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Campbell's prototypical example for an artifactual vehicle was that of a mosaic mural of a street scene. the thickness of mortar, the size of the glass pieces, the available colors and the restriction to two dimensions limited the validity of the picture represented. a photograph of the street scene would still be limited although not as much as the mosaic ; , but it would have higher validity. the street scene could be carved in ice or painted in icing on a cake. these media would be both lower in validity and too flexible for most knowledge purposes: the ice melts and the cake is eaten. campbell's examples of physical vehicles, such as mosaics and plaster-ofparis casts suggest he conceived of structural vehicles, and of validity, as copies of knowledge. however, his inclusion of maps suggests a somewhat different story. as the joke about the farmers who will not allow the cartographers to unroll their 1: map over the fields indicates, a "true" copy of nature is not necessarily useful at all. in many cases, representing knowledge in an artifact demands a radical transformation--not a copy--of the knowledge. in these "cognitive artifacts, " the transformation reduces the computational complexity of problems. knowledge is rerepresented in an alien medium in order to change the cognitive tasks that must be undertaken. as an example, consider finding the square root of the product of 54 and 23. for most people, paper-and-pencil must be used to keep track of the intermediate calculations. the calculations can be considerably simplified if they are re-represented in an old-fashioned slide rule. one lines up two scales, shifts the hairline indicator, and reads out the number. the paper-andpencil calculation has been transformed into a perceptual judgment task. the slide rule does not require that the user even know how to take the square root of a number. all the user needs to know is when "square root" is relevant and what scale to use when the square root is needed. given the user knows the scale, the possibilities for errors are greatly reduced by using a slide rule compared to solving the problem on the back of an envelope or even with a calculator. the slide rule is not perspective-free, context-free, or interest-free. it is the embodiment of historical contingencies, trial-and-error learning, and tinkering, which has accumulated over a period of time greater than that of the lives of the individuals who contributed to its invention and development. an abacus can be used to do the same task, but it, too, is. From joker mother.ent.rochester mon oct 5 21: 31: received: from mother.ent.rochester by gawain.cif.rochester 4.1 1.15 ; id aa13902; mon, 5 oct 92 21: 31: edt received: by mother.ent.rochester 5.57 ultrix3.0-c ; id aa23759; mon, 5 oct 92 21: 33: -0400 from: joker mother.ent.rochester larry moss ; date: mon, 5 oct 1992 21: 33: -0400 x-mailer: mail user's shell 7.2.3 5 22 ; to: balloon subject: bat the picture in postscript or gif. i wasn't very happy with not being able to reproduce the bat i made last year so i've got an all new one. thanks to judy for helping with this one. i've also finally gotten around to doing something i said i would do a long time ago. i actually drew this one thanks again to judy for straightening out my hideous math and fixing the macro that i used to do most of the drawing ; . the pictures are included at the end of this in encapsulated postscript. the instructions are straight text. i was originally going to make the whole thing a postscript document, but this was easier and this way anyone that can't view postscript for one reason or another can still give this a shot. in the future i hope to make most of my postings postscript, so please let me know now if that's a problem. enjoy -the bat requires 2 balloons. black works best. leave about 4 or 5 inches uninflated in each balloon. start by making a 1-inch bubble followed by two 1 2-inch bubble. twist the two small bubbles together at points a and b on figure 1 ; . this forms the head and two ears figure 2 ; . now make three 3-inch bubbles. make a bird body out of them by twisting bubbles 1 and 2 together at points a and b. then role the third bubble between them. figures 3 and 4 ; you now have the bat's body. the remainder of the balloon will be used to make the first wing. make 4 bubbles with the sizes 10 inches, small .5 to 1 inch ; , 3 inches, small. the fifth bubble in this chain should be between 5 and 6 inches figure 5 ; . if the remainder of the balloon is longer than that, twist off a fifth bubble. twist either the tail of the balloon or the end of the last bubble you made around the neck marked as point a on figure 5 ; . if you had to twist bubble 5, deflate the remainder of the balloon. it should be held securely by the twist around the neck so only that last bubble will loose air. wrap the tail around the neck enough to hide it figure 6 ; . now ear twist the two small bubbles. the second balloon is used for the second wing and the two legs. twist the nozzle end of it around the neck fig. 7 ; . the second wing is just the reverse of the first. make a 5- to 6-inch bubble, followed by a small bubble, a 3-inch bubble, another small one, and a 10-inch bubble. twist at point a figure 8 ; . again, ear twist the small bubbles. now make five bubbles to form the legs with a pop twist. that's 1 inch, small, 1 inch, small, inch. just like above, you may be out of balloon at the end of that last bubble. that's fine. do a locking twist points a and b in fig. 8 ; or wrap the tail around point a to form the legs. again deflate any remaining balloon. the deflated tail of the balloon will serve as the tail of the bat. ear twist the two small bubbles connected to the legs and pop the larger bubble between them. 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Would have come out a lot more impressive, especially toward the end.' and he says, `it just isn't done that way, especially with bob. if i ever want more responsibility, i have to drink with him.' so i say, `i can appreciate there are times it's going to be a tough decision, but it is a decision; you can have your beer or you can have me, but you can't have both. maybe you'll do it differently tomorrow.' "aren't you proud of me?" i was too taken aback to answer right away. i'd never been cast in that role before, never been asked that question, never told any of my lovers that i was proud of them, never even been told by my parents that they were proud of me, though they'd always exhibited a much higher degree of confidence in my ability to run my own life than any other parents i'd ever heard of. still, i knew the right answer. "yes, and i'm sure tonight will go much better, " i heard nora say. "definitely! that was an impressive performance!" i added. "thanks, " said ginny. "what's happening with you and joel? has he stopped being so serious?" "oh, no, i don't expect him to. i don't even think i want him to. i've just stopped letting him lay it on me." "oh?" "yeah. what was bothering me was that he was so reverent and solemn that i wasn't comfortable teasing and being playful, because i was afraid he would disapprove. now i can do what i want, and i've found out that he likes me to tease and be playful. like i said the other day, i figured out before i asked him, that that was probably what would happen but i didn't expect him to change." ginny looked puzzled, so nora offered more. "like, the other night we were making love and i'd just climbed on top of him, and he wrapped his arms around me and held me real tight and he said. well, he told me he loved me. and when he let go i propped myself up on one elbow and looked at him curious-like, and i asked, `is it a religious experience?' and he said he was kind of overwhelmed, and i gave him a little kiss and started moving, and then i took hold of his wrists and held them down and kept them that way the whole time until we came, and then i kept moving, and he started trying to pull out, and i said." she put her hand over her mouth and looked around to see whether anyone else was listening, then continued in a hoarse whisper, "i stopped moving and i said, `sensitive cock!' and he just looked up at me and caught his breath and told me again how he loved me, and he said it as reverent and solemn as ever -- maybe more! "so he hasn't changed -- i have. and we're both enjoying it. we're even more in love than we were before, because now he can love me for teasing him and acting playful and letting him see that part of me so clearly, which he couldn't before because i was suppressing it all; and i can love him for accepting me so completely, just the way i am, which i didn't used to know he would." "i want that so badly, " said ginny. "i'll pray for you, " i said. "me too, " said nora; then she changed the subject. she'd seen a memo at work that was part of a long-running turf battle of which she'd been unaware, and she and poker hands rule.
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Patrick o'brian, c. s. forester and captain marryat all based their literary heroes on thomas cochrane, but as cordingly shows, cochrane's real life exploits were far more daring and exciting than those of his fictional counterparts. cochrane was a man of action, whose impulsive nature meant that he was often his own worst enemy. it was this that lay behind his early success, and also behind the stock exchange scandal that saw him blackballed from the city and his beloved country. taking his wounded pride and his undiminished abilities as a naval commander to south america, he helped liberate chile, peru and brazil from their colonial masters, before returning home to restless retirement. drawing on his own travels, the kind of original research that distinguished billy ruffian, david cordingly tells the rip-roaring story of the ultimate romantic hero who helped define his age. previously unpublished papers reveal the real-life dr stephen maturin and the poignant story of cochrane's wife's love affair. david cordingly was keeper of pictures and head of exhibitions at the national maritime museum for twelve years and is the author of life among the pirates, heroines and harlots and the highly praised billy ruffian. 60. Chapter-31 of the blue knights of texas celebrates its first birthday on july 7th. with over 100 members, the chapter which is home-based in galveston is the largest chapter in texas. members represent virtually every law enforcement agency in galveston county and some from area counties. the blue knights is a non-profit fraternal organization of active and retired law enforcement men and women who enjoy riding motorcycles. first formed in maine in 1974, the blue knights now have chapters across the united states and in several foreign countries. a family fraternity, member, s spouses and children often accompany them on various rides and functions. local members often provide assistance, directions and sometimes a place to stay to fellow members traveling from out of town. many blue knights work long and hard to raise money for various charities. projects of special interest to them involve events that benefit children such as make-a-wish foundation, toys for tots, d.a.r.e and concerns of police survivors or cops. chapter president, d.j. alvarez, a galveston police lieutenant says there is an open invitation for officers of any jurisdiction or agency wishing to become a member. he can be contacted by telephone at 281 ; 642-8716. membership applications may also be found on their website. log onto to: : blueknightstx31.
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