text:
Roddick will play Rafael Nadal today at noon at Arthur Ashe stadium.
Roddick, the No. 21 seed in the tournament, got out to an early lead, taking the first two sets 6-3, 6-4. But he dropped the third set to Ferrer 6-3, setting up a dramatic fourth set.
Roddick and Ferrer went back and forth holding service until the fifth game, when Ferrer went up 15-40 quickly. Roddick would eventually force deuce, but end up losing the game, giving Ferrer a 3-2 advantage.
But he lead wouldn't last long. After again falling behind 15-40, Roddick again forced deuce, but this time broke Ferrer serve and tied the set at 3-3. Roddick would win the next three games to take the match.
Visibly relieved following his victory, Roddick circled the small Court 13 giving high-fives to a crowd that was overwhelmingly in favor of the American.
The match was moved to the smaller court from Louis Armstrong Stadium, as a riled Roddick refused to take the court. After two days of nearly non-stop rain, water was seeping up from under the court, leaving wet spots. Roddick refused to play on the court.
"All courts were dried prior to play," read a statement issued by the USTA. "However, as the sun began to warm, or "bake" the courts, evaporation of these saturated conditions began to surface on Louis Armstrong Stadium."
Roddick is one of two Americans left in the tournament. The other is No. 28-seed John Isner, who will face No. 4-seed Andy Murray of Great Britain, also today.


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Tech Grad Selected As 'Einstein Fellow'
SANTA FE, N.M. July 6, 2012 – A New Mexico Tech graduate has been selected as an "Einstein Fellow" and will serve as an educational advisor in Washington, D.C., next year.
Marcia Barton is a high school science teacher in Santa Fe and earned her Master's of Science For Teachers in 2007. She will serve in the Directorate for Geosciences in the GEO Education and Diversity program under the guidance of Jill Karsten at the National Science Foundation.
A native of Michigan, Barton earned a bachelor's of science at the University of Michigan in 1977. She moved to Santa Fe about 20 years ago. She has taught environmental science, botany, chemistry and biology at Santa Fe High School.
She said her education at New Mexico Tech reinvigorated her and motivated her to excel in the classroom.
"I heard about the M.S.T. program at Tech from a friend of a friend," she said. "After my first course, I was hooked. Science teachers are a rare breed. There's not a lot of people who are excited about teaching science. Being in a cohort of math and science teachers in the M.S.T. program was refreshing and renewed my enthusiasm for teaching."
Shortly after finishing her master's, Barton was selected for the Toyota International Teacher's program, which provided her with two weeks of study in the Galapagos Islands in 2008. Then, in 2010, she was selected for the Fulbright U.S.-Japan Teacher Exchange Program for Sustainability. That program provided her with two weeks of study in Japan.
"I'm really grateful for the M.S.T. program because it set me on a path for improving my teaching," she said. "It was instrumental in opening up other opportunities for me as well."
Barton said she finds rewards in opening the eyes of high school students to the possibilities of careers in science and the role of scientists in improving the world.
"Students today don't know that hydrology, geology and volcanology exist," she said. "I'm interested in seeing how we can open their eyes to the possibilities in areas like renewable energy."
Barton said that today's youths are concerned about the state of the world environment and the impact of human activity. Further, the next generation is interested in making a contribution to solving problems.
"In teaching my courses, students get to the point where they realize, 'We're screwed, aren't we?'," she said. "I say, 'Yes, but we can still change. Here's a personal solution and something that you can do that will make a difference'."
Barton is one of 19 new Einstein Fellows have been selected to serve in four sponsoring agencies for the 2012-13 school year. The prestigious Albert Einstein Distinguished Educator Fellowship Program offers K-12 science, technology, engineering and math (STEM) teachers with a demonstrated excellence in teaching an opportunity to serve in the national education public policy arenas. Fellows were selected from a nationwide pool of over 200 applicants.
The Albert Einstein Distinguished Educator Fellowship Program was authorized by an act of Congress in 1994. The program is administered by the U.S. Department of Energy in partnership with the Triangle Coalition for Science and Technology Education and participating host agencies.
Selected teachers spend a school year in the Washington, D.C., metro area serving in a federal agency or a Congressional Office. Barton and the other 18 Fellows will provide practical insight and a classroom perspective to policy makers and program managers developing or managing education programs. The Fellows help to increase understanding, communication, and cooperation between the STEM education community and legislative and executive branches of the Federal government.
Einstein Fellows bring the extensive knowledge and experience of classroom teachers and provide practical insights and "real world" perspectives to policy makers and program managers developing or managing educational programs. The participating host agencies include DOE, the National Aeronautics and Space Administration, the National Oceanic and Atmospheric Administration, and the National Science Foundation.
By Thomas Guengerich/New Mexico Tech

subset: commoncrawl


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Joe sez: If you've missed the previous guest blogs, they've been fascinating and informative.
You can read Constance Phillips and Jenna Rutland and Joe Konrath talking about their paths to publication here: http://jakonrath.blogspot.com/2013/07/guest-post-by-constance-phillips-and.html
You can read Ian Kezsbom talking about Fuzzbomb Publishing here: http://jakonrath.blogspot.com/2013/07/guest-post-by-ian-kezsbom.html
You can read Gary Ponzo talk about first lines here: http://jakonrath.blogspot.com/2013/07/guest-post-by-gary-ponzo.html
You can read Chris Everheart talking about technophobia here:
You can read about Joe Flynn talking about his publishing history here: http://jakonrath.blogspot.com/2013/07/guest-post-by-joe-flynn.html
You can read Richard Stooker talking about bestsellers here: http://jakonrath.blogspot.com/2013/07/guest-post-by-richard-stooker.html
You can read Nikki M. Pill talking about fear here: http://jakonrath.blogspot.com/2013/07/guest-post-by-nikki-pill.html
Now here are Billie Hinton and Dawn Deanna Wilson...
To-may-to, To-mah-to - A discussion about categorizing your novel
BILLIE: Thank you to Tess Gerritsen for creating the Alzheimer's fundraiser and to Joe for coming up with a way to make donating both fun and a marketing op. It's a real pleasure to be part of this huge group effort to do some good while talking about our books and the writing/publishing life.
DAWN: We are two North Carolina writers who met at a Weymouth writer residency (where there was a bit of suspense about who stole/ate Billie's chicken salad, but that's another story.) Since then, we have been able to support and encourage each other on this journey, sharing information on what works, what doesn't work, and tweaking things along the way.
BILLIE: The real suspense was learning how to deal with the Weymouth ghost-in-residence! We had a great and productive time there. We also do some collaborating on a children's picture book series! But back to grown-up books and categories and genre questions. In 2010, I decided to e-publish claire-obscure, (available on Amazon for $3.99), my first novel that was represented by two agents, shopped by one, praised to the high heavens, but didn't sell. While it had been shopped as literary fiction, every editor who read it noted the strong element of psychological suspense. Every reader to that point said they'd "never read anything like it" - so from the beginning there was some question about how to position the book. I felt strongly that the book had an audience. So I decided to publish it myself.
Initially I listed claire-obscure as literary fiction. It sold, but it was slow. Early on in our self-publishing venture Dawn and I each earned what we called "latte money." Which gradually turned into "pizza money" and then "dinner out" money. Around that time, I realized the response from readers had mostly to do with the suspense - and I changed the category to reflect that. Once I changed the category, Pixel of Ink picked it up a few times, downloads went wild, and sales increased. Suddenly, I was earning "weekend getaway" money and finally "horse farm expenses" money.
DAWN: I have had two books traditionally published by small presses and while they did okay, sales eventually stagnated. I never considered self-publishing; as a former newspaper reporter, I knew that self-pubbed books went straight into "file 13" when they arrived in the newsroom, and I still carried that prejudice. Then Billie told me about ebooks and about this wonderfully wild and crazy guy named JA Konrath who was self publishing on Kindle...and succeeding.
When the rights to my second novel, Leaving the Comfort Cafe, (available on Amazon for $3.99), reverted back to me, I changed the cover and self-published on Kindle. I was thrilled just to see things moving again. I had originally pushed the book as literary/southern fiction, but I have found more success with it in the romance market. (Although it isn't a "bodice buster," a love story is a strong element of the novel.) Then Pixel of Ink picked up Cafe, and for a few brief, shining days, I outsold Nicholas Sparks. Suddenly, latte money turned into "I-can-afford-an-iPad-and-a-visit-to-Paris money." Needless to say, I got the rights back from book #1 (Saint Jude) and put it on Kindle. I didn't even bother shopping my third novel, Ten Thousand New Year's Eves. I published it straight to Kindle.
BILLIE: The weekend Comfort Cafe went viral we were at my house watching numbers. It was crazy! But it became clear that certain genres had a lot more potential for that upward path to the top of the bestseller list. As a writer who had been thinking literary for years, I suddenly realized that part of my job as a self-publisher was to look closely at how my books were labeled and, ultimately, what the best audience really was.
As the first "real reader" reviews came in, it was clear that the high level of suspense paired with good writing and characterization were the most appreciated elements by readers. A smaller but significant number of people noted the erotic element as well.
Right before Christmas this past year sales began to slow down. I continue to find readers who love claire obscure (and Signs That Might Be Omens, book two in what is planned to be a quartet, also available on Amazon for $3.99). I'm in the process of taking yet another look at what I can do to better position my titles to get them into the hands of readers who will appreciate them. Another of my novels, The Meaning of Isolated Objects, ($3.99 on Amazon)) about a father-daughter mixed up with CIA intrigue, has one cross-over character. My brain started ticking along...
DAWN: Well, with Claire, I think it could fit easily into a number of categories. Your characters make cameos in other pieces, don't they?
BILLIE: Since all my adult novels live in the same world, and characters from one book often make cameo appearances in the others, I'm starting to see the possibilities. There are three characters in claire-obscure who have their own trilogies, quartets, etc. as works in progress. Finn has the potential to go into thriller/horror. Bingham and Raoul will be solid thriller material. And I get to write about characters I know - but still have a lot of discovery to do in terms of their adventures. I'm starting to view these in-progress novels as retirement investments.
DAWN: You know, I've always liked that aspect, an Easter egg for the readers. I don't think any of my characters lend themselves to my other books. I can't see Blythe from Cafe appearing anywhere else unless there's spiked coffee involved. But it does open the door to other categories. Maybe one character's book is more thriller and another more erotica. You then have this tie-in for the reader.
BILLIE: Another thing we've learned is that sometimes the idea for tweaking the categories comes from seeing your book on Amazon best seller lists you haven't considered.
DAWN: One thing that surprised me was that Saint Jude, (available on Amazon for $3.99), which is about a teen with bipolar disorder, kept appearing on the top sales list for NONfiction. I have no idea why. I did NOT categorize it that way and it's clear in the description that it's fiction. Obviously, this is an example of when you would NOT change categories, but it demonstrates how KDP giveaways can lead to sales in unexpected categories.
BILLIE: Exactly. And it gives you information you can use for marketing purposes. Clearly, with St. Jude, readers are finding it when searching for books about bipolar disorder. Until I changed claire-obscure, a few readers were finding it in literary but really honing in on the suspense. Finally I got a clue and started looking at what the readers were saying.
DAWN : I think our books easily fall under literary fiction but I've not seen that label lend itself to sales like the genre labels. I'm not sure why. Maybe readers hear literary fiction and think it is going to be a long, dense narrative like William " I don't need no stinking commas" Faulkner.
BILLIE: You recently tweaked the categories for Leaving the Comfort Cafe.
DAWN: Yeah, I narrowed it down to romantic comedy. I felt the general romance category included soooooooo much, from sweet first love to erotica. I was getting lost in the shuffle.
BILLIE: It's a learning curve. Experimenting with each title, finding out how to best position it to find the most readers possible. I think the biggest lesson I've learned is that it's not only okay, but necessary, to experiment. (We can thank Joe for that!)
Once again I'm looking at genre, category, cover, and product description to see if tweaking these would better position claire-obscure to go bigger. And of course, working on getting the next titles out there.
Which reminds me. Your newest novel, Ten Thousand New Year's Eves, which is my favorite of your books so far, has been through some cover changes recently.
DAWN: Yeah, we're not going to get too much into discussion on covers here, because other posts have handled that so beautifully, emphasizing the importance of professional covers.
BILLIE: I think it's worth repeating that when a cover evokes a certain genre, it helps the book find its best readers.
DAWN: Like my covers for Ten Thousand New Year's Eves (available on Amazon for $3.99) that we are just going to call Dawn's Epic Fail. This is why I'm in the process of getting a cover professionally designed. This book is about dysfunctional people whose lives are intertwined, even though they do not realize it. Because it deals with windows into the lives of different people (and one bomb-sniffing dog), there are a bunch of genre elements, but no one that seems to have more sway than the other. The book is literary fiction, but I don't want to be locked into that category.
Cover one: Good things-- I like the yellow. Bad things-- I don't like the yellow.
BILLIE: I'm just one reader, but to me the book has to do with the whole six degrees of separation idea, and you manage to pull together a group of wildly disconnected characters and show us their quirks and how their paths connect in one very brief period of time. Tricky cover to create - when you first redesigned, you focused on the romantic angle.
DAWN: Yes, because like Cafe, there are some strong romantic themes. Which leads to my Epic Fail Cover #2 which I think makes it look like it all takes place in New York (it doesn't) and gives an impression of the traditional rom com happy ending.
BILLIE: Aspects of the book are quite dark.
DAWN: Right. So until I do a redesign, I went to cover # 3. Which I'm not sure is a fail, but it captures more of the essence of the story than the the others. We will see.
BILLIE: The bottom line: Don't be afraid to experiment. Pay attention to what the readers are saying when they write reviews and emails. Look where the book is finding readers. It took a great review from Crime Book Beat to make me realize I could stop calling claire-obscure literary. Right now I'm considering re-doing the cover to reflect some of the eroticism. It's the same book it has always been. But in looking at what readers respond to when they read it, I'm positioning it to find more good readers.
DAWN: And if I may gush for a moment, Joe, we sincerely appreciate all you've done, not just your information, but giving back to charities, supporting other writers, etc. Though we realize there are no more "JA Konrath Visits So Many Bookstores You Think He's in the Matrix" events, if you ever find yourself in in North Carolina, we will treat you to a beer with some of our latte money.
BILLIE: I think we can spring for beer AND pizza. If my new re-design goes viral maybe a trip to Paris?
DAWN: Let's stick to beer and pizza.
Billie Hinton writes novels for adults and children, nonfiction about the writing process and living with equines, as well as the occasional short story. She lives on a small horse farm in North Carolina with her husband, two teenagers, two horses, a painted pony, two miniature donkeys, six cats, and two Corgwn. She sees magic happen every single day.
Dawn Deanna Wilson writes YA and adult novels and short stories. She also illustrates children's books and has a small art studio in Eastern North Carolina. She drinks far too much coffee.
For more information, visit their author websites: www.billiehinton.com and www.dawndeannawilson.com
Joe sez: One of my cardinal rules when marketing is asking myself, "What makes me buy a book?"
This rule can and should be extended to searching for things to read. What keywords do you type into the search box on Amazon to find your genre? Do you use "customers also bought"? Do you use genre bestseller lists?
Besides the BISEC categories (how you list your ebooks on Kindle) what are some of the keywords you use in product descriptions to make sure you maximize your title's visibility?
I'd like to hear your thoughts on this in the comments. Let's pool our collective knowledge and learn from each other.


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Always Fascinated by pop-up books, Thomas Allen displays an infallible talent for the creation of the illusion of three dimensions, using old pulp fiction books as the subjects for his sets.These books tattered covers and yellowed pages are not mere objects to display on a shelf, for the artist but a prodigious inventory of actors and scenes, just waiting to be directed.
Allen patiently cuts out the figures, freeing them from their two-dimensional state: the actors are then raised from the covers and come alive thanks to skillful use of lighting and the camera's lens. Bent and positioned, the scripted drama is staged, bringing to life the stories written and not written in the books that act now as the stories stage.


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I was thinking about this today and I wonder what is going to happen with the NA Power Sword.
The new classics collection got rid of the awful 200x Power Sword, now I wonder if they will get rid of the NA one too.
They can still keep it transparent green but using the Classic Power Sword instead of the other design.
That way they will keep the universe consistent. Having three different power swords was weird IMHO.
Here is how I picture the NA classic Power sword:
I don't know what others think so I want to know what you think about this.
Blasfemy? or Good Idea?
Please tell me.


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The dog is well again! The student art show is on display (which deserves a post of its own, one of these days.) And now, at last, India.
It's hard to believe that two weeks ago Saturday afternoon we were driving home from the San Francisco airport after about twenty-three hours spent either in a plane or waiting for one. And that two weeks before that we were being met at the airport in Bangalore by our nephew after a similar flight. (No wonder we were so jet-lagged!)
On the very first day (Sunday) I also met up a writer friend I met online a little over two years ago, Rachna Chhabria. We had exchanged copies of our books and have followed each other's blogs, and she was a great help to me in navigating aspects of FaceBook. She teaches creative writing at Mount Carmel College.
Her blog, Rachna's Scriptorium, always has interesting insights and good advice about writing. It was a pleasure to meet her in person. Here we are, sitting on a log in Cubbon Park, pondering the hopes and frustrations of writing.
Later in the day, the family left for a graduation ceremony for Rohan's class, twelfth standard. We stayed home, and another niece, Priya, and her husband Balajit came over for a visit. We caught up on news of their two grown children and enjoyed the treats Priya brought — pumpkin Halva and a savory snack called "ribbon" because of the dough's ribbon shape as it is forced through a slat, then deep-fried. (Again, I am waiting for her to send pictures that I can post.)
On Monday, we visited our niece, Nirmala, her mother (Rajan's sister, Pattu, who also has two sons with families in Chennai. Pattu is a much-in-demand grandmother in three households.) We had last seen Nirmala's son, Murari, in California, where he was working on a project, but he is back in Bangalore now. Once again, we forgot our cameras, but luckily Murari took pictures and sent them.
Malathi had come with us, so it was nice catch-up time for sisters-in-law. Here we all are after a wonderful lunch prepared by Nirmala and Pattu. (Rajan's family is full of wonderful cooks, and every time we visit, I return home with a new batch of recipes.)
Tuesday we had originally planned to travel by car to Belur and Halibid, two awesome temples dating back to the twelfth century and the Hoysala Dynasty. Well, jet lag was kicking in and we changed our minds. We would have had get up at 6:00 a.m. to be ready for a four-and-a-half-hour trip each way with about two hours at each temple, and we probably would be wanting to sleep at the crucial times when we should be admiring the sculptures. So, we passed on the trip, deciding that in a future trip we'll actually take lodgings close by and spend two days there so that we can truly enjoy it. We did take this trip together with family members about twenty years ago, before we had digital cameras; and about forty years ago my husband had taken a bus trip to the temples and taken several black and white photos. To give you some idea of the stunning beauty of the sculptural work, you can go to this website: You'll see why we want to go again and get images of our own.
But we were glad to stay home with Gayatri and Malathi and rest up from the trip. Ashok was at work; Tarun was at school, and Rohan was studying for his finals. I had time to write down a slew of recipes. And we shopped at a fabulous handicraft store on MG Road (MG for Mahatma Gandhi) for souvenirs to bring home.
Wednesday was our last day in Bangalore. We went with Gayatri to the movies at a huge shopping mall on a street near MG Road. Afterwards Gayatri and I went clothes shopping at a six-story department store while Rajan had coffee and a nice visit with one of his classmates from engineering college that he made contact with again two years ago when we went to his Golden Jubilee Class Reunion.
A few words about Bangalore itself. The first time I saw it, I was struck by all the beautiful trees and flowering bushes. In fact, it has been referred to in the past as a "garden city". But, in recent years, it has become a sort of "Silicon Valley" due to the boom in digital technology. (Almost all of my nieces and nephews in India have computer-related businesses and projects.) There has been a population influx, and the city has had a hard time expanding roads and infrastructures fast enough to accommodate it. Lots of trees have been cut down to make way for wider streets or new buildings. Still, beautiful trees abound, even if they are not as plentiful as before. The day we went to the movies, we rode in on a local "rapid transit" train. The section we rode was elevated, so you really had a sense, looking out the window, of riding through treetops. And the trees in India are amazing: Banyan, Bottle Brush, the pink-blooming Tabebuia Rosea, the yellow-blooming Tabebuia Argentea. (Clici on the sites to see them.)
We spent a last quiet evening at home enjoying the family, playing board games and talking. And then we went to the train station to catch the 11:00 p.m. night-train to Chennai. It was sad to say goodbye, even while feeling excited about the next part of our journey.
As for the night train itself: We were in a sleeper car with four bunks with curtains providing privacy. We preferred to share the bottom bunk, head to toe, and store our bags on the top bunk, looking out the window until we were tired enough to sleep. I have always had a thing about trains, and my first long train ride was the trip from Chennai to Tiruchirapalli, again, by night, nearly thirty years ago. On that ride, too, I was more interested in looking out the window at the silhouetted landscape flowing by than in sleeping. But this time, I actually did doze off until we rolled into the station in Chennai at 4:00 a.m. And what a difference! It was pleasantly cool in Bangalore when we entered the train. We stepped off the train into a surrounding heat.
Almost as soon as we set our bags on the platform, Rajan's eldest brother, Ranganathan, and Ravi, Nirmala's husband, who is working in Chennai and goes home on week-ends, greeted us and picked up our bags. Then we set off for the waiting car and the trip home to Virugambakkam, the name for their district, since Chennai is so spread out.
Stay tuned for India, Part Two—Chennai


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In the UAF Ph.D. in NRS, we build on the existing strengths of SNRAS and SOM faculty members to educate students in specific areas, while training them to be conversant in the broader range of relevant topic areas.
SNRAS Faculty
Valerie A. Barber: Assistant Research Professor of Forest Sciences, Director, UAF Sitka Forest Products Program.
Specializations: Forest Products
Kenneth A. Barrick: Associate Professor of Geography.
Specializations: Physical Geography. Teaching Responsibilities: Geography
Matthew Cronin: Research Associate Professor of Animal Genetics.
Specializations: Animal Genetics
Cary W. de Wit: Associate Professor of Geography.
Specializations: Cultural Geography. Teaching Responsibilities: Geography
Greg L. Finstad: Instructor and Program Manager, Reindeer Research Program.
Specializations: Reindeer Husbandry.
Peter J. Fix: Assistant Professor of Outdoor Recreation Management.
Specializations: Outdoor Recreation Management. Teaching Responsibilities: Outdoor Recreation Management
John D. Fox: Associate Professor of Land Resources Management.
Specializations: Forest Hydrology. Teaching Responsibilities: Hydrology, Forest Management, Ethics
Hans Geier: Research Instructor and Extension Resource Economist.
Specializations: Natural Resource Economics
Joshua Greenberg : Associate Professor of Resource Economics.
Specializations: Natural resource economics, fisheries policy, community impacts, bio-economic modeling. Teaching Responsibilities: Natural Resource Economics, Regional sustainability and resilience
Norman R. Harris: Assistant Professor of Range Management.
Specializations: Range Science/Management. Teaching Responsibilities: Range Management/GIS
Patricia S. Holloway: Professor of Horticulture & Director, Georgeson Botanical Gardens.
Specializations: Horticulture. Teaching Responsibilities: Horticulture
Glenn P. Juday: Professor of Forest Ecology.
Specializations: Forest Ecology. Teaching Responsibilities: Conservation Biology
Meriam G. Karlsson: Professor of Horticulture.
Specializations: Horticulture. Teaching Responsibilities: Plant Science
Gary Kofinas : Associate Professor of Resource Policy and Management.
Specializations: Community resilience, co-management. Teaching Responsibilities: Integrated Assessment/Adaptive Management
Jingjing Liang: Assistant Professor of Forestry.
Specializations: Natural Resources Management, Wildland Fire Economics and Management, Climate Change, Forest Growth and Yield. Teaching Responsibilities: Forest Management, Research Methods, Biometrics
Julie Lurman : Assistant Professor of Natural Resources Law.
Specializations: Natural Resources Policy and Law. Teaching Responsibilities: Natural Resources Policy and Law
Jenifer Huang McBeath: Professor of Plant Pathology/Biotechnology.
Specializations: Plant Pathology. Teaching Responsibilities: Plant Pathology
Anthony T. Nakazawa: Professor of Economics.
Chien-Lu Ping : Professor of Soil Sciences.
Specializations: Soil Chemistry, Soil Genesis and Classification. Teaching Responsibilities: Soil Science
Scott T. Rupp: Associate Professor of Forestry.
Specializations: Forest Ecology/ Management. Teaching Responsibilities: Forest Mensuration
Mike Sfraga : Director, UA Geography Program & Assistant Professor of Geography.
Specializations: Geography. Teaching Responsibilities: Geography
Milan Shipka: Professor of Animal Science & Extension Livestock Specialist. S
pecializations: Animal Science. Teaching Responsibilities: Animal Science
Jeffrey Smeenk: Assistant Professor of Horticulture & Horticulture Extension Specialist.
Specializations: Horticulture
Juan Andres Soria: Assistant Research Professor of Wood Chemistry, SNRAS/AFES.
Specializations: Bio-fuels, Bio-products, Forest Products
Elena B. Sparrow: Research Associate Professor of Resources Management.
Specializations: Science Education/Outreach. Teaching Responsibilities: Science Education
Stephen D. Sparrow, Jr.: Associate Dean, SNRAS, & Professor of Agronomy.
Specializations: Soil Science, Agronomy. Teaching Responsibilities: Soil Science
Sidney Stephens: Research Instructor of Science Education.
Susan Todd: Associate Professor of Resource Planning.
Specializations: Resource Planning, Conflict Resolution. Teaching Responsibilities: Natural Resources Management, Resource Planning
David Valentine: Associate Professor of Forest Soils.
Specializations: Forest Soils, Nutrient Cycling. Teaching Responsibilities: Nutrient Cycling
David L. Verbyla: Professor of Geographic Information Systems (GIS) in Natural Resources.
Specializations: Remote Sensing, GIS. Teaching Responsibilities: GIS
John A. Yarie: Professor of Silviculture.
Specializations: Forest Ecology. Teaching Responsibilities: Forest Ecology, Silviculture
Mingchu Zhang: Assistant Professor of Agronomy.
Specializations: Soil Science, Agronomy. Teaching Responsibilities: Soil Science
SOM Faculty
Greg Goering: Professor of Economics.
Specializations: Industrial Organization, Mathematical Economics, Microeconomic Theory. Teaching Responsibilities: Mathematical Economics.
Mark Herrmann : Dean School of Management and Professor of Economics.
Specializations: Fisheries Economics, Econometric Modeling, Markets. Teaching Responsibilities: Economic Background for Regional Resilience and Adaptation
Joe Little: Assistant Professor of Economics.
Specializations: Non-Market Valuation, Forestry Economics, Alternative public land management. Teaching Responsibilities: Microeconomics, Resource Economics
Mike Pippenger: Associate Professor of Economics.
Specializations: International Economics, Time Series Econometrics, Macroeconomics. Teaching Responsibilities: Microeconomics
Doug Reynolds: Associate Professor of Economics.
Specializations: Energy economics, Energy project modeling, Oil and Natural Gas. Teaching Responsibilities: Resource Economics
Branka Valcic : Assistant Professor of Economics.
Specializations: Marine Resource Economics and Policy, Spatial Econometrics, GIS. Teaching Responsibilities: Econometrics, Integrated Assessment and Adaptive Management, Resource Economics
Keith Criddle: Specializations: bioeconomic Modeling, Maring Policy, Time Series Analysis. Teaching Responsibilities: Econometics, Marine Policy.


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HP 303: Historic Preservation Internship
Policy Statement and Guidelines
The Historic Preservation Internship is a three-credit course intended for graduate students in the UVM Historic Preservation Program who elect not to write a thesis. Students must do preservation work, ideally as an employee, with an appropriate institution, organization, or agency. Duties of the student intern are arranged in advance with the host employer by agreement with the course instructor and the student.
Work is to be done under the direct supervision of a qualified individual designated by the employer. Students must be in regular direct contact with the supervisor (in person, by phone, or by e-mail). Ideally such regular contacts will be on a daily basis during the work weeks, but depending on the work assignment this direct contact with the supervisor must be made at a minimum of once per week while working as an intern.
It is the responsibility of each student to be hired as an intern. To facilitate the search process (which ideally should commence by January for the upcoming summer) internship opportunities will be posted in Wheeler House or forwarded by email to enrolled historic preservation graduate students. Listings for many potential preservation internship are included at the UVM Historic Preservation Program Job Board or at PreserveNet. The course instructor will also be available to advise students on strategies for searching for suitable internships.
· All students must submit an internship proposal agreement (see below) for review and approval to the instructor responsible for the course before starting the internship. This proposal agreement must be first negotiated, reviewed, and signed by the internship work supervisor. Students should identify the organization(s) with which they will be working, the name and address of the work supervisor, the planned work activities and responsibilities, the amount of work time that will be expected, and an assessment of the academic benefits of the internship and the specific learning goals. Students should also include their summer mailing address, telephone number, and email contact information. If plans or addresses change after this submittal, students should submit an updated internship proposal agreement for review as soon as possible.
· Students are strongly encouraged to obtain paid internships with a single organization.
· Unpaid internships will be acceptable only if there is a very strong educational or training component provided by the organization.
· Internship duties should relate directly to the development of a professional career in historic preservation.
· Work with the organization should be full-time for at least 8 weeks or equivalent. The full-time hours should follow the policy of the organization or agency and be at least 30 hours per week.
· Internships with more than one organization may be acceptable if the total time commitment, direct supervision, and learning potential is comparable to the expectations listed above. Each component must have a work supervisor who will oversee the work and provide a written evaluation.
· Internship presentations for all students will be scheduled for the fall semester, typically in October. The presentations should run about ten minutes. They should be well organized and produced to reflect skills at communicating with the public as a professional preservationist. Students should provide a summary of accomplishments and discuss what they learned. Digital slide illustrations are expected to support the presentation with good quality images, maps, and titles. The presentations will be evaluated on the clarity, organization and professionalism of the presentation as well as on the quality of the slide images taken by the students. It will be each student's responsibility to keep to the time schedule. They also should plan on about five minutes of questions and discussion following the talk. Faculty, students, professional preservationists, and special guests may be invited to this public event. Students are also encouraged to invite family, friends, colleagues, and their internship sponsors and supervisors to their presentations.
· Students must submit a short (50 words or less) biographical statement to the course instructor that identifies the internship organization and location by September 30. This information will be included in the program for the internship presentations.
· A written evaluation by the internship work supervisor is required by September 30. This should include an evaluation of performance. This letter of evaluation should be sent by post or by email directly to the course instructor: Thomas Visser, Director, Historic Preservation Program, Wheeler House, University of Vermont, Burlington, VT 05405, email: firstname.lastname@example.com.
· Each student is required to submit a professional report that summarizes the internship by September 30. This bound report should identify the organization and discuss the responsibilities, the amount of time worked, accomplishments, and preservation issues addressed. It should also show how the internship contributed to professional development in the preservation field. The criteria for evaluating these written reports will include the clarity, organization, and scholarly content of the report and the quality of the writing and illustrations.
· Internships are evaluated through student internship reports, written evaluations from the students' work supervisors, and by students making formal presentations of their completed internship projects.
Grades for the HP 303 internship are satisfactory or unsatisfactory. A satisfactory grade is required to obtain credit for this course. All internship work and course submittals must be completed by the last day of classes of the semester for which the student registers for the HP 303.
Updated 3/1/14
UVM Historic Preservation Program
Student name:
Email address:
Current address and phone number:
Summer address and phone number:
Name, address and phone number of the organization(s) with which you will be an intern:
Internship supervisor's name, title, address, and e-mail address:
Will you be an employee of the organization while serving as an intern?
Describe your planned activities and responsibilities:
What will be the academic benefits of the internship?
What are your specific learning goals for this internship?
Student signature and date _____________________________________________________
Internship supervisor signature and date ___________________________________________________
Submit this proposal to the course instructor for review and approval before starting the internship:
Prof. Thomas Visser, Historic Preservation Program, Wheeler House, University of Vermont, Burlington, VT 05405, firstname.lastname@example.com


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2013 Signing Day list for Baltimore-area commitments
A look at local seniors who have committed to sign scholarships with Division I and Division II colleges in football, soccer, field hockey and track. If you have signed to play one of these sports and aren't included -- or if you want to submit a signing photo -- email high school sports editor Dean Jones Jr. at email@example.com.
Copyright © 2019, The Baltimore Sun, a Baltimore Sun Media Group publication | Place an Ad


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Chris Grant will need to get creative when he re-formats his resume for his next job.
The longtime Cleveland Cavaliers executive who was fired as general manager this week was responsible for drafting the disaster that is Anthony Bennett, signing the mess that is Andrew Bynum and hiring the failure that is Coach Mike Brown.
And don't even get us started on his presiding over that loss to the Lakers when they essentially finished the game with four eligible players.
Grant can still tout his drafting of Kyrie Irving, but he probably shouldn't list Cavaliers owner Dan Gilbert as a reference.
It was largely Grant's draft busts that led to his undoing. Cleveland had four top-four selections over a span of three years but picked poorly with the exception of Irving.
Bennett (No. 1 in 2013) could go down as the worst top pick of all time, Tristan Thompson (No. 4 in 2011) has been solid but unspectacular and Dion Waiters (No. 4 in 2012) has been a menace on the practice court and in the locker room.
Brown could be next to go, even with assurances from Gilbert that he's here to stay. Griping among players has become rampant, Irving hasn't played with his usual verve and newcomer Luol Deng seems lost on a team that was expected to make the playoffs but is contending only to become the NBA's biggest disappointment.
Other than that, everything's great!
Stars will dunk
Terrence Ross could be the first dunk champion who stands next to no chance of defending his title.
It's not that the Toronto Raptors guard won't compete Saturday in the dunk contest as part of All-Star weekend festivities; it's just that he's facing competitors who have actual name recognition for a change.
Indiana's Paul George, Washington's John Wall and Portland's Damian Lillard will give the dunk contest three All-Stars for the first time since 1988, when Michael Jordan edged Clyde Drexler and Dominique Wilkins to win the dunking crown. Golden State's Harrison Barnes and Sacramento's Ben McLemore will also compete this year, though they are probably longshots like Ross.
Last year, Ross competed as part of a field that included Jeremy Evans, Gerald Green, James White, Kenneth Faried and Eric Bledsoe. The competition was filled with obscure names and botched dunks, with Ross rebounding to win after missing his first six attempts in the first round.
Knowing how the NBA loves its stars, expect one of them to take the title this time. There will be a new format pitting the competitors from the Eastern Conference (George, Wall and Ross) against their Western counterparts (Lillard, Barnes and McLemore) in a series of head-to-head matchups.
Here's betting on a final round battle between George and Lillard.
Breathless weekend
Lillard is guaranteed one title over All-Star weekend: busiest man in New Orleans.
The Trail Blazers guard will become the first player to compete in five events, starting with the Rising Stars Challenge on Friday. Lillard will then participate in the skills challenge, three-point shootout and dunk contest Saturday before the All-Star game Sunday.
It's probably a good thing for Lillard no one is expected to expend any energy on defense by then anyway.


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Life of Opportunity
From one side of the world to Moscow, Ruben Tsarukyan has seen and done much in his 18 years of life.
Tsarukyan was born in Yerevan, Armenia, in 1995. Only two years later, his family would migrate to the United States and set up residence in Los Angeles.
"It was just after the collapse of the Soviet Union and there was a war that went on in Armenia. Just, the conditions weren't so good," Tsarukyan said. "The United States being the land of opportunity, my parents filed for a green card and we got it."
The spring semester of 2013 was Tsarukyan's first semester at UI. Since then, he has become more involved and active in the Moscow community — he currently sits on the Moscow Human Rights Commission and recently attended the National League of Cities 2013 Congress of Cities and Exposition with Moscow Mayor Nancy Chaney and city council member Tom Lamar.
"This beginning of the semester, I came back to (the) University of Idaho after being home for three months for summer break, and I was just so homesick," Tsarukyan said. "I just wanted to go back home and, I was like, you know what? In order not to be homesick, to make time go by fast, I have to get involved with something, volunteer, do something."
This moved Tsarukyan to contact Chaney and seek ways to become more involved in the community. Chaney applauded Tsarukyan's initiative and determination.
"He is a person of — only 18 years of age — great initiative, he's terrifically bright and motivated," Chaney said. "He knows where he wants to go in this world and he's taking initiative to pursue those interests. So I applaud him for that."
Tsarukyan lived in California for most of his life. At just 14 years old, Tsarukyan decided he wanted to take his first college course.
"And after I took that first college course, I really liked college," Tsarukyan said. "I didn't want to go back to high school because, you know, it's just a bunch of immature kids. After going from a college course to back to high school, I thought, 'Why don't I just start this early?'"
Tsarukyan left public high school in 10th grade and earned his high school diploma via homeschooling. He attended Glendale Community College for a few years before deciding to move on.
"I was 17 years old — I started looking at universities I could attend," Tsarukyan said. "I wanted to go away from home, live alone, you know, just to experience life, what it's like to be alone and have responsibilities, and just that transition from being a teenager to being a man."
In his search, Tsarukyan sought a university that could provide a program to match his love for international politics. He found it in UI's Martin Institute of International Studies.
"So, I looked into that and I love the program," Tsarukyan said.
Chaney said Tsarukyan would be a great asset to international delegations, like the one she led to Japan in 2010. Tsarukyan said he is grateful for what he has in the U.S., especially after a visit to Armenia in 2008.
"Going from, you know, Los Angeles to visiting some of these villages where their bathroom is in their backyard, it made me appreciate life so much more. It made me appreciate life and what I had," Tsarukyan said. "And, the opportunity my parents are providing me for a higher education, a better education, better opportunity in life to get somewhere. I don't know if I would if I was in Armenia."
Tsarukyan said he will return to Armenia the summer of 2014 for an internship with the Ministry of Foreign Affairs.
Tsarukyan said, from his own experience, it is important for UI students to find and take advantage of their opportunities.
"I think it's really important to tell the students here … know your opportunities and take advantage of it," Tsarukyan said. "Know the resources and take advantage of it. I'm just, I'm really connected now with the community."
Ruben Tsarukyan embraces his local community - no matter where in the world he calls home.
Written by Andrew Jensen for The Argonaut, UI's student newspaper.


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Theatre, also spelled theater, in architecture, a building or space in which a performance may be given before an audience. The word is from the Greek theatron, "a place of seeing." A theatre usually has a stage area where the performance itself takes place. Since ancient times the evolving design of theatres has been determined largely by the spectators' physical requirements for seeing and hearing the performers and by the changing nature of the activity presented.
Origins of theatre space
The civilizations of the Mediterranean basin in general, the Far East, northern Europe, and the Western Hemisphere before the voyages of Christopher Columbus in the second half of the 15th century have all left evidence of constructions whose association with religious ritual activity relates them to the theatre. Studies in anthropology suggest that their forerunners were the campfire circles around which members of a primitive community would gather to participate in tribal rites. Karnak in ancient Egypt, Persepolis in Persia, and Knossos in Crete all offer examples of architectural structures, purposely ceremonial in design, of a size and configuration suitable for large audiences. They were used as places of assembly at which a priestly caste would attempt to communicate with supernatural forces.
The transition from ritual involving mass participation to something approaching drama, in which a clear distinction is made between active participants and passive onlookers, is incompletely understood. Eventually, however, the priestly caste and the performer became physically set apart from the spectators. Thus, theatre as place emerged.
Developments in ancient Greece
Visual and spatial aspects
During the earliest period of theatre in ancient Greece, when the poet Thespis—who is credited both with inventing tragedy and with being the first actor—came to Athens in 534 bc with his troupe on wagons, the performances were given in the agora (i.e., the marketplace), with wooden stands for audience seating; in 498, the stands collapsed and killed several spectators. Detailed literary accounts of theatre and scenery in ancient Greece can be found in De architectura libri decem, by the 1st-century-bc Roman writer Vitruvius, and in the Onomasticon, of the 2nd century ad, by the Greek scholar Julius Pollux. As these treatises appeared several hundred years after classical theatre, however, the accuracy of their descriptions is questionable.
Little survives of the theatres in which the earliest plays were performed, but essential details have been reconstructed from the architectural evidence of the Theatre of Dionysus in Athens, which has been remodeled several times since its construction in stone by the politician Lycurgus on the south slope of the Acropolis in about 330 bc. The centre of the theatre was the original dancing place, a flat, circular space containing the altar of Dionysus, called the orchestra. In the centre stood a platform with steps (bemata) leading to the altar (thymele). Nearby was the temple out of which the holy image would be carried on festival days so that the god could be present at the plays.
Theatrical representations, not yet wholly free of a religious element, directed their appeal toward the whole community, and attendance was virtually compulsory. Thus the first concern of theatre builders of the day was to provide sufficient space for large audiences. In the beginning, admission was free; later, when a charge was levied, poor citizens were given entrance money. It seems reasonable to assume, from the size of the theatres, that the actors performed on a raised platform (probably called the logeion, or "speaking place") in order to be more visible and audible, while the chorus remained in the orchestra. In later times there was a high stage, with a marble frieze below and a short flight of steps up from the orchestra. The great Hellenistic theatre at Epidaurus had what is believed to have been a high, two-level stagehouse.
The earliest productions did not have a background building. The actors dressed in the skēnē (from which the word "scene" is derived), which was then a small tent, and the chorus and actors entered together from the main approach, the parodos. The earliest properties, such as altars and rocks, could be set up at the edge of the terrace. The first extant drama for which a large building was necessary was Aeschylus' trilogy the Oresteia, first produced in 458 bc. There has been controversy among historians as to whether the skēnē was set up inside a segment of the orchestra or outside the edge of the orchestra. The skēnē in its later development was probably a long, simple building at the left of the orchestra terrace.
In the first period of Greek drama, the principal element of the production was the chorus, the size of which appears to have varied considerably. In Aeschylus' Suppliants, there were 50 members of the chorus, but in his other plays there were only 12, and Sophocles called for 15. The size of the chorus became smaller in the 5th century, as the ritual element of drama diminished. Since the number of actors increased as the chorus shrank, and the plots of the dramas became more complex, doubling of roles became necessary. On a completely open stage such substitutions were delayed, and the suspense of the drama was dissipated. Dramatic plausibility was also vitiated by the fact that gods and mortals, enemies and friends, always entered from the same direction. The addition of a scenic facade, with three doors, more than doubled the number of entrances and gave the playwright more freedom to develop dramatic tension. About 425 bc a firm stone basis was laid for an elaborate building, called a stoa, consisting of a long front wall interrupted at the sides by projecting wings, or paraskēnia. The spectators sat on wooden benches arranged in a fan shape divided by radiating aisles. The upper rows were benches of movable planks supported by separate stones planted in the ground. The seats of honour were stone slabs with inscriptions assigning them to the priests.
The background decoration consisted originally of a temporary wooden framework leaning against the front wall of the stoa and covered with movable screens. These screens were made of dried animal skins tinted red; it was not until Aeschylus that canvases in wooden frames were decorated according to the needs of a particular play. Aristotle credits Sophocles with the invention of scene painting, an innovation ascribed by others to Aeschylus. It is notable that Aeschylus took an interest in staging and is credited with the classic costume design. Simple Greek scenery was comparable with that of the 20th century; the impulse to visualize and particularize the background of the action became strong. Painted scenery was probably first used in production of the Oresteia; some 50 years afterward a second story was added to the wooden scene structure. A wooden colonnade, or portico, the proskēnion, was placed in front of the lower story of the building. This colonnade, which was long and low, suggested the exterior of either a house, a palace, or a temple. Painted screens set between the columns of the proskēnion suggested the locale.
In the beginning, scenery was probably altered slightly during the intermissions that separated the plays of a trilogy or a tetralogy or during the night between two festival days. By the latter part of the 5th century, scene changes were accomplished by means of movable painted screens. Several of these screens could be put up behind one another so that, when the first one was removed, the one immediately behind appeared.
Soon after the introduction of the facade, plays were uniformly set before a temple or a palace. To indicate a change of scene, the periaktoi were introduced. These were upright three-sided prisms—each side painted to represent a different locality—set flush with the palace or temple wall on either side of the stage. Several conventions were observed with regard to scenery; one was that if only the right periaktos was turned, it indicated a different locality in the same town. According to another convention, actors entering from the right were understood to be coming from the city or harbour and those from the left to be coming from the country.
The permanent facade was also used to hide the stage properties and the machinery. Evidence for the use of the so-called flying machine, the mēchanē (Latin machina), in the 5th century is given in the comedies of Aristophanes; a character in his play Peace ascends to heaven on a dung beetle and appeals to the scene shifter not to let him fall. The mēchanē consisted of a derrick and a crane. In the time of Euripides it was used conventionally for the epilogue, at which point a god descended from heaven to sort out the complications in the plot, a convention that became known as deus ex machina ("god from a machine"). The lavish use of flying machines is attested by the poet Antiphanes, who wrote that tragic playwrights lifted up a machine as readily as they lifted a finger when they had nothing else to say.
A wheeled platform or wagon, called ekkyklēma, was used to display the results of offstage actions, such as the bodies of murder victims. The ekkyklēma, like the periaktoi, was an expedient for open-air theatre, in which the possibilities for creating realistic illusions were severely limited. A realistic picture of an interior scene under a roof could not be shown, because the roof would block the view of those in the higher tiered seats of the auditorium. So the Greeks, to represent the interior of a palace, for example, wheeled out a throne on a round or square podium. New machines were added in the Hellenistic period, by which time the theatre had almost completely lost its religious basis. Among these new machines was the hemikyklion, a semicircle of canvas depicting a distant city, and a stropheion, a revolving machine, used to show heroes in heaven or battles at sea.Howard Bay Clive Barker George C. Izenour
Much recent study has centred on the problem of acoustics in the ancient theatre. The difficulty in achieving audibility to an audience of thousands, disposed around three-fifths to two-thirds of a full circular orchestra in the open air, seems to have been insoluble so long as the performer remained in the orchestra. A more direct path between speaker and audience was therefore essential if the unaided voice was to reach a majority of spectators in the auditorium. Some contend that the acoustical problems were to a degree alleviated when the actor was moved behind and above the orchestra onto the raised platform, with more of the audience thus being placed in direct line of sight and sound with him. By this time, the actors' masks had reached considerable dimensions, and there are grounds for believing that their mouth orifices were of help in concentrating vocal power—much as cupped hands or a rudimentary megaphone would be.
Increased architectural and engineering sophistication in the Hellenistic Age encouraged further innovations. The theatres of mainland Greece, the Aegean islands, and southern Italy had been constructed in hillsides whenever possible, so that excavation and filling were kept to a minimum; or, lacking a suitable slope, earth was dug out and piled up to form an embankment upon which stone seats were placed. By contrast, the cities of Asia Minor, which flourished during the Hellenistic Age, did not rely on a convenient slope on which to locate their theatres. The principles of arch construction were understood by this time, and theatres were built using vaulting as the structural support for banked seating. Archaeological remains and restoration of theatres at Perga, Side, Miletus, and other sites in what is now Turkey exhibit this type of construction. By a third method, auditoriums were hewed out of rock. Of some six such Greek theatres extant, two excellent examples (both extensively remodeled in Roman times) are the great theatre at Syracuse in Sicily and that at Argos in the Peloponnese. The best preserved of all Greek theatres, also in the Peloponnese and now partially restored, is the magnificent theatre at Epidaurus. This theatre provided seats for some 12,000 people, and its circular orchestra is backed by a stagehouse and surrounded on three sides by a stone, hillside-supported bank of seats. Both chorus and actors performed in the orchestra, but only the actors used the two levels of the stagehouse as well. Theatre construction flourished during the Hellenistic Age as never before in classical times, and no city of any size or reputation was without its theatre.George C. Izenour
Developments in ancient Rome
The development of the theatre, following that of dramatic literature, was slower in Rome than in Athens. The essential distinction between Roman and Greek stage performances was that the Roman theatre expressed no deep religious convictions. Despite the fact that the spectacles were technically connected with the festivals in honour of the gods, the Roman audience went to the theatre for entertainment. The circus was the first permanent public building for spectacles, which included chariot races and gladiatorial fights. When Etruscan dancers and musicians were introduced in 364 bc, they performed in either the circus, the forum, or the sanctuaries in front of the temples. The players brought temporary wooden stands for the spectators. These stands developed into the Roman auditorium, built up entirely from the level ground.
Stage design
The most important feature of the Roman theatre as distinct from the Greek theatre was the raised stage. As every seat had to have a view of the stage, the area occupied by the seating (cavea) was limited to a semicircle. As in Greek theatre, the scene building behind the stage, the scaenae frons, was used both as the back scene and as the actors' dressing room. It was no longer painted in the Greek manner but tended to have architectural decorations combined with luxurious ornamentation. The audience sat on tiers of wooden benches, spectacula, supported by scaffolding. There was no curtain; the back scene, with its three doors, faced the audience.
When the popular comedies or farces of southern Italy were introduced to Rome, they came with their own distinctive type of stage—the phlyakes stage. Comedies in Italy were mimes, usually parodies of well-known tragedies, and the actors were called phlyakes, or jesters. They used temporary stage buildings of three main forms. One was the primitive low stage, a rough platform with a wooden floor on three or four rectangular posts. The second was a stage supported by low posts, covered with drapery or tablets; sometimes steps led up to a platform and a door was indicated. The third type was a higher stage supported by columns, without steps but usually with a back wall. The stages often had a short flight of five to seven steps in the centre, leading to the podium. The forewall, covered with drapery, was often decorated, and the background wall usually had objects hanging from it. The rear wall sometimes had other columns, besides the ones set at the corners, as well as doors and, in several cases, windows to indicate an upper floor. The door was usually behind a heavily decorated porch, with a sloping or gabled roof supported by beams and cross struts. Among the furnishings there were usually trees, altars, chairs, thrones, a dining table, a money chest, and a tripod of Apollo (i.e., an oracular seat). The stage was set up in the marketplace in the smaller towns and in the orchestras of Greek theatres in the larger cities.
Coincident with the development of the phlyakes stages, and under the inspiration of Hellenistic colonists, the Romans began to build stone theatre buildings. Beginning by remodeling Greek and Hellenistic theatres, they eventually succeeded in uniting architecturally their own concept of the auditorium with a single-level, raised stage. This they did by limiting the orchestra to a half circle and joining it to the auditorium, thereby improving on the acoustics of Greek and Hellenistic theatres. They also brought to perfection the principles of barrel and cross vaulting, penetrating the seat bank at regular intervals with vomitoria (exit corridors). The raised stage was at a single, much lower level than in the Hellenistic theatre. It was roofed, and the number of entrances to it was increased to five: three, as before, in the wall at the rear of the stage and one at each side. The Romans' love of ostentatious architecture led them to adorn the permanent background with profuse sculptures. In some theatres, a drop curtain was used to signal the beginning and end of performance. In some cases, a canvas roof was hoisted onto rope rigging in order to shade the audience from the sunlight.Howard Bay Clive Barker
In Roman theatres the stage alone was used by the actors, who entered the playing space from one of the house doors or the side entrances in the wings. The side entrance on the audience's right signified the near distance and the one on the audience's left the farther distance. If a scene took place in a town, for instance, an actor exiting audience right was understood to be going to the forum; if he exited audience left, he might be going to the country or the harbour. Periaktoi at the side entrances indicated the scenery in the immediate neighbourhood. If the play required a character to move from one house to another without bringing him on the stage, which represented the street, the actor was supposed to use the back door and the angiportum (i.e., an imaginary street running behind the houses). Since interior scenes could not be represented easily, all action took place in front of the houses shown in the background. If a banquet was to be depicted, the table and chairs would be brought on stage and removed at the end of the scene. Costumes were formalized, but real spears, torches, chariots, and horses were used.
The orchestra became part of the auditorium in Rome, reserved by law for those of privileged rank, who seated themselves there on a variety of portable chairs and litters. The orchestra was no longer needed as part of the performance area because the chorus had long since ceased to be an integral part of drama. The tragedies of Seneca, in the 1st century ad, included a chorus because they were patterned after Greek models. But they never achieved the popularity of earlier comedies, especially those of Plautus and Terence. These works had at first been performed on temporary wooden stages that had been erected on a convenient hillside and sometimes surrounded by temporary wooden seating.
Until the late republic, a puritanical Senate had banned all permanent theatre building within the city of Rome itself as decadent. Thus, theatres there were temporary structures, set up in the Campus Martius for the duration of public games. In 55 bc, however, the triumvir Pompey the Great built Rome's first permanent stone theatre. Another public stone theatre was built in Rome in 13 bc and was named after Marcellus, son-in-law of the emperor Augustus. Both were used for the scaenae ludi ("scenic games"), which were part of religious festivities or celebrations of victory in war and which were paid for by triumphant generals and emperors. During the period of the Roman Empire, civic pride demanded that all important cities have theatres, amphitheatres, and, in many instances, a small, permanently roofed theatre (theatrum tectum, an odeum, or music hall) as well. In fact, it is from outlying cities of the empire such as Arausio (Orange), Thamagadi (Timgad), Leptis Magna, Sabratha, and Aspendus that archaeological evidence provides most of the firsthand knowledge of Roman theatre building. The best preserved Roman theatre, dating from about ad 170, is at Aspendus in modern Turkey.
Vitruvius' treatise on architecture
Literature is another source for knowledge of Roman theatre. De architectura libri decem ("Ten Books on Architecture"), by the Roman architect Vitruvius (1st century bc), devotes three books to Greek and Roman theatre design and construction. The author gives general rules for siting an open-air theatre and for designing the stage, orchestra, and auditorium. These rules are based on principles of Euclidian geometry in matters of layout and proportion. His dicta on the provision of good sight lines from auditorium to stage are generally sound. Apart from that, however, his treatise is not very helpful. He mentions changeable scenery but is vague about what was involved. Vitruvius' notion of acoustics, which he claims is based on theory as well as practice, appears to be vaguely associated with Greek ideas of musical theory but has since been proved to have no scientific or mathematical basis. Indeed, his views on this important matter were to cause problems for almost 2,000 years.
The odeum
Vitruvius has nothing to say about the roofed odeum (or odeon, "singing place"), which, according to some authorities, represents the high point of theatre building in the ancient world. Theatre history has, unfortunately, largely overlooked these buildings. Excavation work has revealed more than 30 of them, in a wide range of building materials. Odea were apparently first built in Athens under Pericles (5th century bc). They continued to be built throughout the Hellenistic Age and also in the Roman Empire up to the time of Emperor Severus Alexander (3rd century ad). They range in size from one with a seating capacity of 300–400 to one of 1,200–1,400. Experts disagree as to their specific purpose and use but claim they exhibited a refinement of detail and architectural sophistication found in no other Greco-Roman buildings devoted to the performing arts. They are most often found in Greek cities dating from Hellenistic times, on the grounds of private villas built by Roman emperors from Augustus to Hadrian, and in major cities of the empire, usually dedicated to the emperors. One of the most imposing, which also boasts the greatest span for a wooden trussed roof in the ancient world, was the Odeon of Agrippa, named after the emperor Augustus' civil administrator. This Roman building in the Athenian agora, dating from about 15 bc, is beautifully detailed, with an open southern exposure and a truncated curvilinear bank of seating. It achieves an atmosphere of great dignity and repose, despite the vast size of the room. In the last years of the Roman Empire the odeum was, it is claimed, the only remaining home of the performing arts, because by this time open-air theatres had long been given over to sensational and crude popular entertainments.
Greek and Roman theatre building influenced virtually all later theatre design in the Western world, the theatres of the Spanish Golden Age, the English Elizabethan period, and the 20th-century avant-garde, with its experiments in primitive theatre-in-the-round techniques, being exceptions to this pattern. The architectural writings of Vitruvius became the model for the theatre building of the later Renaissance and early Baroque periods.George C. Izenour Clive Barker


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For 139 years, The Ferndale Enterprise has been the paper of record for the historic Victorian Village and surrounding areas. The award-winning publication – one of the smallest in California, we might add – covers Ferndale like a blanket with news of the dairy industry, city politics, hard-hitting editorials, school news, old-fashioned social columns, art news and sports stories, as well as features on locals that make the Cream City such a unique place to call home.
While Ferndale may be the hub of our area, we don't neglect our neighbors who trek into town from the Bear and Mattole River Valleys. Our columnists "from the hills" also are a big part of our newspaper, keeping all of us informed of the "goings on" in the outlying areas.
The Ferndale Enterprise is "all about us" – us being the community we live and work in and are proud to call home. We're also extremely proud of our more than 30 state and national awards from the National Newspaper Association as well the California Newspapers Publishers Association. ?In 2016, The Enterprise and its publisher won the triple crown of Free Speech, Open Government and First Amendment awards. ?Caroline Titus was name the recipient of the?2016 First Amendment Coalition's Open Government and Free Speech award;?the 2016 Nor Cal Society of Professional Journalists James Madison award and the?2016 California Newspaper Publishers Association Freedom of Information award.
And, for advertisers, we like to tell the hundreds of advertisers who do business with us, "If you want to reach Ferndale, it's through The Enterprise!"
It's easy to subscribe to The Enterprise and get your dose of this unique community every week. (We don't post the majority of our content online. ?On occasion, we will post a story from that week's print edition or a breaking news story.) ?Click on "Subscribe" and learn how to receive The Enterprise in your mailbox each week. Your readership is much appreciated and we feel honored to carry on the tradition of The Ferndale Enterprise. Please remember, we always appreciate your ideas and comments.
Caroline Titus
Publisher (since 1998)/Editor (since 1996)
P.S. ?Come stay with us! ?Get ink on your hands and see your name in the headlines! ?The Enterprise office is also a vacation rental. ?Check it out:


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The Mills County Trail Planning Committee, Mills County Conservation Board and the National Park Service's Rivers, Trails and Conservation Assistance Program are hosting a series of listening sessions this month to solicit public input on the future of a multi-use trails system in the county.
Listening session attendees will have the opportunity to share their opinions on proposed locations for future trails in the county and to actually place their ideas on a map. Individual maps from each meeting will eventually be merged into one county-wide comprehensive plan.
Meetings are scheduled for Saturday, Jan. 11 at the Glenwood Senior Center (8 a.m.) and the Indian Creek Museum near Emerson (11 a.m.), Thursday, Jan. 16 at the Glenwood Community High School cafeteria (7 p.m.), and Saturday, Jan. 18 at the Classic Cafe restaurant in Malvern (9 a.m.).
For additional information about the meetings, contact Kevin Mayberry at 527-4873.
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The device is an EXACT EQUIVALENT in functionality and parametrics to the compared device.
TI does not recommend using this part in a new design. This product continues to be in production to support existing customers.
The TPS2045A through TPS2048A and TPS2055A through TPS2058A power-distribution switches are intended for applications where heavy capacitive loads and short circuits are likely to be encountered.
These devices incorporate 80-m N-channel MOSFET high-side power switches for power-distribution systems that require multiple power switches in a single package. Each switch is controlled by an independent logic enable input. Gate drive is provided by an internal charge pump designed to control the power-switch rise times and fall times to minimize current surges during switching. The charge pump requires no external components and allows operation from supplies as low as 2.7 V.
When the output load exceeds the current-limit threshold or a short is present, these devices limit the output current to a safe level by switching into a constant-current mode, pulling the overcurrent (OCx) logic output low. When continuous heavy overloads and short circuits increase the power dissipation in the switch, causing the junction temperature to rise, a thermal protection circuit shuts off the switch to prevent damage. Recovery from a thermal shutdown is automatic once the device has cooled sufficiently. Internal circuitry ensures the switch remains off until valid input voltage is present. These power-distribution switches are designed to current limit at 0.5 A.


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While Verizon Wireless is holding on the promise to refrain itself from attacking Apple in their new nationwide campaign, the bashing continues nonetheless thanks to the carrier's best buddy Motorola.
The disastrous manner in which Apple and its boss Steve Jobs have been handling the so-called iPhone 4 death grip has presented rivals with lots of unexpected ammunition. Nokia first jumped on the opportunity to spoof Apple's handset by showing the various phone grips claimed not to affect its phones in any way.
And now, Verizon's partner Motorola has taken the opportunity to take a nasty jab at Apple in a new advert promoting the July 15 Droid X launch. The image of the advert appeared on Motorola's Facebook page late yesterday, accompanied by the following caption:
Droid X does more. Like make calls no matter which way you hold it. Available July 15th.
At first, it looks like an ordinary cellphone advert. A large Droid X image is surrounded with a bunch of blurbs highlighting the handset's 4.3-inch screen, high-def video capture and HDMI video output, 1GHz processor, eight-megapixel camera with dual-LED flash, and more. However, tucked away in the small print section bellow the image is a reference to iPhone 4's antenna issues (emphasis added):
Introducing the DROID X by MOTOROLA, the ultimate smart phone. It's screen is gigantic. Its capacity is huge. Every experience from messaging to movies is larger than life. It can even connect with your HD TV so you can share little things with large audiences. And most importantly, it comes with a double antenna design. The kind that allows you to hold the phone any way you like and use it just about everywhere to make crystal clear calls. We have a voice. And you deserve to be heard.
In an internal meeting last Saturday dedicated to the latest "We Rule the Air" campaign, the management reportedly told employees that Verizon has no interest in carrying the iPhone for the time being. In addition, they reportedly told employees that the new campaign will break away from bashing AT&T and iPhone. The management obviously failed to mention that Motorola will be playing the bad cop role now.
Read more in Motorola's Facebook wall post


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1. Big Bus Tours Paris
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子 (0-2): 無料
From September 3 to April 5 10 AM to 7 PM. From April 6 to September 2 10 AM to 9:30 PM. Departs every 20-25 minute.


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It seemed like a great place to camp. The clearing was good sized and sheltered from the wind. The brook just a few feet away. There is a natural hallow to keep the horses.
Then the night came.
It was like it became a different place. The temperature dropped. The wind, which does not seem to disturb cloth, almost cuts through you like an arctic wind. No one can sleep, as the soft ground has turned hard. The horses are uneasy. The Bats are flying over and stopping in the trees.
And then there is the eyes. There are glowing eyes just inside the tree line watching your group. The mages and clerics can detect nothing, but there is still something there.
(yet there is nothing at all... The Darkness will do nothing unless the players do something to it. And even then it will all seem to be a conincidence.)
Of course, in the morning, it all becomes sweet and light.
Encounter ( Locations ) | November 10, 2004 | 1xp