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The countdown is on and the party begins this Friday. The TELUS World Ski and Snowboard Festival kicks into high gear April 17-26, 2009. The only thing to do is get yourself to the centre of the action. Here are some highlights of what's on the adjenda, including some new events you'll want to check out.

The best things in life are still free. Zune Concert Series line-up promises 10 days of pilgrim-worthy free outdoor concerts, featuring Ozomatli, Ten Second Epic, The Stills, Metric, and DJ Ztrip.

Grenade Games lobs into town. Snowboarding’s infamous end of season party is by the riders, for the riders. Giving Canadians the chance to become Grenadians for the first time in its history, the Grenade Games’ line-up includes a Poker Run, dual slalom moguls course, pipe and slopestyle comp, and entices legends of snowboarding out of retirement to ride alongside current pros and up-and-comers.

Discover tomorrow’s artistic superstars. Debuting at this year’s Festival is the mutant sibling of the Pro Photographer Showdown, the ThreePointOh Multimedia Challenge. Plus, State of the Art, the Canada-wide Designer Search and Expose, and the new Chef Challenge.

Skate comes to the party. The new Festival opener, Skate & Deploy, followed by the Skate of the Art Opening party offers the perfect segue from winter to spring for fans of flow.

Graphic mastery gains momentum. Enter year four of the open crowd-sourcing collaboration that introduces graphic design talent to snowboards as canvass. Masterpiece in Motion entries are due March 1.

Ticketed events are known to sell out in advance so avoid disappointment and get your tickets early. Get yours online now at the Festival E-Store.

Faces of the Fest prepare to face-off to be the Festival’s 2009 on-air video host. Our very own Alex Hearn, voice of the Whistler Blackcomb snowphone, is one of the five finalists! "VOTE HARD, VOTE HEARN" VOTE NOW! Last day to vote is today, Monday, April 13th.

Looking to come up and enjoy all of the action? There are some awesome deals on now, including 2 day lift & lodging from just $82 pp/pn. MORE INFO

Another sweet deal...Buy your 5 or 10-Day 2009.10 EDGE Card now to ski at Whistler Blackcomb from $57 per day next season plus get unlimited spring skiing NOW for just $79! BUY NOW

Published On: 4/13/2009
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Events/News - Whistler Blackcomb: Monday pow day, new videos
By: WhistlerBlackcomb


If you were in Whistler this past Monday morning chances are you didn’t hit the snooze button. The forecast called for 4cms of snow the night before but 11cms fell instead. Check out some recent videos and photos, as well as the latest Snowcast podcasts.









If you're a Canadian or Washington State resident looking for the best deal on lift tickets at Whistler Blackcomb, check out the EDGE Card. It’s being offered at a discounted rate right now but sale ends Feb. 13th so get yours now.

Published On: 2/12/2009
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Since yesterday we've had 25cm with up to 30cm expected by Sunday!

Opening day is November 27 so get your gear ready and stay tuned to whistlerblackcomb.com to find out what's open.

Canadian & Washington State residents don’t miss your last chance to get this season’s best EDGE Card deal. Ski or ride from $59 a day plus get bonus offers and perks. If you haven’t got your EDGE Card now’s the time to buy, early bird pricing ends this Friday, November 21st. Check out whistlerblackcomb.com/deal to purchase or call 1-800-766-0449.

Check out our Season 2 Episode 1 of the Whistler Blackcomb Snowcast, presented by TELUS. It's posted online here or you can view it at whistlerblackcomb.com/podcast.

Published On: 11/21/2008
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My Blog: this is funny
By: kitkat92


Three men were standing in line to get into heaven one day. Apparently it had been a pretty busy day, though, so Peter had to tell the first one, "Heaven's getting pretty close to full today, and I've been asked to admit only people who have had particularly horrible deaths. So what's your story?"

So the first man replies: "Well, for a while I've suspected my wife has been cheating on me, so today I came home early to try to catch her red-handed. As I came into my 25th floor apartment, I could tell something was wrong, but all my searching around didn't reveal where this other guy could have been hiding. Finally, I went out to the balcony, and sure enough, there was this man hanging off the railing, 25 floors above ground! By now I was really mad, so I started beating on him and kicking him, but wouldn't you know it, he wouldn't fall off. So finally I went back into my apartment and got a hammer and starting hammering on his fingers. Of course, he couldn't stand that for long, so he let go and fell -- but even after 25 stories, he fell into the bushes, stunned but okay. I couldn't stand it anymore, so I ran into the kitchen, grabbed the fridge and threw it over the edge where it landed on him, killing him instantly. But all the stress and anger got to me, and I had a heart attack and died there on the balcony."

"That sounds like a pretty bad day to me," said Peter, and let the man in.

The second man comes up and Peter explains to him about heaven being full, and again asks for his story.

"It's been a very strange day. You see, I live on the 26th floor of my apartment building, and every morning I do my exercises out on my balcony. Well, this morning I must have slipped or something, because I fell over the edge. But I got lucky, and caught the railing of the balcony on the floor below me. I knew I couldn't hang on for very long, when suddenly this man burst out onto the balcony. I thought for sure I was saved, when he started beating on me and kicking me. I held on the best I could until he ran into the apartment and grabbed a hammer and started pounding on my hands. Finally I just let go, but again I got lucky and fell into the bushes below, stunned but all right. Just when I was thinking I was going to be okay, this refrigerator comes falling out of the sky and crushes me instantly, and now I'm here."

Once again, Peter had to concede that that sounded like a pretty horrible death.

The third man came to the front of the line, and again Peter explained that heaven was full and asked for his story.

"Picture this," says the third man, "I'm hiding inside a refrigerator..."

teen twist     http://teentwist.com/Fun/jokes.html



Published On: 3/30/2007
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Winner to Surf Out of Whistler Festival in a Brand New Pontiac Wave

Photo of 2007 Pontiac Wave 5-door

 

 
If winning a free trip to Whistler for the TELUS World Ski & Snowboard Festival is the ultimate heist, then Pontiac is providing the gilt-edge to the experience, offering a Pontiac Wave to the winner of the Ride the Wave contest.

The Pontiac Ride the Wave contest launched this week with radio and web promotions across Canada. Five finalists will enter the Wave on the afternoon of Saturday April 14th and test their mettle in the barrel of the car over 10 days, in order to decide if they are worthy of the ultimate break.

The five contestants will get to Ride The Wave, and the swell of cabin fever, in the ultimate survivor game.

The rules are simple:          

Outlast and outwit 4 other strangers living in the car.

Bail, and you’re out.

Win one of the many challenges, and your immunity might garner you a leave pass for the night to attend one of the TELUS World Ski & Snowboard Festival’s epic afterdark events.

Can you stick it, all the way to the shore? That’s the ultimate test.

The reward? You go home in a brand new Pontiac Wave.

Aspiring Wave-riders are invited to enter online at www.whistler2007.com/2007/contests < http://www.whistler2007.com/2007/contests >

 



Published On: 3/17/2007
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Season #2 at Mission Ridge with SnoRide DANA: Season #2 for SnoRide Dana
By: SnoRide.com


Its well into Season #2 at Mission Ridge for me and I've really been slacking on this Blog writing business.  I have priorities, you know? SnoRide Bob has been bugging me to write more often, but I've been busy snowboarding. Geez!!
    This year has brought much fortune for me.  I was sure when I set foot on to the Chair-lift at the beginning of the Season, that everything I had learned from the previous year was gone. WRONG!  It all came back, like it never went anywhere.  Once you've got it, you've got it!!  I had heard this from other people. But me, being the skeptical person that I am, I was doubtful!  I had to find out for myself.
    I got off that chair-lift, without falling!!! Turned my board down the hill and faster than I've ever gone before, I cruised down to the bottom.  WITHOUT FALLING!  Once I got to the bottom I looked down at Ross (my board) and said "Thank You! that was awesome!
    Okay, not many people talk to their boards probably, but I believe if I don't show some appreciation to my little rental board that I bought last year, Ross will kick my ass on the mountain.  He's like a second boyfriend to me!  I spend every weekend with him and he gives me the greatest orgasmic rides ever!!  But notice, I said second boyfriend??
SnoRide Bob, did you hear that?PHEW!
    I stayed on Chair One for a bit, a week maybe, just making sure I still got it.  Plus, I was with my two girls. So, why they were still working their way down the hill I was practicing my 360s goofy and switch.  It felt so good to be on Ross again and the snow was nice too.
   Well, enough of the "Comfort Zone" stuff.  SnoRide and Cary took me up a chair I have never been up before, EVER!  Chair Four to Castle run.  "Whatever, I can do this."  Getting on the chair lift was easy enough, the ride up is steep, pretty.. lined with trees, and kinda long......? I think I was just anxious because its not that long of a ride, really.   Its the frickin' drop off at the end of the ride up, that scared the shi*t out of me. 
   It reminds me of the LOG RIDE at Knott's Berry Farm.  You come up to this little shack, put your board down straight on this little platform, lift your butt off the seat at the edge and drop about 8 feet.  Okay, its like dropping into a half-pipe with one foot in your binding.  Needless to say, I "face planted" that landing a half-dozen times. 
      Everytime, I go to Mission Ridge to ride, I have a goal I want to work on.  Getting off Chair 4 and Chair 3 (about the same) was my goal.  It took me awhile ,but I'm there finally!  I think its great  for my psyche' to challenge myself and put myself in a place that is going to make me feel uncomfortable, but in the long run make me a better snowboarder.  I do not deal well with "I wish I woulda's" or "I cant's."  Life is too short !!  You never know what you can accomplish, if you just take the first steps and give it your best shot.  Yes, its true, you might face-plant it as much as I did. But... If you want to do it badly enough, you will succeed!  Just believe in yourselfCHEERS to going "Balls Deep!" in whatever you decide to do.


Published On: 2/23/2007
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My Blog: Homecoming
By: G_Money90


"Homecoming"
By: Green Day

[Part 1: The death of St. Jimmy]

My heart is beating from me
I am standing all alone
Please call me only if you are coming home
Waste another year flies by
Waste a night or two
You taught me how to live
In the streets of shame
Where you've lost your dreams in the rain
There's no signs of hope
The stems and seeds of the last of the dope
There's a glow of light
The St. Jimmy is the spark in the night
Bearing gifts and trust
The fixture in the city of lust
What the hell's your name?
What's your pleasure and whats your pain?
Do you dream to much?
Do you think what you need is a crutch?
In the crowd of pain. St. Jimmy comes without any shame
He says “we're f*cked up”
But we're not the same
And mom and dad are the ones you can blame

Jimmy died today

He blew his brains out into the bay
In the state of mind it's my own private suicide

[Part 2: East 12th St.]

Well nobody cares
Well nobody cares
Does anyone care if nobody cares?
[x2]

Jesus filling out paperwork now
At the facility on east 12th st.
He's not listening to a word now
He's in his own world
And he's daydreaming

He'd rather be doing something else now,
Like cigarettes and coffee with the underbelly,
His life's on the line with anxiety now,
And she had enough,
And he had plenty

Somebody get me out of here
Anybody get me out of here
Somebody get me out of here
Get me the f*ck right out of here

So far away
I don't want to stay
Get me out of here right now
I just wanna be free
Is there a possibility?
Get me out of here right now
This life like dream ain't for me

[Part 3: Nobody likes you!]

I fell asleep while watching spike TV
After 10 cups of coffee
And you're still not here
Dreaming of a song
But something went wrong
But I can't tell anyone
'Cause no one's here
Left me here alone
And I should have stayed home
After 10 cups of coffee I'm thinking
(where'd you go?)
Nobody likes you, everyone left you
(where'd you go?)
They're all out without you havin' fun
(where'd you go?)
Everyone left you, nobody likes you
(where'd you go?)
They're all out without you havin' fun
(where'd you go..go..go..go..)

Geeze...Ha..

[Part 4: Rock and roll girlfriend]
[written and sung by Tre Cool]

I got a rock and roll band
I got a rock and roll life
I got a rock and roll girlfriend
And another ex-wife
I got a rock and roll house
I got a rock and roll car
I play the shi*t out the drums
And I can play the guitar
I got a kid in New York
I got a kid in the bay
I haven't drank or smoked nothin'
In over 22 days
So get off my case
Off of my case
Off of my case!

[Part 5: We're coming home again]

Here they come marching down the street
Like a desperation murmur of a heart beat
Coming back from the edge of town
Underneath their feet
The time has come and it going nowhere
Nobody ever said that life was fair now
Go-carts and guns are treasures they will bear
In the summer heat
The world is spinning
Around and around
Out of control again
From the 7-11 to the fear of breaking down
To send my love a letterbomb
And visit me in hell
We're the ones going

Home
We're coming home again
Home
We're coming home again

I started f*ckin' running
As soon as my feet touched the ground
We're back in the Barrio
But to you and me, that's jingle town

Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again
Home
We're coming home again

Nobody likes you
Everyone left you
They're all out without you havin' fun


Published On: 2/8/2007
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Events/News - Whistler Blackcomb: BC & WA Uni/College Students Listen Up
By: WhistlerBlackcomb


BC/WA Uni/College students listen up... you have only until the 15th of November to purchase your 4buy4 Season Pass for $369 plus tax. 

Same goes for EDGE Cards, the early bird deadline ends Nov 15th, so if you have your eye on lift discounts don't miss it.
We're open in 3 weeks (Nov 23)... winter's coming. Snowed to the valley on the weekend, and the alpine is caked, looks great. Still plenty more white stuff needed but should be more on it's way this weekend and beyond.  
 
Pray for (more) snow, and we'll see ya on Nov 23.
 


Published On: 11/1/2006
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Events/News - Whistler Blackcomb: Winter's Coming at Whistler Blackcomb
By: WhistlerBlackcomb


Rain in the forecast is a welcome change in Whistler as the snowy signs of winter start creeping down the mountain. Wet weather in the valley is good news for reiders who’ve been amped to see a change of season and get in some early season shredding. Official opening day for Whistler and Blackcomb Mountains is scheduled for November 23rd. Be there.  

If you’re here for the season, hope you already grabbed your Season Pass before the Early Bird Deadline Oct 9. Or if you qualify for a 4x4 Pass or have your eyes on an EDGE Card, don’t miss the upcoming November 15 deadlines.
 
Winter’s coming… enjoy.
 
(Photos by Jori Bojm from a couple days ago)




Published On: 10/26/2006
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Hello Friends,

The big night is apporaching, please feel free to help out the big night by blasting and posting this wherever. There will be the official Poster soon to follow. Thanks for all the help and support so far and lets blow this night up..

 

Cody Carter

Promoter

The Triple Threat 2.0

 

PRESS RELEASE

The Triple Threat 2.0

Seattle, Washington

The Mayhem Returns to Seattle

It was the first movie tour stop of it’s kind. There were thousands of dollars in product given away. There were hundreds upon hundreds of fans packing the place. There were dozens of athletes and industries attendees.

There were three of the year’s top movies, and it was all packed into one night under one roof at evo. Don’t worry; it’s back and even better for another dose of ski movie debauchery.

Clear your Saturday night! October 28th is the date of this year’s Triple Threat 2.0 hosted by none other than the center of cutting edge urban lifestyle and sports shops evo located in the Fremont district of Seattle.

You can expect to see several familiar faces this year from the movies, including, Andy Mahre, Pep Fujas, Chris Benchetler, CR Johnson, Zach Davison, Willey Miller, Brandon "Sherpa" Kelly, Erich Kunz, Charley Ager, James Heim, Josh Stack, along with some special guests and friends to be in attendance.

Buy your raffle tickets and get ready for the swag throw out with product, passes, skis and gear from, Oakley, K2, Salomon, The Summit at Snoqualmie, Whistler-Blackcomb Smith Sport Optics, POW Gloves, evo, Dakine, Sublux, Freeskier, Redbull, Line and more!!!

Pre-sale tickets are available at evo in Fremont for $8.00, or you can buy them at the door the day of the show for $10.00/$8.00 if you are dressed in a noticeable costume. For all of you who are 21+, keep your ticket stub for cheap admission into the official Halloween themed after party going down at Nectar following the show. Where there will be live bands, more costume contests and great drinks! Every paid ticket comes with one raffle ticket, and a FREE one-year subscription to FREESKIER magazine.

Don’t miss out on this year’s biggest night in ski movie madness. Don’t forget to dress up for a chance at winning big in the costume contest!

evo is located in Fremont at 122 NW 36th Street, Seattle, WA 98103. (206) 973.4470 www.evoseattle.com or www.evogear.com

Schedule of events to follow the evening:

6:00PM: Doors Open, Athlete Meet & Greet, Poster Signings, Music, Slideshows

7:15PM: Show & Prove

8:15PM: Intermission/Giveaway

8:30PM: Ski Porn!

9:30PM: RAFFLE!!! & Best Costumes Contest

10:00PM: [PHOTO]PLAY

10:45PM: After Party at Nectar (21+) Keep ticket stub for cheap entry! Live Bands! Costume Contest!

Cost:

$8.00 Pre Sale at evo/ Mt. Pilchuck Sports In Everett $10.00 at the Door.

Raffle Tickets: 1 for $1.00, 10 for $5.00, and 25 for $10.00 Bar With ID (21+) Order Tickets now @ The Triple threat on the web:

http://www.myspace.com/seattle_triplethreat



Published On: 10/26/2006
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My Blog: Psyco Bitch
By: bachiba_69


[1st Verse]

I want you to quit
Calling me
Calling me
Following me
Following me
Why do you trip with me
After you get through
Swallowing me
Never knew this Bianca
Would explode

Like this

Now that I know this
I must reload

Gat clips

How many ever met a
Psycho bitch
Down for the minute
But a major twist
Came
With a bit of game
Met that bitch
Sickness
Everybody peep
The evil symptoms
So you'll know
When sexual activity happens
And tears start to flow
Time to go

They come with a
Big package in back
Chest is twice that
But the fatal attraction
Will only get you
Ice packs

Better watch what you do
When you sleep with a woman
That's on the edge
In your bed
Cause you'll be resting
In red

Killa killa

They'll find the number
To your residence
Non-hesitant
Unprecedented
Ain't no mystery
To her steez
She's demented

I ain't never gonna get myself
In another mix up
With a psycho bitch
Millimeter
With a master plan
So you won't be off in a ditch

Like this
Wild child
Running wild
Behind the smile
Is a frown
That'll make you lay it down

Quickly
She's shifty
Killa strictly
Outta come and get me
From a rose
To a three fifty-seven
Three sixty
Psycho bitch

[HOOK 1]

Never ever do it
Down low
With a psycho bitch
Better never ever go out
With a
Psycho bitch
Everybody better learn
How to see a
Psycho bitch
Cause your bitch might be her

[HOOK 2]

What you gonna do when they
Pop at you
Gloc at you

Fill 'em with the venom
Who the f*ck
Are we talking to

[Repeat 2x]

[2nd Verse]

I was holding her
Hugging her
Rubbing her
Sucking her
Kissing her
Plugging her
But she thought
That I was
Loving her

All the loving was gone
When she found out
She was wrong
Calling my Momma's house
At three a.m.

Quit playing on my phone

They say this
Psycho bitch
Was made from us
Psycho bitches
Say they get nothing
But hate from us
Psycho bitches
From the angelic to ravenous
Psycho bitches
Stay the f*ck
Away from us
Psycho bitches

She got my
Gas cut off
But I
Don't know how
She got my
Phone cut off
But I
Don't know how
Bitch even got my
Lights cut off
But I
Don't know how
Wish I knew back then
What a
Nigga know now

Followed me to my
Main thang's domain
This dame
Brings more pain
Door chain
Broke after the door rang
Must be on cocaine
Insane
Yanks will mess up
Your thang
No brain bitches
Will have you stressing
Using Rogaine

Didn't chill with her
Deal with her
N9na had to get
Ill with her
Trick tried to kill
Mrs. N9NE
So I had to hit her
With a grill splitter

Never do sex
With a psycho Bianc
Anybody with her
Better pop your trunk
Run better get a gun
When the bitch come
Better know
She's a psycho

killa Killa

Hard
When he hit that piece
And then get her up
And out
With a dis
Scarred
When he knows
That he's been up in the mix
With a psycho bitch

[Repeat 2x]

[HOOK 1]

Never ever do it
Down low
With a psycho bitch
Better never ever go out
With a
Psycho bitch
Everybody better learn
How to see a
Psycho bitch
Cause your bitch might be her

[HOOK 2]

What you gonna do when they
Pop at you
Gloc at you
Fill "em with the venom
Who the f*ck
Are we talking to

[Repeat 2x]

[3rd Verse]

As the
Smoke clears you wonder why this woman
Packs the
Most fear
She keeps a broken heart
And a three eighty
Close near

From me to you
If you sense
She's psychotic
Better watch what you do
What they do
They say this
Psycho bitch
Was made from us
Say they get nothing
But hate from us
From angelic to ravenous
Stay the f*ck
Away from us


Published On: 9/21/2006
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INTEGRATED PHYSICS AND CHEMISTRY – UNIT 1
STRUCTURE OF MATTER (PART 1)

PROPERTIES OF MATTER (1)

The Greek philosophers of the third and fourth centuries B.C. were great thinkers. Long before the advent of modern devices like calculators and microscopes, these philosophers were asking the same questions that today's chemists and physicists study. For instance, these early scientists wondered: If you divide a cup of water in half, then divide it in half again, and continue dividing it in half, do you ever run out of water and end up with something else? The thinkers of ancient Greece tried to reason things out without performing experiments, leading individuals to multiple answers to common questions. As a result, several theories about the nature of matter abounded during the ancient times.

The man who came closest to our modern view of matter was Democritus, who lived about 460 B.C. He believed that all matter was composed of a large number of small objects which he called atoms (from a Greek word meaning indivisible). Democritus believed these objects were in constant motion, and that they combined with each other in different shapes and sizes.

Another Greek philosopher, Aristotle, believed that all matter was composed of one or a combination of four things: earth, fire, air, and water. He disagreed with almost all of the ideas of Democritus.

The ideas put forth by Aristotle were so influential that theories of matter changed very little until 1808 when the scientist John Dalton developed new theories. Dalton performed experiments to help answer his questions, eventually developing the atomic theory. This theory states that all matter consists of extremely small particles--Democritus's atoms. Dalton determined that all atoms of any one element are similar to one another but are different from atoms of all other elements. Dalton also believed that atoms were indivisible, a hypothesis which has since been proven false.

Today, with the aid of the electron microscope and other modern technology, groups of atoms, called molecules, can be "seen." Models of particles even smaller than atoms have been developed. As you can see, throughout the centuries scientists have attempted to unravel the inner secrets of matter.

In this unit you will study some of the things scientists have discovered about matter and thus gain an ever greater appreciation for this magnificent universe.

 Fahrenheit
The temperature scale with water freezing at 32° and boiling at 212°.
 cylinder
A chamber having a shape like a pipe.
 Celsius scale
The temperature scale with water freezing at 0º and boiling at 100º.
 linear
Having the properties of a straight line.
 density
The mass of a substance per unit of volume.
 cubic
Having the form of a cube.
 molecule
Two or more atoms chemically combined.
 meniscus
The curved top surface of a liquid column.
 volume
Space occupied by an object or substance, measured in cubic units.
 SI system
The metric system of units.
 mass
The amount of matter in an object.
 centigrade
The temperature scale with water freezing at 0° and boiling at 100°. Same as Celsius.
 atom
The smallest part of an element that can exist alone.
 buoyancy
The tendency of an object to float in a fluid.
 balance
An instrument for determining mass.
 classify
To assign to a category.

Scientists study the world around us to learn how materials are alike and different. Some of the ways that kinds of matter differ are easy to see and some are not. Every kind of material has at least one property that makes it different from any other material. Why can glass be used for cookware but plastic usually cannot? Why do different objects of equal weight occupy different amounts of space? How can an object be changed from one kind of matter to another? What property explains rust on a piece of metal? These questions and others are answered by studying the properties of matter in the following lessons.

GENERAL PROPERTIES OF MATTER

How is all matter alike? Let us examine the two basic properties that all matter shares.

Volume. The first general property of matter is that it takes up space. No two units of matter can take up the same space at the same time. One unit must move. If you have ever dropped something into a full pail of water, you might have noticed that some of the water flowed over the edge of the pail. Whatever was dropped into the pail took up some of the space that had been filled by the water. As a result, some of the water was displaced from (pushed out of) the pail. Air can also push water out of one place and into another. The amount of space that matter takes up is called the volume of that matter. Thus, a giant boulder has more volume than a small rock. However, any unit of matter, large or small, solid, liquid, or gas, takes up some space and therefore has volume.

You can determine the volume of an object in two ways:

  1. For an object of uniform shape having linear sides or a common geometric shape (for example, a block of wood, a brick, or a cylinder): Measure the object and determine the volume mathematically.
  2. For an irregularly shaped object which cannot be measured easily or does not consist of uniform geometric shapes (for example, a horseshoe or a blob of silly putty): Determine the volume of water which it displaces. The volume of water displaced equals the volume of the object, as long as the object does not dissolve in or absorb water.

When measuring a volume of water in a graduated cylinder or similar container, be sure you are reading at the lowest point of the curved surface of the water, the meniscus. Study Figure 1 to find the correct level.

Mass. If you were to lift a small stick and a large rock, you could tell quickly which one was heavier. This experiment would tell you about another general property of matter. All matter on earth has weight. When you weigh something, you are measuring the pull of the earth's gravity on that object. Why do some things weigh more than others? The reason is that some things have more matter in them than others. The amount of matter in an object is called the mass of that object. Mass is measured in grams. The more mass an object has, the greater the force of gravity will be on it. As a result the object will weigh more. Keep in mind that the terms mass and weight are defined differently.

Remember that weight changes slightly with altitude or position on the earth. Weight on the moon is substantially different than weight on earth. The mass of an object, however, is constant--it doesn't change. Because the weight of an object is not constant, merely weighing an object will not allow you to determine its mass. The mass of an object is determined by placing it on a balance and comparing it with a known standard mass. The standard of mass is the kilogram (kg).

SPECIAL PROPERTIES OF MATTER

We know that all matter must possess mass and take up space. Yet, other properties can help us learn what makes each kind of substance different from the others.

Knowing the shape, odor, taste, color, density, buoyancy, freezing point, and boiling point of a material will tell us what the substance is like. These properties are called special properties. These special properties tell us a great deal about the ways a substance may react or be used. For example, you may have three beakers full of different liquids; one contains plain water, one contains grape soda, and one contains white vinegar. All three liquids have mass and take up space. How can we tell them apart? One way is to classify the three liquids according to their special properties. The soda can be distinguished from the other two by its color and taste. The water and the vinegar look the same but can be distinguished from each other by odor, taste, and boiling point.

We can also find out many of the special properties of a substance by looking at a table or chart that has this kind of information.

Knowing differences between one type of matter and another helps us classify things. Since all matter has mass and takes up space, the special properties are important for us to know.

Density. Density is an important special property of matter that needs further explanation. Density is the mass of a substance per unit of volume. In the metric system, volume is measured in liters, milliliters, or in the case of the figure to the right, cubic centimeters (cm3). It may be expressed in grams per cubic centimeter (g/cm3). For example, water has a density of 1 gram per cubic centimeter. If we compare a thousand grams of iron with a thousand grams of water, their masses are equal; but the container holding the water would be much larger than the one containing the piece of iron because the iron has a greater density.

Another way of looking at density is to compare cotton and lead. If you take two equal sized boxes and fill one with cotton and one with lead, you will see that the cotton and lead both occupy equal volumes. What do you think would happen when you try to lift the boxes? Which one would be heavier? Because the lead has more mass per box than the cotton does, you could conclude that the lead has greater density. Simply put, a given volume of lead contains more mass than does the same volume of cotton. To find the density of a substance, you must first know its mass and volume. Figure 2 lists densities of some common substances.

Note: This and other answers may be printed as 2g/cm3. This format is used by some computers, printers, and calculators solely to keep the text on the same line.

Buoyancy. Why do some things float? You already know that heavy objects tend to sink, and light or hollow objects tend to float. Floating is related to density. Paper, cork, wood, and some plastics float on water. Each of these substances has a low density. A piece of steel will sink to the bottom. Yet, a merchant ship made of steel will float. Why?

When an object is placed into a liquid, it pushes that liquid aside. The object displaces the liquid. In other words, it moves the liquid to another place since both substances cannot occupy the same space at the same time. When you get into a filled bathtub, you probably notice that the water level rises. Your body is displacing or pushing aside a certain amount of water. If the mass of the amount of liquid displaced is equal to the mass that displaced it, the object will float. This law, or principle, is known as the Archimedes' Principle, named for Archimedes, the Greek philosopher who discovered it. When a block of wood is placed in water, it sinks until an amount of water exactly equal to the mass of the block is displaced. The water underneath the wood exerts a push or force to hold it up. This upward force is called buoyancy.

Freezing and boiling points. Temperatures of the boiling and freezing points of substances are special properties of matter. Different materials have different freezing and boiling points.

The freezing point is the temperature at which a liquid changes to a solid. The boiling point is the temperature at which a liquid changes to a gas. Because each substance has a unique freezing and boiling point, many unknown liquids are able to be identified by measuring their freezing and boiling points.

Measurements of freezing and boiling points are made using the Celsius temperature scale (Figure 3). Celsius temperature has been accepted around the world and has everyday use in many countries. The freezing point of water on the Celsius scale is 0°C. The boiling point is 100°C. The thermometer has one hundred degrees of temperature between the freezing and boiling points. The term centigrade is also used in referring to the Celsius scale. The Fahrenheit temperature scale is commonly used in many homes, but does not have the world-wide use that the Celsius has. The Fahrenheit scale is different in that water freezes at 32° and boils at 212°.



Stanley Explains the Celsius Scale (Click on the image above.)

CHEMICAL PROPERTIES OF MATTER

To understand fully the properties and nature of matter, we must look beyond the physical characteristics of matter. Some properties of matter depend upon the reactions of a substance with other substances. These properties are called chemical properties of a substance. Chemical reactions depend on how different substances combine with each other. If an element will not combine with any other substance it is said to be inert.


Simple Observations of Physical and Chemical Changes (Click on the image above.)

The souring of milk, the burning of a log, and the rusting of iron all involve reactions of substances resulting in changes in their chemical compositions. In rusting or burning a chemical process occurs when a substance combines with the oxygen in the air and a change takes place. These chemical processes are examples of oxidation, the result of combining a particular substance with oxygen. Rapid oxidation causes burning while instant oxidation causes an explosion.

Help Farmer Frank get off the ground by reviewing what you've learned.

Question #1
Matching
Ready...
Note to teacher:
Note from teacher: 

Match these vocabulary words with their definitions.

1temperature scale with water freezing at 0° and boiling at 100°, same as Celsius   meniscus
2space occupied, measured in cubic units   mass
3temperature scale with water freezing at 32° and boiling at 212°   buoyancy
4curved top surface of a liquid column   volume
5the tendency of an object to float in a fluid   centigrade
6the amount of matter in an object   Fahrenheit

Question #2
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The two basic properties of all matter are:

weight and shape
mass and volume
boiling point and freezing point
buoyancy and density

Question #3
TrueFalse
Ready...
Note to teacher:
Note from teacher: 

Two units of matter can occupy the same volume at the same time.

True
False

Question #4
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The volume of a uniform geometric object is usually determined by:

measuring the object
weighing the object
comparison with standard volume units
displacing water

Question #5
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The volume of an irregularly shaped geometric object is usually determined by:

measuring the object
weighing the object
comparison with standard volume units
displacing water

Question #6
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The force produced by the pull of the earth's gravity on an object is called:

mass
volume
weight
density

Question #7
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The weight of an object:

depends on the force of gravity acting on that object
is always equal to the object's mass
always remains constant
is necessary to determine an object's volume

Question #8
MultipleSelect
Ready...
Note to teacher:
Note from teacher: 

Select all that apply.

The factors that affect the weight of an object are:

location on earth
altitude
mass of the object
speed
temperature

Question #9
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The mass of an object is found by:

measuring the object
weighing the object
comparison with standard mass units
displacing water

Question #10
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

What instrument is used to measure mass?

scale
balance
massometer
graduated cylinder

Question #11
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

What is the standard unit for measuring mass?

pounds
inches
cubic centimeters
kilograms

Question #12
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Which math formula will find density?





Question #13
MultipleSelect
Ready...
Note to teacher:
Note from teacher: 

Select ALL of the following units that represent density.









Question #14
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Use the data from Figure 2 to answer this question.

The density of iron is approximately __________ times greater than the density of water.

two
eight
ten
nineteen

Question #15
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Use the data from Figure 2 to answer this question.

One ml of water would have a density of:

1.0 g/cm3
1.6 g/cm3
2.7 g/cm3
7.9 g/cm3

Question #16
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Use the data from Figure 2 to answer this question.

If equal masses of sugar, aluminum, and iron were poured into separate containers, which would require the smaller container?

sugar
aluminum
iron

Question #17
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The cube below has a mass of 72.9 g.

What is its density?

2.7 g/cm3
8.1 g/cm3
24.3 g/cm3
218.7 g/cm3

Question #18
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Use the data from Figure 2 and the information in Question 17 to answer this question.

The cube below has a mass of 72.9 g.

What substance is this cube composed of?

cork
sugar
aluminum
gold

Question #19
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

You have just found a metallic object in a creek bed and want to determine what it is. You begin by measuring its mass. If 96.5 grams will balance the object, what is the mass of the object?

0.965 g
9.65 g
96.5 g
not enough information

Question #20
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

You are working with the same object from Question 19. Now that you have determined its mass, you decide to determine the object's volume by displacement. The object displaces 5 ml of water. What is its volume?

5 cm
5 ml
5 L
not enough information

Question #21
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

You are working with the same object from Questions 19 and 20. Now that you have determined the object's mass and volume, you want to determine the object's density. Using your knowledge of the object's mass and volume, what is the object's density?

0.05 g/cm3
19.3 g/cm3
482.5 g/cm3
not enough information

Question #22
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

You are working with the same object from Questions 19, 20 and 21. You have already determined the object's mass, volume, and density. Using these calculations and the information in Figure 2, can you determine what the object is?

aluminum
iron
gold
not enough information

Question #23
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The quantity of mass of an object contained within its volume is a measure of:

weight
buoyancy
density
boiling point

Question #24
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The tendency of an object to float is called:

buoyancy
displacement
Archimedes' Principle
density

Question #25
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

For an object to float, the mass of the water displaced must be _____________ the mass of the object.

less than
equal to
greater than

Question #26
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

Archimedes' Principle relates primarily to:

density
mass
boiling and freezing
buoyancy

Question #27
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The object shown above has a mass of 10g. It is slowly lowered into the beaker of water, displacing an amount of water into the graduated cylinder as shown. Will the object float?

yes
no
not enough information

Question #28
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The temperature used most widely by scientists around the world is the _____________ scale.

Celsius
Fahrenheit

Question #29
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The temperature at which liquid water turns into a solid (ice) is:

the freezing point
0°C
32°F
all of the above

Question #30
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The temperature at which water boils on the centigrade scale is:


32°
100°
212°

Question #31
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The temperature at which water boils on the Fahrenheit scale is:


32°
100°
212°

Question #32
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

The Celsius Scale has _________ degrees between the freezing and boiling points of water:

0
32
100
180

Question #33
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

A chemical change occurs when:

a solid object is cut in half
a solid object floats in water
a solid object becomes a liquid
a solid object rusts

Question #34
MultipleChoice
Ready...
Note to teacher:
Note from teacher: 

An element which will not combine chemically is:

reactive
inert
non-chemical
a chemical

Question #35
Matching
Ready...
Note to teacher:
Note from teacher: 

Match each chemical process below with the type of oxidation that causes it.

1rusting   instantaneous oxidation
2burning   slow oxidation
3exploding   rapid oxidation

Student: Tibbetts, Ryan  - Course: ipc06  - Unit: 1  - Assignment: L1
 
Odysseyware On The Web - 2006


Published On: 9/5/2006
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I have just finished the HJP Crew Podcast...

We have a interview with Jamie from Conspiracy, a local snowboard store. He tells us a little about to best things coming out next season.

We get an injury update from Josie following her fun on the C-box a few weeks back.

Plus a how to do noseslides, with 'The Edge'. He will be making a nice appearance testing Automaton boards for the next podcast. Following that you can win some Automaton clothing. So watch out for the next one.

To finish off we have a little dirt surfing/mountain board fun, where Mike decided not to check where the brake was before setting off down a bloody great big hill.



Published On: 8/8/2006
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So this is life in all its glory
Dont bullshi*t me with your happy story
Life is f*cked and were all trying to survive
Pain and hate found a home to thrive

In this light that was ment for hell
My heart backed up beggins to swell
Life is made up it just can't be real
Take me someplace that eye can feel

Angels of a shame filled world
find me in the corner curled
Forever eye shall rot in this dream called life
standing on the edge of this knife
This hate and pain

Eye miss the happy days eye bled for you
throw it up, take it back and chew
This is what eye am
a sea of lies eye swam

Roses wilted at the foot of my bed
they are black now what used to be red
Left there by someone who once cared
whos pain and problems once shared

Eye once agian go to the place inside my head....
 
 
 
Looking over everyone eye am your breath saying goodbye found signs of passion leading wants from pleasure and hoping eye'l still find needles stuck to remind true addiction keeps the mind inside the cutter.
 
 
My freak
caged
in the back of my mind
surrounded in a haze of hate
screaming a whisper into my brain
telling my me eye'm insane
reassuring me eye'm still dead
as eye lay rotting in bed.
 
 
And then slowly my body turns to ash, with a settle breath eye'm blown away taking back all my thoughts, leaving the light and filling with nothing a calm murder sets the mood a lifeless body walks outside the light teasing me with promises of death.
 
 
Taste my pain and eye'l poisin your soul, a disturbed desire to leave my flesh.
Close my eyes and move to the back of my mind a place the light can't find once shined but now eye'm blind and eye let you back in to do it all again. walking in the dark seeing without sight living without reason.
 
 
A razor fixes all my problems
cut deep into my flesh and realise my pain
enjoy this vacation from reality
come back
the light is blurred and the floors like to fall on me
the thoughts of her are a poisin in my mind
the burning cuts and the warm comfort of blood on my skin
hate fills me, a hate for her
a web of lies, truth, the one with the gun
sinking into the dark depression, Eye Love It
my pain, Eye feed off it
Eye cling to it as if it were the very core of my being
without pain, without her eye would be blind
Eye see the world now
how dark a place it is and eye know now what must be done
the blood must touch ground, spill it and cleanse the light
murder never seem so polite
a change in me, the flow of hate slows
as my heart stops
a smile that has not been spreads across my face
as the last tear rolls off
calm, warm, happy....... bliss
my happy ending.
 
 
Eye'v lost my head again, going over every word you have ever said, why can eye remember the bad before the good.
Carved into my skin, the number is ten, trying to forget that eye can never forget, eye have not a reason to wake up from here.
Screams into the night fall to the floor, a flower growing in a pile of shi*t eye call my life, a beautiful blood red rose.
Dripping with desire eye make for my darkness door, let me down gently and go wonder off, eye leave these bloody wounds, tender and soft.
Drowning myself with memories long past, the only way left eye see to be free, black and white, twelve shades of grey.
Drawing myself with color at last.
 
 
 
 
 
 
 
 
 
 
 


Published On: 7/15/2006
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FAI Journals -(LookingOverEveryOne)-
Looking over everyone eye am your breath saying goodbye found signs of passion leading wants from pleasure and hoping eye'l still find needles stuck to remind true addiction keeps the mind inside the cutter
 
FAI Journals -(ThisIsLife)-
So this is life in all its glory
Dont bullshi*t me with your happy story
Life is f*cked and were all trying to survive
Pain and hate found a home to thrive

In this light that was ment for hell
My heart backed up beggins to swell
Life is made up it just can't be real
Take me someplace that eye can feel

Angels of a shame filled world
find me in the corner curled
Forever eye shall rot in this dream called life
standing on the edge of this knife
This hate and pain

Eye miss the happy days eye bled for you
throw it up, take it back and chew
This is what eye am
a sea of lies eye swam

Roses wilted at the foot of my bed
they are black now what used to be red
Left there by someone who once cared
whos pain and problems once shared
 
Eye once agian go to the place inside my head....

 
FAI Journals -(Desire)-
Eye'v lost my head again, going over every word you have ever said, why can eye remember the bad before the good.
Carved into my skin, the number is ten, trying to forget that eye can never forget, eye have not a reason to wake up from here.
Screams into the night fall to the floor, a flower growing in a pile of shi*t eye call my life, a beautiful blood red rose.
Dripping with desire eye make for my darkness door, let me down gently and go wonder off, eye leave these bloody wounds, tender and soft.
Drowning myself with memories long past, the only way left eye see to be free, black and white, twelve shades of grey.
Drawing myself with color at last.
 
FAI Journals -(WatchingFromTheUnderside)-
Eye'm used to walking on the other side, biting my lip so no one hears these cries for help, straight ahead into the embrace of shallow clouds. watching my body through a window in my mind, a man that is not me.
 
FAI Journals -(AloneInMyRoom)-
Alone in my room again.
my brain's bleeding thoughts again.
drowning in self pity again.
eye'm kinda wanting to die again.
holding this razor to my wrist again.
alone in my room again.
but it's time to go outside again.
time to put on this mask again.
time to smile and fake again.
waiting to be alone again.
so eye can drown again.
 
 


Published On: 7/1/2006
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Listen

"and I'm sorry I had a f*cking mental breakdown, how many times did you...could you be normal if someone disrespected your dead father every chance they got?"



All This (all this)...



I cant remeber your face



All this...



No one can take your place



All this (all this)...



I cant remeber your face



All this pain and animosity



It's not everyday I get to sit around and chat, Sit down and think maybe even talk about, that shi*t just drives me crazy, f*ckin' me up. I'm outta luck like a slut with nobody to f*ck, Somebody talk to me, hear me out, lend me an ear, Before I lose it on society and do it so Violently Fearer of fear, hands sweaty, losin' my breath, I'm sittin' with death, somebody sittin' on my chest, Best remedy's revenge on people who wouldn't listen, Cheeks glisten cuz I'm cryin', my vision is so violent, Didn't worry cuz I'm losin' it. Abusin' anybody that's confusin this with lyin or me tryin to get attention, Sention on my mind, all I think about is dyin, In spite of me livin' in Hell, breakin' me down, Outta touch with reality, f*ck it I'm out, Everybody in this motha f*ckas hearin me now,



I don't wanna lose you, but I lost you! I Cant Remeber your face Never gonna let go, never gonna back down No One Can take your place Why did you leave? where did you go? I dont know, why did you just go away And Leave me here with All this pain and animosity?



I'm so lost without my loved ones can't seen to let go. Why do I keep breathin? Does God want me to die slow? On the edge I stand lookin at the past on wondering how long I'm aloud to carry on so many left that was just to close. At times I feel all alone and I just cant cope. Why did they have to go? Why did they have to leave? If its not family then its the homies from the streets. My minds set not to take that shi*t, but I gotta stay strong for the sake of my kids. (Hi daddy) How close does the soul gotta get to make you want to slit your wrist after they heart quits? Its so hard to you lose in life but even harder to recover, specially when memories start to smother, you cant run so just take that pain, cause I'ma always gonna hold on to your name rememberin....



I don't wanna lose you, but I lost you! I Cant Remeber your face Never gonna let go, never gonna back down No One Can take your place Why did you leave, Where did you go? I dont know, why did you just go away And Leave me here with All this pain and animosity?



It's everyday that the anger seem's to be killing me off, It's kinda nice to have a chance to talk,Or rather have you, listen to me, You always listen to me no matter what state of mind my apitimy visited, you were there for me Even when i said i was outta my mind, You were the one that said give it some time, And i would find i could put the peices back together again, you were the one that trusted me til the end, I cant pretend that i never had faith in you, I was only afraid, I knew what was going on, but didnt know what to say I was so young, feeling like my soul was torn,coming to grips with the fact you ain't comin home no more, All this madness, and all this pain, Made something break inside brain, and all this hate, and all this time, Made me reline my mind and I find that...



I don't wanna lose you, but I lost you! I Cant Remeber your face Never gonna let go, never gonna back down No One Can take your place Why did you leave? where did you go? I dont know, why did you just go away And Leave me here with All this pain and animosity? I don't wanna lose you, but I lost you! I Cant Remeber your face Never gonna let go, never gonna back down No One Can take your place Why did you leave? where did you go? I dont know, why did you just go away And Leave me here with All this pain and animosity?



Published On: 6/28/2006
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PANASONIC INTRODUCES “SHARE THE AIR” VIDEO CONTEST IN CONJUNCTION WITH SPONSORSHIP OF DEW ACTION SPORTS TOUR


AST_postcard_front.jpg NEW YORK, NY (May 30, 2006) - Panasonic announces the "Share the Air" Video Contest, with an open call for action sports film submissions.

In the spirit of self-expression, creativity and sharing, the Panasonic "Share the Air" Video Contest welcomes participation from amateur filmmakers and industry professionals alike.

Panasonic understands that action sports are much more than tricks and thrills.  They're about creativity, self-expression, pushing yourself and having the time of your life.  That's Panasonic’s definition of "Share the Air."  What's yours? On May 17th, Panasonic challenged filmmakers to show what “Share the Air” means to them in the form of a 24-second action sports film.  Submitted videos will be reviewed and evaluated by Panasonic and renowned

>action sports filmmakers Ty Evans and Aaron Meza. Two Grand Prize Winners will each win a Panasonic HD video package worth over $16,000, including the new state-of-the-art AG-HVX200 High Definition camcorder, and $5,000 cash.  Winning submissions will also be considered for national broadcast as Panasonic television commercials.  In addition, four First Prize Winners will each win a video prize package worth over $1,000.

Submissions will be judged on the following criteria:
 
- Originality
- Creativity
- Expression of the “Share the Air” theme

Select films will be showcased on Panasonic’s Share the Air gallery at www.sharetheair.net/videos . Submissions will be accepted and prizes awarded for two distinct entry periods: May 17th – July 14th 2006 and July 15th – January 15th, 2007. One Grand Prize Winner and two First Prize Winners will be chosen from each entry period to win the following prizes:

Grand Prize Winners will receive:
• Panasonic AG-HVX200 HD video camera
• Two p2 8 GB memory cards
• p2 storage drive
• Panasonic DMC-LX1 digital still camera
• $5,000 hard cash
• Ty Evans signature series Ogio backpack
• Atiba Jefferson signature series Ogio backpack

Two First Prize Winners will receive:
• Panasonic PV-GS500 3CCD digital video camera
• Ty Evans signature series Ogio backpack.


For more info on rules and entry details please go to www.sharetheair.net/videos

About Panasonic:
Panasonic’s advanced technology products are natural accessories for the action sports lifestyle.  Its cameras and camcorders enable action sports enthusiasts to “Share the Air”, by capturing and sharing action sports tricks, culture, and lifestyle with friends.  In this way, Panasonic technology, like action sports itself, is a vehicle for self-expression, creativity, and sharing. 

Panasonic is proud to be a longtime supporter and partner to the action sports community.  With its advanced digital camera and digital camcorder products, Panasonic has long been a trusted brand among action sports filmmakers.  Today, Panasonic is proud to work with both professional filmmakers and amateurs alike, to help capture and share great moments in action sports.  Panasonic is also a founding partner and official supplier of the Dew Action Sports Tour, the first-ever professional season of action sports.  Visit www.sharetheair.net for details.
 
About the Prize:
The AG-HVX200 HD Camera-Recorder Puts a Host of Powerful Features in Your Hands
This handheld DVCPRO HD P2 camera-recorder is designed to meet emerging needs in HD content production. It debuts as Panasonic's first HD video product to use P2, the cutting-edge memory recording device that has the potential to revolutionize the entire production paradigm. The AG-HVX200 records HD, either 1080i or 720p video acquired by a new optical system and high-performance digital signal processor onto a P2 card using the broadcasting DVCPRO HD codec. This system achieves a level of image quality that conventional handheld HD cameras simply cannot match, while also supporting HD/SD multi-format and multi-codec recording capabilities. Variable frame rate recording is just one of the features that makes the AG-HVX200 unique in its class. Using technologies that make the Panasonic VariCam camera-recorder a favorite in movie production, this powerful function allows the overcranking and undercranking techniques used with film cameras to create fast-motion and slow-motion effects. The P2 card offers superior reliability, immediate playback and outstanding cost-performance. It allows direct connection to nonlinear editing systems and streamlines the production work flow, by providing to the editing system data files ready to be edited, rather than a video tape which would require the task of digitizing. On top of all its advanced features and technologies, the AG-HVX200 inherits the refined design and easy operation that distinguishes Panasonic's high-value DVX100 DV camera series. In the AG-HVX200, video professionals of all kinds will find a powerful tool for giving form to their creative visions.


Visit http://www.sharetheair.net/tour.asp 

>


Published On: 6/15/2006
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									1. Intro

    Producing pictures from ascii is such a strange idea, and yet the results
    can sometimes be quite impressive. Although there are a many different
    forms of ascii art, they all use basically the same ideas to produce
    the end result.

    The techniques I use are based around a few simple rules. These rules
    help me make decisions about which character to use, and where to place
    it. Of course they aren't strict rules, but they make a good foundation
    upon which to build a picture.

    This is not intended as the "definitive" guide to ascii creation, but is
    instead simply an analysis of how I approach the subject.

						
						
						2. Line Art

    Line art is where you represent a picture by just it's outlines and
    details. Comic art is good material for this type of work since you have
    a definite outline to work from. However, any picture can be reproduced
    just by defining it's various boundaries.

    There are many standard characters which can be applied to this form
    of ascii art. These are the most obvious ones:

    / \ | - _ + ( ) < > , . ~ ^ " V X T Y I l L : ` ' ! j J 7

    Start by finding an area of the picture which is fairly simple. From
    there, work your way around the perimeter creating an outline using
    just these "basic" ascii characters:

    / \ | - _ ( )

    Try to get proportions correct at this stage, because it IS important,
    and the later you leave it the harder it is to correct. You can also
    draw in some of the larger details at this stage, which may help get the
    proportions correct.

    Once you're happy with that, it's time to go over the whole thing and
    work on the anti-aliasing. I like to have *every* line connect up,
    leaving no large gaps such as:

    ~~~~~~~~________

    If I come across an area which has no "ultimate" choice of characters,
    I may decide to add an extra detail there. For example, "near" vertical
    lines are virtually impossible in ascii. Here's some options:

                   |         |        |        |        |
                   |         l        l.       \        l
                    |         I       `|        Y       `L
                    |         |        |        |        |

                 START       ^----------OPTIONS----------^

    As you can see, none of them produce the "perfect" results I'd like.
    In this case, I would try adding some form of detail in there thus
    removing the problem. It doesn't always work, but it's worth a try.

    Near-horizontal lines are much easier (thankfully). Using these
    chars: ( ~"-.,_ ) you can quite easily produce a reasonably decent
    line. The previous (horizontal) example would become:
    __
      "~~"----..,___

    Or at least something to that effect. I usually get very "nit-picky"
    and arrange the comma just before an underscore since it sits down
    one pixel lower than the full-stop ("."). I also like to carefully
    select between the " and ~ since they each have their own distinct
    properties. Avoid using this technique at angles around 30 degrees
    (looks a bit odd), and very slight angles (because it results in a
    long line of dots, and that doesn't look good).

    Actually, the selection of the picture is very important in determining
    how the resulting pic will look. You also have the option of changing
    certain parts of the pic, so that they work better in the ascii format.
    For example, instead of trying to do a near-vertical line, just make it
    perfectly vertical.

    Curves also play an important role in ascii art. Although the standard
    ascii character set does not directly support curves (apart from "(" and
    ")" of course :), you can get some nice curves with a little bit of work.
    Here's the most often used chars for curve creation:

    / \ - _ ~ " . , ' ` ! I l Y

    And here's a couple of sample curves to demonstrate the idea:
                     ___
                 .-~"   "~-.                           /
                /           \                      _.-~
               Y             Y                   ,^
               |             |                  /
               l             !                 /
                \           /             __.-~
                 "-.,___,.-"

                   CIRCLE                SUBTLE CURVATURES

    Some people wouldn't like the use of "Y" and "^", but to me, the
    advantages outweigh the negative aspects. Also note the use of "l" and
    "!" to make the transition from vertical to angled less pronounced.

    I also consider the choice between "." an "," important because it
    affects the smoothness of the line. For example, in the part on the
    above curve: _.- :it looks like a "," may have been a better choice:

                      /             But as you can see here, using the
                  _,-~              comma has altered the flow of the
                ,^                  line somewhat. It now appears as
               /                    more of a "step" rather than an
              /                     angled line.
          _,-~

        CURVE USING COMMA

    Intersections require yet another strategy. Often you'll find that one
    line must join onto another at a place where the join isn't neat:

        "-._ /         "-._ /           Here the incoming line should join
            /              7            onto the main part halfway through
           /              /             a "/". That's where you can use some
                                        other chars. In this example, a "7"
     INTERSECTION        FIX            would work well, as seen in the
                                        example to the left.

    You could also try "Z" "X" "T" "Y" as a replacement, but it depends
    entirely on what is happening around that point as to which char works
    the best. Other chars which work well in these situations are "K" "<" ">"
    "r" "L" "j" "J" and "I" because they all point in at least 3 directions.

    After practice, the anti-aliasing can be done as you are drawing the
    main outline. Not that it really makes any difference.

    That basically covers the outline techniques. The smaller details are
    the next, and final, step. Adding details isn't always necessary, but
    it will be in most cases. Eyes, noses, finger nails, switches, knobs,
    handles, plus a host of other things are usually confined to just one
    or two character spaces, so the choice of chars is quite important.

    Eyes are a common example. You have quite a few different characters
    available which work well as eyes, but it's up to you to decide which
    work best. You need to decide what "emotion" you want to portray, and
    then find an appropriate character.

    As some examples, I have used two "6"'s for a kangaroo, a "bd" combo
    for a horse, a pair of "r"'s for a giraffe and: -=b- :as the eye of
    an eagle. In each case, I tried many different combinations until I
    was happy with the selection:
              .
          /\ /|            .  ,       ___,A.A_  __       _____
         ((.Y(!            |\/|       \   ,   7"_/      /     ~"-.
          \ |/             bd "n.      ~"T(  r r)      Y   -=b-. _)
          /  6~6,         /   _,"n       | \    Y      l      c"~o \
          \ _    +-.     <co>'\          |  ~\ .|       \_.-~"~--.  )
           \`-=--^-'      ~~             |   |`-'                 )/
            \ \                                                   '

    Other details are equally important, and the same technique is used.
    Just trying different combinations of characters until a "solution"
    is found. Sometimes there is no optimum arrangement, so you either
    have to live with it, or rearrange things just enough to give you a
    fresh angle of attack.
              ____
           .-~. /_"-._       This T-Rex head demonstrates how you can use
          / /_ "~o\  :Y      the character shapes to an advantage. The "L"
         / : \~x.  ` ')      at the bottom joins three connections together
           |  Y< ~-.__j      quite well, as does the "Y" at the back of the
         : l  l<  /.-~       mouth. These are things too look out for when
         l /~\ \<|Y          creating a picture, and by using the chars in
          '.-~\ \L|          such a fashion, you can usually get quite a lot
               "--'          of detail into a small area.

						
						
						3. Small/Signature Art

    Smaller artwork requires a slightly different approach than the large
    pieces. Due to the smaller area, you aren't always able to recreate
    a picture perfectly, so a different frame of mind is needed.

    Take, for example, the kangaroo head above. The back of the neck should
    of course be curved, but this was not possible with only two characters.
    In smaller pics however, it's not always necessary to be that detailed,
    it is more important to focus on making the object immediately
    identifiable.

    Small ascii pictures usually start from a simple motif or idea. The way
    certain characters fit together often creates the idea, and once an idea
    is found, you have a base to work from.
            ___
          {~._.~}      This little koala pic is a good example of how a
           ( Y )       relatively simple collection of characters can
          ()~*~()      produce a very "familiar" result. Some experimenting
          (_)-(_)      was done with the eyes, "bow tie" and the bottom "-",
                       with these being chosen simply because they worked the
    best. Different "eye" characters produced different emotional feelings
    (which is how the "Koala Collection" came about), but the simple "."
    resulted in the most familiar appearance.

    Remember, shape is the most important aspect of small ascii art. There
    are so many different shaped ascii characters available that there
                                  is bound to be one which fits the needs
              _ .                 of the picture. This example is a "mini"
           __CL\H--.              Millennium Falcon. Since I'd already
          L__/_\H' \\--_-         drawn a bigger one, I knew exactly what
           __L_(=): ]-_ _-- -     shape it needed to be, and what features
          T__\ /H. //---- -       it needed to make it look like the Falcon.
             ~^-H--'
                "                 Picking out the main features is a good
                                  step, and then find chars which closely
    resemble them. The blasters on top of the Falcon were well emulated by
    the "=" for example. The combination of "CL" worked perfectly as the
    cockpit, as did a simple ":" for the distinctive markings on it's back.

    Simplicity is the key in small art, but that doesn't necessarily make
    things any easier. Many things simply cannot be successfully drawn in
    small sizes, so a touch of planning can sometimes help.

						
						
						4. Solid Art

    Solid ascii art differs from line art in that the resulting image is
    more of a "silhouette" rather than an outline.

    By using a "heavy" character such as: W M H 8 :you build up a basic
    silhouette (filled in outline), and then use other characters to anti-
    alias (smoothen) the image.

    "W" and "M" are the darkest characters in most character sets, but they
    do vary quite a lot and are a bit too bottom/top heavy which ruins the
    effect somewhat. "H" and "8" also produce patterns of similar darkness,
    but result in two different "looks". The "H" is more stark and rigid,
    whereas the "8" produces a more "bubbly" appearance (which prints up
    quite well apparently).

            WWWWWWWW       MMMMMMMM       HHHHHHHH       88888888
            WWWWWWWW       MMMMMMMM       HHHHHHHH       88888888
            WWWWWWWW       MMMMMMMM       HHHHHHHH       88888888
            WWWWWWWW       MMMMMMMM       HHHHHHHH       88888888

    I originally used "M" and "W" since they worked well with the font I once
    used, but now I use "H" because I like its consistency. Other people
    prefer "8", so it's really just a matter of personal taste. Indeed,
    remapping an image from one type into another is quite simple, and should
    not affect the picture at all.

    Different effects can be created by varying the chosen texture over
    various sections of the picture (shading). The choice of character can
    also be based on the subject matter, for example, if money were involved
    the obvious choice would be a "$". Try to avoid using "*" though, as it
    looks a bit cheesy (imho).

    Once the basic shape is defined with the chosen character, the anti-
    aliasing process is next. The most used chars are:

    d b P F 9 V T Y A U _ , . - * ^ ~ " ` ' n a o l L j J k [ ] ( ) : \ / | !

    Each character has a purpose based on its shape, although there are
    cases where no character will produce perfect results. In these cases,
    you either have to make do as best you can, or remodel that particular
    area of the picture, thus giving you a fresh approach.

    Going back to the earlier "curve" examples, here they are in solid form:

                  .adAHHHAbn.                           JHH
                 dHHHHHHHHHHHb                      _.adHHH
                dHHHHHHHHHHHHHb                   ,AHHHHHHH
                HHHHHHHHHHHHHHH                  dHHHHHHHHH
                VHHHHHHHHHHHHHP                 JHHHHHHHHHH
                 YHHHHHHHHHHHP              _.adHHHHHHHHHHH
                  "^YUHHHUP^"              HHHHHHHHHHHHHHHH
                      "~"
                    SPHERE                   CURVED HILL

    It's important to get a good understanding of how best to use the
    characters. The basic forms are as follows:

          _,.aomdAHAbmon.,_     For the upper curves.

            "~^*YUHUP*^~"       For the lower curves.

    The characters: d b P :are all extremely useful, but there is no
    equivalent character for bottom/left. There is, however, four chars
    available which do a decent job: T Y V 9 .The 9 works well for *some*
    char sets, but generally it has a big hook at the bottom so isn't
    quite so useful.

    Notice how I've used "A" and "U" to smoothen the transistion from "H"
    to "d"/"b" (and "Y"/"P" respectively) even though the effect is quite
    subliminal. A minor detail, but it does help. I don't often use "_"
    in these types of pics because of the way it touches the top of the
    "H". It does come in handy sometimes though.

    Side curves require more of an "on the spot" approach. The chars:
    l [ ] : j i :all come in handy when trying to smoothen out vertical
    curves, and I've also seen "(" and ")" used (although I wouldn't use
    them myself). Consistency in contrast is very important.

    Adding details using the solid ascii technique is a bit harder than
    in line art because there isn't the same number of possible choices
    for each position. The letters: a n o :are all very useful because
    they are nice "solid" chars which only occupy the bottom half of the
    character space, but there is no good alternative for the top half.

             dHF^^^      See how the bottom arm fits in with the solid
            dHP          appearance of the main part, yet the "^" (which
           dHBooan       is the closest char available) doesn't look so
                         beefy. Even the "^" varies across different char
    sets, so that leaves just: " ~ : which are of no use at all. In that
    particular case, it is necessary to expand the picture by one line:

              anpoan     Note the use of the "p" to make the effect just
             dHP         that little bit more effective. An "r" could also
            dHP          work well at the end of each arm. Purely cosmetic
           dHBooan       though. Note that if you're using "M" or "W", then
                         "m" and "w" can be used to keep it consistent.

    Details aren't always as simple as that example though (unfortunately).

                   HHHH              aann               .aoon.
           HHHHHHHHHHHHH      aanndHHHHHHP"     "^vaondAHHHHHP"
                HHHHHHH         "~^YHHHHH           "~^SHHHHH
              HHHHHHHHHH          dHHHHHHb          .adHHHHHHh,
                   HHHHHH           ~^VHHHP             ~^VHHHP
                     HH                YHP                 "VP

                 START            HALF WAY           FINISHED

    The different steps can be seen here. Starting by roughing out the shape
    (a wizards head incidentally) using the chosen character. Next, go over
    all the edges making all the obvious replacements. That means using:
    d P b Y V a n :plus the occasional: " ~ :if there's an obvious place for
    it. Just enough to give it some shape.

    The final stage requires a bit more work. Start with "A" and "U"/"V",
    and then the rest is purely experimentation. The "S" was chosen because
    it seemed to have the right shape, although there are many chars which
    could really go there.

    The curve section at the back required quite a lot of work. An "a" seems
    to be the best opposite of "n", and for long stretches, I like to use
    some "o"'s in there just to mix it up a bit. The: "^ :piece at the end
    was an obvious combination, so it was just a matter of finding a char
    to connect the "a" to the "^". As it turned out, "v" was custom made
    for that position.

          WMHI:    .:IHb.      I     Smooth shading can be created by using
          MH[:   .adAHHHI:.   :H     different chars to fade out at the edges,
          HI:  .:IHHHHHI:'  .jIH     instead of the anti-aliasing (which
          Y:     `:YHHI:' .:|IHM     produces hard edges).

    Good "outer" characters are:    . , : ; ' `
    For the transition from solid to outer edge:   I H A U V T Y | i j d b
    n a o [ ]   :or basically anything that produces the desired effect.

    Both line and solid techniques can be combined together, resulting in
    a "comic book" look and feel. Each form of ascii art works well in
    certain circumstances, so why not use this to your advantage. Line art
    for the various outlines and small details, and solid art for large
    dark areas.

						
						
						5. 3 Dimensional Art

    3D ascii art is basically an extension of SIRDS, where you can create
    the illusion of depth on a flat surface. This is achieved by producing
    two slightly different versions of the one picture, and placing them
    a certain distance apart.

                .                 .   Focus Point
               / \
              /   \               x   Where the image appears
             /  x  \
           ---     ---            __  The original pictures on the screen
           /         \
          /           \           /\  Where your eyes are looking
         /             \
        O               O         OO  Your eyes

            PLAN VIEW

    Although the scale and angles are a bit off, the basic principle can
    be seen from the above diagram (seen looking down). The two versions
    of the picture are located on the screen, but you don't look there.
    You need to focus on a point *past* the screen which produces a third
    image at "x".

    This resulting image occurs because of the way eyes work. They can only
    focus on one "depth" at a time, and anything either further away or
    closer becomes blurred. These "blurs" are just two different views of
    the one object produced by the two eyes seeing different things.

    Try this: stand three feet from a wall. Now hold two fingers up about
    one foot from your face, and about 1.5 centimeters apart. Look between
    your fingers, and focus onto the wall. Keep focus on the wall, but
    look into the foreground at your fingers. You should see a ghost image
    from both fingers converging into the center. The trick is to make the
    two ghost images overlap each other resulting in (hopefully) one solid
    image. This image should appear at a different level than the originals:

                           |  |                |  |  |
                           |  |                |  |  |

                       TWO FINGERS         RESULTING IMAGE

    The results from this experiment won't be 100% perfect since your two
    fingers are likely to be different, but it is a good way to understand
    the concept. With a little practice, you should be able to focus on real
    3D pictures without too much effort.

       ---  ---   Note that if you cross your eyes instead of using the
         \  /     above technique, you actually see the picture in reverse.
          \/      This diagram shows the effect from above, and the resulting
          /\      image will appear where the lines cross over. Since most
         /  \     stereograms (STARE-eograms?) are created to go into the
        /    \    screen, looking at them this way will produce an incorrect
       O      O   vision (and is somewhat harder on the eyes).

    That's the hard part out of the way, now a bit about how to create them.
    Getting back to the little koala example (which is a perfect size for
    this type of work), lets bring him into 3 dimensions.

             X         X          Here I have placed two koalas 10 chars
            ___       ___         apart from each other. Generally, a good
          {~._.~}   {~._.~}       distance would be between 7 and 15 chars,
           ( Y )     ( Y )        although you can use any distance you like.
          ()~*~()   ()~*~()       Values outside those bounds tend to be
          (_)-(_)   (_)-(_)       difficult to focus on however.

    The distance determines how much the resulting image sits "into" the
    screen. If the distance is 0 (ie. no separation), the image is neutral
    which means it appears -at- the screen. As the distance is increased,
    the resulting image appears further -into- the screen.

    By having many koalas laid out across the screen (all separated by the
    same distance), the effect becomes slightly easier to focus on. Any
    extra layers should then be added across the whole picture, with the
    result being quite effective.

    The picture is quite boring so far, with just one layer of 3D being
    created, so the next thing to do is to add another layer or two.
    The "tried and tested" approach is to add a "pole" in front of him,
    and since we want it -in front- of the existing layer, each pole
    should be 9 chars apart:
     _        _        _        _        _        _        _        _
    (_)      (_)      (_)      (_)      (_)      (_)      (_)      (_)
     H___     H ___    H  ___   H   ___  H    ___ H     ___H      __H
    {H._.~}   H~._.~}  H{~._.~} H {~._.~}H  {~._.~H   {~._.H}   {~._H~}
     H Y )    H( Y )   H ( Y )  H  ( Y ) H   ( Y )H    ( Y H     ( YH)
    (H~*~()   H)~*~()  H()~*~() H ()~*~()H  ()~*~(H   ()~*~H)   ()~*H()
    (H)-(_)   H_)-(_)  H(_)-(_) H (_)-(_)H  (_)-(_H   (_)-(H)   (_)-H_)
     H        H        H        H        H        H        H        H
    ~"~~~~~~~~"~~~~~~~~"~~~~~~~~"~~~~~~~~"~~~~~~~~"~~~~~~~~"~~~~~~~~"~~

    Notice that since the pole is to appear in front of the koala, it
    actually replaces the koala where they overlap. Here's the same pic
    except the pole appears behind the koala:
          _          _          _          _          _          _
         (_)        (_)        (_)        (_)        (_)        (_)
      ___ H     ___  H    ___   H   ___    H  ___     H ___      H___
    {~._.~}   {~._.~}H  {~._.~} H {~._.~}  H{~._.~}   {~._.~}   {~._.~}
     ( Y )H    ( Y ) H   ( Y )  H  ( Y )   H ( Y )    H( Y )     ( Y )
    ()~*~()   ()~*~()H  ()~*~() H ()~*~()  H()~*~()   ()~*~()   ()~*~()
    (_)-(_)   (_)-(_)H  (_)-(_) H (_)-(_)  H(_)-(_)   (_)-(_)   (_)-(_)
          H          H          H          H          H          H
    ~~~~~~"~~~~~~~~~~"~~~~~~~~~~"~~~~~~~~~~"~~~~~~~~~~"~~~~~~~~~~"~~~~~

    Now, since the pole is to appear behind the koala, its chars do not
    write over the koala where they overlap. The poles here are 11 chars
    apart, so appear one "step" behind the koala. All layers are built like
    this, and of course I could have the poles both behind and in front of
    the koala in the same picture. Here's a multi-layer example:
          _               _
       .-~ \           .-~ \
      /     \  _      /     \ _
      ~x    .-~_)_    ~x   .-~_)_        This picture has 3 distinct layers:
        ~>x".-~   ~-.   ~x".-~   ~-.     the hat, head and face. There are
         ( /         \  ( /         \    many other examples of 3D ascii
          T  o  o     Y  T o  o      Y   around, plus there are programs
          l   <       !  l  <        !   available for the easy creation
           \  .__/   /    \  ._/    /    of SIRDS.
            "-.___.-'      "-.___.-'

    A quick examination of the above picture shows that the head (circle),
    part of the hat and a part of the mouth are all 15 characters apart.
    The rest of the face is just 14 chars apart, and the top section of
    the hat is 16 chars apart.

    Note that all this information is from pure observation, so it may not
    be 100% accurate.

						
						
						6. Conclusion

    Perhaps there's more to ascii art than
    meets the eye? Before writing this, I                   .
    had no idea just how much thought goes              /\ /l
    into creating ascii pictures, and I                ((.Y(!
    imagine that I haven't even begun to                \ |/
    cover it all.                                       /  6~6,
                                                        \ _    +-.
    Analyzing the work of other people is                \`-=--^-'
    a great way to learn what works, and                  \ \
    what doesn't. Analyzing "art" may seem               _/  \
    like a strange concept, but it does                 (  .  Y
    open your awareness to the art form, and            /"\ `--^--v--.
    it's a great way to learn the various              / _ `--"T~\/~\/
    techniques. I hope that you have found            / " ~\.  !
    my ideas about ascii interesting.           _    Y      Y./'
                                               Y^|   |      |~~7
    In the end however, it's up to the         | l   |     / ./'
    individual artist to work the way they     | `L  | Y .^/~T
    want to, and not necessarily the way       |  l  ! | |/| |   -Row
    someone else would do it. Finding          | .`\/' | Y | !
    your own style is all part of the fun,     l  "~   j l j_L______
    and perhaps this text will aid people       \,____{ __"~ __ ,\_,\_
    in finding that style.                  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    :D

						
						
				


Published On: 6/15/2006
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hmmm... i haven't been able to optimize my boarding talent since i injured my ankle snowboarding at the end of march.  it was really crappy honestly... hurt like crud, and still isn't healed completely.  soo, i was goin down this double black diamond at the canyons called canis lupis, crazy fun run, but it was kinda getting tracked out and i wasn't paying attention to my not catching an edge (um, haven't for like 5 years...) and bam! felt my ankle rip from my board... or something.  wow. 

i graduate in a week!  wooo~~!!
and then i work... thats rather crappy.  anon~

Published On: 5/16/2006
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Well, the last month has been pretty fun and eventful. The snow of January lasted well into February, and it's started to storm again.

In late January I went to the Coldplay concert with Steph... wicked times! Also got to check out a couple Canucks games for free, they won both of them!

Besides that I've been skiing hard, partying, and working. Whistler has been bumpin' lately, for sure! Went to see Aerosmith in Tacoma a couple weeks ago, amazing show!! Can't wait for the Vancouver show... these boys are playing better than ever.

Ok, now for the avalanche story...

The biggest news story is that I almost died yesterday. That's right, you heard it right! I was VERY close to cascading over a 150ft+ cliff from an avalanche I set off yesterday. I don't think the reality of this has hit me yet.

It was around 1 or 2 pm, and I was skiing down the Glacier Cirque. I looked up at the "Corner Pocket" cliff zone , skier's left of the cirque entrance, and it was all deep windrift and still unskied (where the hell are all the shredders???).

I don't have to look at a slope with neck-deep windrifts twice before I ski it. So, the next run, I was committed to it. The delayed opening of the Peak and the 50-80kph wind gusts should have told me there was some serious wind loading going on. Anyways, as I was ducking the rope and coming down the ledge above this cliff, all of the sudden I feel my feet slipping as the entire slope gave way. It's one of the most horrible sights in the world, to see all the snow around you crumble and to have what seems like a million pounds of snow working with gravity to drag you down a slope. If I went over the cliff, it would have been certain death. I was ready to try to protect my head (no helmet) and was ready for a big and likely life ending fall.

It was a good 40-60cm crown depth, and the fracture was at least 20 feet wide.  The slope was avalanching from about 10 ft above me as well. I started to get dragged down the ledge and close to the cliff, but managed to use all my stength to hold myself on the ledge with my fist/pole and skis. I slid down  a good 10-20 feet towards this cliff, and ended up within 10 ft from the edge of this massive, and surely fatal cliff. The slide ripped over the cliff, and I could see it trigger a bigger slide area below me and avalanche out into the bowl below. I screamed down below, hoping no one was there. I got the hell out of there, and needless to say did not continue down Corner Pocket.

I skied the regular entrance of the Cirque and out into the bowl below. The best part of this whole story was the waist-chest deep fluffy sluff that this avalanche created. It was soooo fun to ski (and even better to be alive).

Be avalanche aware. These things can happen anywhere , at anytime. Even in the tree zones yesterday the slabs were running so easily with the slightest ski cut. Be safe everyone!

----

Current Avalanche Advisory


Reactive slabs of up to 80cm were running with the weight of a skier within the ski area over the past two days. A natural avalanche cycle occured early in the storm and has reloaded since. Yesterday within the ski area we saw slopes run that haven't slid in ten years.


Published On: 2/27/2006
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