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Lunch at EB's & Dinner at Cinta Ria, DJ
>> Monday, April 27, 2009
Date: 18 April 2009, Saturday
Venue: EB's grandma's house
Occasion: Lunch with EB & EB's grandma
EB cooked lunch! What more could I say? It's the 1st time I'm having 'home-cooked' lunch with EB...yum yum! Lunch was pretty simple, but the fellowship was just lovely :) *happy*
"Thank you for the lovely lunch, EB!!"
Venue: Cintaria @ DJ, Damansara Jaya
Occasion: Dinner with James & Chris
It's my 1st time here at this cozy restaurant in Damansara Jaya, on the same row as Domino's Pizza, near Atria Shopping Centre. Three of us dropped by for dinner after our TRAC MYF visitation to SSMC's youth group before heading off to TMC for the cantata.
Cintaria @ DJ is opened by Catherine & Christopher Chin, members of Emmanuel Methodist Church, PJ. The restaurant offers a variety of Malaysian food as well as Western dishes to whet one's appetite :) They boast their famous Cinta Ria's Nasi Lemak Ayam Rendang & the Cinta Ria's Grilled Chicken set...quite nice! Price wise, it's average for a cafe, so it's not too bad a place to dine :)
This is really good...far better than 6 to 10's (another Western food place in Section 17). I like having chunky fresh mushrooms in the smooth, creamy soup, & having a slice of toasted garlic bread to accompany the soup just makes savoring the soup more satisfying ;)
The rendang's really good! They really didn't compromise on the ingredients & it seems like much effort has been placed to make the simple nasi lemak yummilicious! :) *thumbs up!* Oh ya, Cinta Ria boasts of its home-made accar (spicy pickled vegetables) as well...nice :)
The set comes with a quarter roast chicken, roasted to perfection to ensure that the chicken turns out moist & tender, a generous serving of coleslaw, & creamy mashed potato (which for Ruth should be more! Love mashed potatoes!!) covered in fragrant mushroom sauce. *drools*
Fresh. Light. Tasty. Filling! I love the presentation :) Somehow we just wonder why Caesar salads are so expensive, but it's all worth eating!
I can't really recall what's the actual name of this drink, but it sounds something like that. Very refreshing! If you fancy having bits & pieces of surprises in your drink like cincau, nangka (jackfruit), & cendol, this drink's for you! Yums!
* Omg...what happened to my 4 colors photo??! *faints* Too lazy to edit it d...
Cintaria @ DJ Restaurant & Cafe
78 Jalan SS22/25
Damansara Jaya
47400 Petaling Jaya
Selangor Darul Ehsan.
Tel: (603) 7726 8981
Business Hours: Daily (9.30am -9.30pm)
Presentation: * * * *
Price: * * *
Environment: * * * 1/2
Taste: * * * 1/2
Service: * * * 1/2
- Ruth


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Nicolas Froment's Burning Bush Triptych and Its Iconographical Program
The Burning Bush triptych by the fifteenth-century French painter Nicolas Froment allows a triple thematic reading involving, in addition to the Burning Bush, allusions to the revelations to St. Joachim and St. Joseph. These three themes are closely linked to typological inter-pretations regarding Christ's genealogy and, by extension, the Immaculate Conception of the Virgin which appeared frequently in the illustrations of the Biblia Pauperum and the Specu-lum humanae salvationis from the fourteenth century on. The interpretation of the genealogy of Christ is found in the Breviare Romanum, the possible source for the inscription taken from Exodus 111:2 at the bottomof the central panel, which is in accordance with the text of the Book of Hours in front of the donor in the right-hand panel (Ecclesiastes 24:11); and in the Missale Romanum, in which the text of Proverbs 8:22–35, part of which is shown at the top of the panel, is followed by the account given by St. Joseph, husband of Mary, of Messianic ge-nealogy in Matthew 1:1–16. The blessing bestowed by Moses on Joseph, son of Israel, in Deuteronomy 33:13-16, corresponds closely to Jacob's blessing in Genesis IXL:22-26 in its reference to the twelve tribes of Israel — which are represented by the figures framing the central panel —and thus could be the primary source for the thematic coupling of Moses and St. Joseph.
Hieronymus Bosch's Four Afterlife Panels in Venice
The fourth of the Afterlife panels by Hieronymus Bosch in the Palazzo Ducale in Venice presents a visionary scene of human souls ascending towards a tunnel leading to a glowing Heavenly Paradise. The depiction of an awaiting worid of light is consistent with the testimonies of people who have returned from the threshold of death. It is in marked contrast to the first panel, in which demons draw the Damned into the depths of Hell. However, the order of the panels proposed in this article, with the tunnel at the far right, would appear to offer man a note of hope.
The Crucifixes of Tilman Riemenschneider
Examined here are some of the superb crucifixes carved by the great late Gothic sculptor Tilman Riemenschneider, including examples which have been lost as well as those that have come down to us. Among the former are his most important crucifixes: the large one finished in 1505 which Frederick the Wise, elector of Saxony, had ordered for Wittenberg; and the crucifix of 1497 that was in the chancel vault of Würzburg cathedral until it was destroyed in 1945. At times dissenting from the standard literature, the article traces the chronological development of Riemenschneider's crucifixes in terms of their artistic originality.
The ongoing restoration of Michelangelo's frescoes in the Sistine Chapel has aroused heated controversy. The author of this article, who is no stranger to the debate, here demon-strates that the restorers, acting on the misguided assumption that they were undoing damage done by their predecessors, in fact removed a pentimento by the artist himself.
In the first phase of the project in 1980-85, the naked breast of the woman holding an in-fant in the lunette inscribed "SALMON BOOZ OBETH" was "discovered" through the elimination of the bit of drapery that had covered it. The Vatican team claimed that the drap-ery, painted a secco instead of buon fresco, was a later addition motivated by prudery. How-ever, none of the proposed datings for the alleged intervention is remotely convincing. Nor has it been explained why, out of all the exposed breasts depicted in the frescoes, this one would have been singled out for censorship.
That Michelangelo was responsible for adding the drapery is clear from the presence of the drapery over the breast in sixteenth-century engravings of the figure and, in particular, in a drawing done in the decades following completion of the ceiling.
The author argues that fifteenth-century Ferrarese art should be regarded not as neurotic and disturbing but rather as witty and pleasingly stylized. Its noble patrons would have found the artificiality and variety of the style refreshingly novel. Other aspects of Ferrarese culture tend to support such an interpretation. Those who claim that the art of Ferrara is harsh and jarring are apparently using Florentine standards of normality as a yardstick.
The identification with Old Testament figures in a portrait historié serves chiefly as a hid-den portrait, donor portrait, or ruler portrait, and is based on analogies of virtue, rank, name, or events. Three broad groups may be discerned: first, the identification of rulers and military leaders with biblical kings and commanders illustrates their virtue and the divine right of kings; second, wedding and family portraits, primarily in the Protestant
Netherlands, demonstrate the self-image of the subjects as a new "chosen people" and the emulation of biblical forefathers; and third, identifications with Judith and Holofernes or David and Goliath suggest the artist's self-representation or personal, erotic meanings.
The original title of The Plague at Ashdod in the Louvre, Il miraculo dell' Arca nel tempio di Agone, is the point of departure for an alternate reading of the painting based on Samuel iconography, plague imagery, and textual sources which were ignored in the past. Nicolas Poussin's aim was not simply to paint two episodes from the Book of Samuel, as has hitherto been claimed, but rather to represent the culmination of a chain of events that foreshadowed not only the future of the Jews but that of Christianity as well. It becomes apparent that the artist wove a rich pattern of symbolism which implies the Augustinian conception of a divine plan governing history, as prefigured in the medieval typology of the widely popular Biblia Pauperum.
The River and the Castle: The Roman Journey of Bernardo Bellotto
Assessing Bernardo Bellotto's early career in Italy has always been difficult because of his stylistic dependence in that period on his famous uncle, Canaletto. For a better understanding of Bellotto's Roman sojourn of 1742, this article examines the View of the Tiber and the Castel Sant'Angelo and its pendant, View of the Tiber with the Castel Sant'Angelo and San Giovanni dei Fiorentini (both in the Barbara Piasecka Johnson Collection, Princeton, N.J.), which are smaller copies by the artist of his pendants now in Detroit and Toledo, Ohio. The twe landscapes demonstrate the artist's familiarity with the work of the Dutch-born Gaspar Adri-aensz. van Wittel.
The terminus ante quem for the painting with San Giovanni is established through the demolition of a group of buildings depicted on the left in June 1742. Venetian documents re-garding Bellotto's marriage and the baptism of his children show that he left for Florence, Lucca, and Rome by January 1742 at the earliest. The use Canaletto made of his nephew's drawings of Rome suggests that the latter returned to Venice by the following autumn.
While Stuart Davis has long been recognized as one of the foremost American modernists, a full appreciation of his work has been hindered by the tendency of art historians to focus on its formal attributes. With few exceptions, over the last three decades the content of these paintings was either dismissed as inconsequential or, at best, considered secondary to the artist's formal concerns.
This article argues that, on the contrary, his formal innovations were inextricably tied to contemporary subject matter. Davis was committed to modern content even before modern form, and the challenge he took on was to integrate the two. Ultimately, he used abstraction as a "synesthetic equivalent" through which to express his response to the dynamic new cul-ture of the twentieth century, as represented by, among other things, technological advances, commercial packaging, and jazz musie. His search for a means of incorporating the world around him in his art made him possibly the most complete modernist of all.
In the last decade of his life, Antonio Canova carved a series of idealized female marble busts, one of which was of the ancient Greek poet Sappho (Barbara Piasecka Johnson Collection, Princeton, N.J.). This bust is more restrained than most of the others, but the severity of the form is belied by the gentle charm of the expression, which is animated by an enigmatic smile with a hint of sadness. A few locks of hair escape from the smooth coiffure, showing that the sculptor's ideal of beauty, far from being purely cerebral and abstract, was humanized by naturalistic touches that lent "an extraordinary softness" to his work, in the words of a con-temporary admirer.
The Portrait of a Youth from the Czartoryski Collection in Cracow, a remarkable work generally attributed to Raphael, vanished without a trace just a few months before the end of the Second World War. Its history had always been dramatic. It came into the possession of Poland's highly cultured Czartoryski family at the beginning of the nineteenth century, at the same time as Leonardo da Vinci's Lady with an Ermine, and survived repeated wartime evacuations over the years until its theft by the Nazis and subsequent presumed destruction.
The portrait can be dated on stylistic grounds to c. 1509–1516, between Raphael's great frescoes in the Stanza della Segnatura and the Sistine Madonna. Its subject may well be the "ideal man" of the High Renaissance, a courtier along the lines of Baldassare Castiglione's literary model. Once thought to be Raphael's self-portrait, the painting perhaps does indeed represent the artist as such, if not as an individual. This is a creator so supremely confident of his divine gifts and social status that he can afford to depict his hands in idle repose, free of the tools of his trade.

subset: commoncrawl


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Chicago Fire 2, Sporting Kansas City 1 | MLS Match Recap
BRIDGEVIEW, Ill. – Two first-half penalties from Mike Magee ensured the Chicago Fire scored their second win in as many games games with a 2-1 victory over a depleted and luckless Sporting Kansas City at Toyota Park on Sunday.
The Fire were unchanged from the team that ran out 5-4 winners over the New York Red Bulls last time out; Sporting, on the other hand, were forced to make five changes from their midweek defeat to Philadelphia due to injuries and international call-ups, and trotted out a 3-5-2 formation with only one true center back, 17-year-old MLS deubtant Erik Palmer-Brown.
And the hosts took advantage of KC's unfamliar backline and got off to a perfect start when Quincy Amarikwa was taken down as he rounded goalkeeper Eric Kronberg following a precise through ball from man-of-the-moment Harry Shipp.
After recent misses by Magee and Juan Luis Anangono from the spot, it was thought captain Jeff Larentowicz would be the man to assume responsibility for the kick, having converted the Fire's only penalty this season at Portland.
However, Magee stepped up and the 2013 MVP kept his nerve superbly to roll the ball into the bottom left corner, with Kronberg diving the other way in the seventh minute.
The Men in Red then doubled their lead in short order, when Palmer-Brown shoved Benji Joya in the back just inside the area. Magee got his second chance from 12 yards and slotted home to the same side to double his team's advantage.
Palmer-Brown's rough debut didn't end there, either. Just a minute after the Fire wanted a third penalty for his clip on Dilly Duka, his luck ran out when he was shown a second yellow card in the 64th minute for a late, sliding challenge on Amarikwa at midfield.
Sporting's offense did show some signs of life, however, most notably when Dom Dwyer hit the post in the first half after being played in by an inch-perfect driven pass from Igor Juliao.
Dwyer then managed to bag his fourth goal in three games when he found himself unmarked at the far post to power in Benny Feilhaber's free kick from the right wing, but that would be all the joy the visitors would find on the day.
The goal brought Dwyer's total to eight on the season, tying him for second on the MLS scoring charts with Seattle's Clint Dempsey and Chivas USA's Erick 'Cubo' Torres,.
Next up for Kansas is the visit of Toronto FC to Sporting Park next Friday, while the Fire face a trip to the Columbus Crew a day later.
MLSsoccer.com Men of the Match
|What We Saw
|Harry Shipp
|The Homegrown rookie continued to delight Fire fans, as he picked apart the holes in KC's three-man backline, most notably with the through pass to set up the team's first penalty
|Dom Dwyer
|The English bulldog couldn't do it all himself; he was once again Sporting's most potent threat, scoring their goal and finding himself desperately unlucky to hit the post in the first half
|Mike Magee
|Cool from the spot and rounding into scoring form, we saw good play from him today with the promise of more to come


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|Posted: December 16, 2009
Looking for the heartbeat of cellular networks
|(Nanowerk News) Our cells molecules form an intricate network of interactions. Todays techniques, however, can only be used to measure individual molecular reactions outside the cells. Since molecular concentrations are much higher in cells than in the laboratory, scientists suspect that the kinetics of molecular reactions in living cells differ substantially from external probes.
|We expected the cellular reaction speed to be higher, confirms LMU biophysicist Professor Dieter Braun. However, our novel optical approach showed that depending on the length of the strands the coupling of DNA-strands inside living cells can be both faster and slower than outside.
|Data yielded from living cells are highly valuable for the development of models to understand the complex interactions as well as pathological processes in biological cells. Braun and his team now plan to probe a variety of molecular reactions in living cells, visualizing the heartbeat of cellular networks ("Hybridization kinetics is different inside cells").
|In their work, the scientists investigated the hybridization the coupling and de-coupling of two DNA-strands, which they introduced into living cells. To determine the reaction time constant they used an infrared laser to induce temperature oscillations of different frequencies in the cell and measured the concentration of the reaction partners, namely of coupled and de-coupled DNA. At low frequencies, these concentrations followed the temperature oscillations, whereas at higher frequencies they experienced a phase delay and oscillated with diminished amplitude. Both delay time and amplitude decrease, were evaluated to obtain the reaction time constant.
|The team determined the concentrations using the so-called fluorescent energy transfer (FRET), which takes place between two chromophores at a certain spatial distance. They applied a FRET pair to the DNA-strands such that energy transfer occurred only if the strands were coupled. The chromophores were excited with a stroboscopic lamp and a CCD camera registered time and amplitude of the fluorescence, thus visualizing the concentration alterations with a spatial resolution of about 500 nanometres. The experiments revealed that DNA-strands comprising 16 units, the so-called bases, showed a sevenfold higher reaction speed compared to values determined outside living cells.
|12-base DNA-strands, on the other hand, reacted times five times slower than outside cells. This is a surprising result, since kinetics of molecular reactions has been assumed to be always faster inside cells, where much higher molecular concentrations prevail. Apparently cells modulate the reaction speed in a highly selective way, says Braun. The measurements provide valuable insight into in vivo kinetic data for the systematic analysis of the complexity of biological cells, adds Ingmar Schön, who conducted the demanding experiments. The scientists are now planning to probe a wide variety of molecular reactions in living cells, visualizing the heartbeat of cellular networks.
|Source: Ludwig-Maximilians-Universitaet Muenchen
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The Scottish rugby team has responded to critical comments from a Herald sportswriter by blocking a journalist from nzherald.co.nz from their full media press conference in Edinburgh yesterday.
The All Blacks don't play Scotland until early Monday morning (NZT) but the off field war-of-words flared up once again when video journalist George Berry was denied access to the Scottish team naming, for being associated with the Herald's senior sportswriter Chris Rattue.
Rattue questioned why the All Blacks were bothering to play Scotland who were "so bad that even the rugby spin machine may have trouble whirring into action," and his comments sparked outrage throughout the Scottish media.
And the fallout yesterday affected Berry, who said he was shocked at being stonewalled by the Scotland side after developing a great relationship with them during last year's Rugby World Cup in New Zealand.
"I was asked who I was doing the video for by the Scotland media guy and I responded, 'The Herald'," said Berry.
"Is that the same paper as that guy Rattue? I was asked. I responded yes, however I must say I've never met the guy and don't share in many of his beliefs."
"I was then told - if that's the case I'm afraid our team is not interested in talking to The Herald."
Berry then reinforced his relationship with Scottish rugby and underlined how foolish it would be to deny the Scottish rugby team coverage in New Zealand, and after a few minutes of one-sided compliments was eventually granted access to do a very quick interview at the end of everyone else.
However it came with a warning and a message to the Herald editor-in-chief Tim Murphy.
"They said to tell him that sort of narrow journalism isn't appreciated in Scotland, and it's a shame that he (Rattue) hasn't got his arse out from behind the desk and followed up his comments by being in Edinburgh."
The Scotsman said his tone was condescending but he might have given the Scottish players added motivation to finally beat the All Blacks.
"Rattue surprises no one by suggesting that even an All Blacks side missing key players will prove more than a handful for injury-ravaged Scotland.
"Not all Kiwis are as swollen-headed and arrogant and some of Rattue's criticisms are accurate, but if Scottish players wondered how they were really perceived in the Land of the Long White Cloud they have an idea now, and perhaps some fresh motivation to prove themselves again on the test stage."
All Black attack coach Ian Foster was diplomatic when asked about Rattue's column, saying the All Blacks had "massive respect" for Scottish rugby. This was despite New Zealand planning to field all of their 32-man squad in the opening two games of their tour against Scotland and Italy.
The All Blacks have played Scotland 28 times since the two teams first met in 1905 and have never lost, though they have drawn twice. Scotland were yesterday paying $10 for a win at the TAB.
"They play a turgid, ineffective game that belongs in a cave because their players have few skills."
"Let's face it. Wales are rubbish. They are the village idiots of rugby union."
"This Aussie team has too many powder puffs, particularly in the forwards. They just aren't hard enough."
"Those Irish salvos looked more like attempts to have something in the bank to save face with before the inevitable landslide buried them. Which it did."


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UK style council members caught unaware Ferrari's in-house coachworks can personalize a Ferrari Scaglietti to order, get out your Alexander McQueen pad and pencil sets. Ferrari's teamed with Walpaper* magazine on a show car to highlight the company's bespoke options. The driveway model's been finished in a "stunning but subtle" paint scheme iin Nero (black?) and Blu Pozzi (blue?), with a custom interior, aluminum kickplates and special badging. Road trips to Spain can be made ever so much more luxurious with a set of matching luggage. Expect to see it at an insufferably pretentious event near you.
2006 Villa D'Este Concorso D'Eleganza [internal]


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THE SQL Server Blog Spot on the Web
Boyan Penev announced the availability of DateStream project on CodePlex: it is a data feed that can be consumed by PowerPivot but also to generate a calendar table for any type of usage. Yes, Analysis Services has a wizard, but when you are in a hurry why not simply consume a ready to go data source?
In fact, this data feed is published for free on Azure DataMarket: https://datamarket.azure.com/dataset/1542c52d-d466-4094-a801-9ef8fd7c6485.
I would like to get feedback – in my opinion performance are not very good but hearing words from other users would be nice.
Thanks to Boyan for his effort!
I got the next error:
"BasicCalendarEnglish: The remote server returned an error: (403) Forbidden."
How exactly you've got the error? You were doing what?
This is a nice idea but I prefer to populate my date table from a SQL view. The server being on my LAN makes it super quick.
This may be a good for people with no SQL server.
Hi Marco,
Same problem here.
1. enter the feed URL and account key. Test Connection is Successful.
2. Go to next screen, it will list the 3 calendar tables available
3. After i select tables, if i try to "Preview and Filter" or "Finish" the wizard it will give 403 error. At this stage you cannot continue.
it would appreacite it if you could also communicate on bhavik.merchant(at)gmail.com - your blog doesnt seem to have a comment email subscritpion. Thanks!
Have you signed up the feed? You should open the URL on your browser and then sign up the data feed before importing it in PowerPivot.
thanks Marco, i forgot to do this :) working now. I agree that it is very slow, but that is a small price to pay i guess!
p.s. comment registration for email is giving this error:
"The administrator has disabled new account creation. Please check back later - or email the administrator - to see if it is possible to register."