protecting the rider from the dreaded 'croppers' - falling off the bike. Now the rider just had to put their feet to the ground to stabilise the bike and prevent a fall. This new development had a lot of appeal for women in particular, widening dramatically the popularity of the bicycle. (Indeed, a lot of feminists at the time talked up the benefits of cycling for women. American feminist Susan B. Anthony dubbed it a 'freedom machine'.)

The basic design of the safety model is the type ridden today. So things have not really changed that much since the 1880s. Sure there have been lots of important improvements, but the basic safety model has never been superseded.

The fortunes of the bicycle have waxed and waned over time. A new model or technological advancement creates a new spike in usage, which then tapers off. When bikes should have really taken off, with the invention of the safety bike, along came the car. The awesome popularity of the motor car forced the bike into the background as a recreational plaything. In tough economic times, however, the bike has experienced an upsurge in popularity. During the 1970s oil shocks, bike usage shot up.

Of course currently there is a new period of surging bike popularity. Environmental concerns, the obesity crisis and the volatility of oil prices are helping to make the bike appear an answer to a lot of these problems.

Another interesting historical fact in Mr Herlihy's book is the public hostility to bike riders. Since day one there have been consistent complaints about bike riders on footpaths and knocking innocent pedestrians over. Even policemen and judges were notoriously unforgiving of rogue cyclists. It seems things have not changed much.

There is much to recommend in this book. It is well researched, with the author quoting a lot of contemporary sources for attitudes to bikes and cyclists. Mr Herlihy has an eye for a quirky story or interesting detail, making sure he keeps his bicycle history a constant enjoyment.

Obsessive and recreational bike riders alike will find much fascinating reading Bicycle: The History. Full marks to Mr Herlihy for this brilliantly organised and researched history of the bicycle.

Bicycle: The History, by David V. Herlihy is published by Yale University Press, 2006.

Wednesday 10 March 2010

Our Final Logo Design ;D

6 Points to Writing a Great Bio


Writing a bio for a blog or a website need not be hard. Your online presence will be enhanced with a well written bio paired with a user picture. Use these easy points and you’ll be writing your bio with all the ease of a technical writer.

POINT OF VIEW

In writing a bio, it is important to use the right point of view. Your bio should be written as if someone else was writing it for you. A bio should be written in third person. You will want to refer to yourself in the he/she tense.

PERTINENT FACTS

A bio should be short and not wordy, listing facts only. A lengthy bio will frustrate the readers causing them to lose interest and stop reading. Decide what facts concerning your life are important to the bio. Prioritize this list of facts. Use only the most pertinent ones. Write your bio with tight sentences. Delete any extra words. Notice your verbs. Use strong active verbs in describing yourself.

PERSONAL INFORMATION

You want your bio to sound professional, so state who you are and what you do. Don’t list anything too personal, like your address or telephone number. Imagine introducing yourself to a stranger. What kind of information would you tell a stranger? Be careful what you share on any public forum. Only list general information about yourself, such as your career, the state you where you live, and what you like to do in your spare time.

PERSONAL EXPERIENCE/ACHIEVEMENTS

Write in you bio any experiences which stand out or any notable achievements. If you’ve won awards based on skills or obtained a degree with honors, this is where you can brag a little…just a little, since you’re keeping the bio short and sweet. This part seems to be the toughest for people to write. No one wants to appear to be a braggart, but in this instance give yourself permission.

PROFESSIONAL MEMBERSHIPS

Memberships to organizations tell others more about you. The fact that you are paying to be involved in a specific community shows what you’re interests are. If you belong to several of these groups, only list the ones most important to you.

PUT IN THE HOOK

Just like in a novel where every chapter ends with a hook, you’re bio should end with a thought-provoking hook. State something about yourself which is out of the ordinary. Have you accomplished something or performed something that is unusual? Maybe you like to travel to the Rain Forest? Maybe you have flown around the world? Whatever it may be, end on a positive note, which says something unique about you and sets you apart from everyone else. This step is optional.

CONCLUSION

A bio is a combination of personal information, experiences, achievements, and memberships written in third person point of view, using strong verbs. Combining these easy steps will help you in writing one of the hardest topics to write about…you.