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Then said one unto him, Lord, are there few that be saved? And he said unto them, Strive to enter in at the strait gate: for many, I say unto you, will seek to enter in, and shall not be able. When once the master of the house is risen up, and hath shut to the door, and ye begin to stand without, and to knock at the door, saying, Lord, Lord, open unto us; and he shall answer and say unto you, I know you not whence ye are: Then shall ye begin to say, We have eaten and drunk in thy presence, and thou hast taught in our streets. But he shall say, I tell you, I know you not whence ye are; depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets, in the kingdom of God, and you yourselves thrust out. ( Luke 13:23–28 )

The Last Judgment mosaic (14th-century), Saint Vitus Cathedral , Prague, Czech Republic

It also appears in the Sheep and the Goats section of Matthew where the judgment seems entirely based on help given or refused to "one of the least of these my brethren" [2] who are identified in Matthew 12 as "whosoever shall do the will of my Father which is in heaven". [3]

“When the Son of Man comes in his glory, and all the angels with him, then he will sit on the throne of his glory. All the nations will be gathered before him, and he will separate people one from another as a shepherd separates the sheep from the goats, and he will put the sheep at his right hand and the goats at the left. Then the king will say to those at his right hand, ‘Come, you that are blessed by my Father, inherit the kingdom prepared for you from the foundation of the world; for I was hungry and you gave me food, I was thirsty and you gave me something to drink, I was a stranger and you welcomed me, I was naked and you gave me clothing, I was sick and you took care of me, I was in prison and you visited me.’ ( Matthew 25:31–36 ),

And the king will answer them, ‘Truly I tell you, just as you did it to one of the least of these who are members of my family, you did it to me.’ Then he will say to those at his left hand, ‘You that are accursed, depart from me into the eternal fire prepared for the devil and his angels; for I was hungry and you gave me no food, I was thirsty and you gave me nothing to drink, I was a stranger and you did not welcome me, naked and you did not give me clothing, sick and in prison and you did not visit me.’ ( Matthew 25:40–43 )

Then he will answer them, ‘Truly I tell you, just as you did not do it to one of the least of these, you did not do it to me.’ And these will go away into eternal punishment, but the righteous into eternal life.” ( Matthew 25:45–46 )

Lichtblau and I scrambled to follow up with more stories, including one based on the strange tip I had received to check out what had happened when Ashcroft was sick. We learned that it was a reference to a secret rebellion against the NSA program by Comey and other top Justice Department officials, which had been triggered during a showdown with the White House in Ashcroft’s hospital room in March 2004.

After an unusually tight pre-publication embargo, “State of War” was published in the first week of January 2006, but not before the Bush administration tried to intervene. In his 2014 book, “Company Man: Thirty Years of Controversy and Crisis in the CIA,” former CIA lawyer John Rizzo describes how he got a panicked call from a National Security Council staffer at the White House on New Year’s Eve saying that it might be necessary to try to stop the publication of my book.

That night, then-White House Counsel Harriet Miers called Rizzo, suggesting that he call Sumner Redstone, chairman of Viacom, to get him to stop the publication of the book by Simon and Schuster. Rizzo says he had decided not to make the call. Jack Romanos, chief executive of Simon and Schuster at the time, told me that other current and former government officials had also called, wanting to see the book before it was published. Simon and Schuster had refused.

After it came out, the CIA was intensely angry about the book; one former CIA officer recalls that managers in his unit warned employees not to read “State of War”; doing so, they were told, would be like committing treason.

I did a series of TV interviews to publicize the book. Thanks to the line in the Times’s NSA story saying that the article had been held for a year at the Bush administration’s request, the story behind the story was naturally a hot topic. But each time I was asked about it, I simply said the Times had performed a public service by publishing the story, adding that I wouldn’t go into details about the paper’s internal deliberations. I wanted to keep the focus on the substance of the story itself. Interviewers weren’t always pleased with this. After a conversation with Outlet 2018 Buy Cheap With Paypal Christian Louboutin Technicatina Pumps Shipping Outlet Store Online Particular Discount Exclusive Cheap Price pXfdbRAr0
, I quietly told her I was sorry I couldn’t answer her question. “Yeah, bullshit,” she replied.

The Times also refused to explain the decision to hold the story, stonewalling media reporters and even the paper’s own public editor. “The New York Times’s explanation of its decision to report, after what it said was a one-year delay, that the National Security Agency is eavesdropping domestically without court-approved warrants was woefully inadequate,” wrote Times Public Editor Byron Calame in early 2006. “And I have had unusual difficulty getting a better explanation for readers, despite the paper’s repeated pledges of greater transparency. For the first time since I became public editor, the executive editor and the publisher have declined to respond to my requests for information about news-related decision-making.”

Audio Ballerinas

History: The AUDIO BALLERINAS are a group of dancers that use light sensors that enable them to produce sounds through the interaction of their movements and the surrounding light. A variety of other electronic instruments (digital samplers, contact microphones, light-to-frequency controllers, movement sensors, MP3 players, and radio receivers) allow them to work with the sounds, surfaces, and topographies of the space around them in a variety of solo or group choreographies.

Originally created in 1989 as solar-powered tutu for the Festivals Les Arts au Soleil (Lille/ Aeronef) the Ballerinas are until today a major project of Benoit Maubrey’s group. The Audio Ballerinas have been presented in numerous international festivals throughout the world.

Benoît Maubrey is the director of DIE AUDIO GRUPPE a Berlin-based art group that build and perform with electronic clothes. Basically these are electro-acoustic clothes and dresses (equipped with amplifiers and loudspeakers) that make sounds by interacting thematically and acoustically with their environment.

Background Story: In 1989 I had been experimenting with solar cells as a power source for the Uniforms and realized that they needed to be mounted on a horizontal surface in order to catch as much of the sun as possible. This is the reason why (with the help of the artist Susken Rosenthal) (no link) I used a transparent disc-like skirt out of polycarbonate (plexiglass) that could hang from the waist. On this surface we placed the solar cells and electronics. A visiting dancer friend who saw the prototype explained that we had created a “tutu“ – the skirt-like piece of clothing that dancers usually wear in such classical ballet pieces as Swan Lake. We also discovered that the hard but flexible polycarbonate tutus were ideal for mounting speakers, circuitboards, microphone jacks and amplifiers, not unsimilar to a DJ‘s mixing table. We started trying out new equipment– for example, a digital chip (256 K) for sampling sounds, an electronic metronome, a photovoltaic resistor (to be used as a light sensor) and even a miniature radio receiver. In the end, we had a wearable instrument that could spontaneously pick up sounds, record them digitally, play them back, amplify them, repeat them (via an electronic “looping” device), and alter them via a down- and up-pitch mechanism. For example, the tutus could record five seconds of the sound of a bell tower ringing nearby and instantaneously play back the sound. The additional electronic features allowed the wearers to change the speed of the loop or the tenor of the pitch (like a rudimentary sampler) to make the pitch change to the sound of that of a heavy brass gong or, in the other direction, to that of jingling bells. This piece, called Digital Memory , is at the core of an Audio Ballerina performance.

Background Story:

Reaction catlyzed by acetyl-CoA carboxylase, ACC. The primary isoform of ACC tasked with the synthesis of malonyl-CoA utilized by fattty acid synthase (FAS) is the ACC1 isoform. The two human forms of ACC (ACC1 and ACC2) utilize bicarbonate (HCO 3 ) and acetyl-CoA to synthesize malonyl-CoA. The rate of fatty acid synthesis is controlled by the equilibrium between monomeric ACC and polymeric ACC. The activity of ACC requires this polymerization process. This conformational change is enhanced by citrate and inhibited by long-chain fatty acids. ACC is also controlled through hormone mediated phosphorylation (see below ).

Reaction catlyzed by acetyl-CoA carboxylase, ACC.

The acetyl groups that are the products of fatty acid oxidation are linked to CoASH. As outlined in the Vitamins page, CoASH contains a phosphopantetheine group coupled to AMP. The carrier of acetyl groups (and elongating acyl groups) during fatty acid synthesis is also a phosphopantetheine prosthetic group, however, it is attached a serine hydroxyl in the synthetic enzyme complex. The carrier portion of the synthetic complex is called acyl carrier protein, ACP. This is somewhat of a misnomer in eukaryotic fatty acid synthesis since the ACP portion of the synthetic complex is simply one of many domains of a single polypeptide. The acetyl-CoA and malonyl-CoA are transferred to ACP by the action of the malonyl/acetyltransferase activity (also called acetyl-CoA transacylase and malonyl-CoA transacylase). The attachment of these carbon atoms to ACP allows them to enter the fatty acid synthesis cycle.

The synthesis of fatty acids from acetyl-CoA and malonyl-CoA is carried out by fatty acid synthase, FAS. Fatty acid synthase is encoded by the FASN gene which is located on chromosome 17q25.3 and is composed of 43 exons that encode a protein of 2511 amino acids. The active FAS enzyme exists as a head-to-tail homodimer. All of the reactions of fatty acid synthesis are carried out by the multiple enzymatic activities of FAS. Like fat oxidation, fat synthesis involves four primary enzymatic activities. These are (in order of reaction), β-ketoacyl-ACP synthase (contained in a domain composed of amino acids 2–404), β-ketoacyl-ACP reductase (contained in a domain composed of amino acids 1876–2112), 3-hydroxyacyl-ACP dehydratase (contained in a domain composed of amino acids 874–1106) and enoyl-CoA reductase (contained in a domain composed of amino acids 1564–1854). The two reduction reactions require NADPH oxidation to NADP + . The domain that is required for attachment and transfer of acetyl-CoA and malonyl-CoA (acyltransferase domain) is composed of amino acids 493–810. The phosphopantetheine arm of FAS is attached to a domain composed of amino acids 2111-2179.

The primary fatty acid synthesized by FAS is palmitic acid (palmitate). Palmitate is then released from the enzyme via the thioesterase activity of FAS (contained in a domain composed of amino acids 2242–2487). Once released, palmitate can then undergo separate elongation and/or unsaturation to yield other fatty acid molecules.

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