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Lauren Pressley is the Head of Instruction and an Associate Librarian at the Z. Smith Reynolds Library at Wake Forest University. In this role, Lauren collaboratively manages the library's instruction program, plans and manages professional development for librarians who teach, administers the LIB100/200 program, represents library instruction to various audiences, and serves as library representative on teaching-related committees including the Teaching and Learning Center advisory board.
Lauren's professional interests include strategic thinking, advocacy, the library's role in the teaching and research missions of the university, and mentoring new and emerging professionals in the field. She particularly likes helping people think about the changing information landscape and what it means for them as consumers and producers of information.
Lauren earned her MLIS from the University of North Carolina at Greensboro and BAs in Philosophy and Small Group and Interpersonal Communication from North Carolina State University. She's published the books So You Want To Be a Librarian and Wikis for Libraries, serves in elected positions on the American Library Association Council and the Library and Information Technology Association Board of Directors, and is a member of the Horizon Project Advisory Board. She has been recognized as an ALA Emerging Leader, a Library Journal Mover & Shaker, and with a UNCG School of Education Distinguished Alumni Early Career award. She frequently writes and presents on education, instruction, technology, and the future of libraries. Lauren also blogs at ALA Learning, tweets as @laurenpressley, and can be reached at firstname.lastname@example.com.
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Drag, drop, and rock with Couch Music Player for iPad
I'm too lazy to make playlists. Plus, I like to experience albums in their entirety. For times when I want to listen to a mix of songs, I typically pick a genre in my iTunes library and hit shuffle (or use Pandora or Spotify's radio feature). Given my playlist aversion, I was excited to put Couch Music Player to the test, a new music app for the iPad whose chief purpose is to make the playlist creation process so easy that even lazy people like me will undertake it.
Couch Music Player costs $1.99. It features a … Read more

subset: commoncrawl


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The Den Of Geek interview: Dean Cundey
From The Thing to Who Framed Roger Rabbit, Dean Cundey is one of the most respected and in-demand cinematographers in Hollywood...
Dean Cundey is one of Hollywood's finest cinematographers, having shot films such as Jurassic Park, Who Framed Roger Rabbit?, The Thing and Back To The Future. Boasting collaborations with the likes of Steven Spielberg, Robert Zemeckis and John Carpenter, he spared us some time in his busy schedule for a chat…
Can we begin at the very start of your career? You shot a number of low-budget horror films with some insanely brilliant titles and presumably that was a much less pressured environment to make your films in.
Yeah, it's one of those things. Without the crutch of just being able to fix it in post-production so easily now, you really had to be thoughtful about the effect you were going to do, and the moment you were going to try to create. I think that one of the things that happened in those early films was that because you had to rely on real life and physics and everything, that what the audience saw were things that were in fact plausible. And now, with the computer, you're simply unlimited as far as what you can do, as it's so easy to create things that are impossible.
And as a result it sort of destroys the sense of reality as far as the audience watching a moment or an event. It's very easy to get so involved in the effect that I think as a film-maker, you don't stop to think that what you're really doing is taking the audience somewhere that they know is completely impossible, and therefore there goes some of the fun and credibility of watching. And it's not to say that those moments aren't fun, or those kinds of films aren't fun, but at the same time, that doesn't apply to all films.
Would you say that your career came just within the perfect timeframe? Because one thing that underpins much of your work is the amount of pathfinding you seem to have done, just solving problems that haven't been solved before. I wonder for people coming into your profession now, if those problems just aren't there.
I think there's a lot of truth to that. I remember about maybe four or five years ago, I was at one of the laboratories here, looking at a print of some film, and the guy who was the colour timer was telling me that so many of the young guys coming into cinematography now are used to electronic colour-timing and telecine and so forth because they work in commercials. And then when they got into colour timing at the laboratory, which was just photochemical, they were a little lost but overly expectant as far as what could be done. They were used to relying on fixing little things in the frame - that wall back there was too bright, they wanted to change the colours and things, and so they came up in an era where they could rely on the electronic process without the thought that went into it as you were shooting it. And I think that's becoming more evident even now, when for special effects stuff, that it's so easy to rely on the fact that so many things can be fixed or created in the computer.
I'd say what defines your work is your expert use of light. It seems so carefully chosen, the amount of light that you put on a scene.
Yeah, I think that's important too. If you get used to thinking about creating the images in front of the lens, with the lighting and your careful choices, and you're not dependent on fixing them later, then it makes you a lot more thoughtful as far as creating the original images that you're doing.
On the work you're doing now, do you ever find yourself allowing you to go back and fix something later, or do you insist it must be done in front of the lens?
I try as much as possible, still, to do things in front of the lens. There are a lot of times now where you can rely on the fixing that can be done after the fact. Because there are times when you know it's just going to take you half-an-hour to take some of light off the wall back there, and you can say, "Well, let's do that in the DI, or in the electronic transfer. But of course that also means that you have to be involved in that process later, or things like that can slip through the cracks, so as much as possible I like to deliver the image that is as complete as possible so that something doesn't get left out.
You've come to one of the questions I was going to ask later - when's your job done on the movie? When's the point where you can walk away from the project, do you follow it right the way through the editing suite, or is it once it's shot, it's shot?
I try to follow it through...and it used to be that as soon as you were done shooting, the next step was just the final timing of the colour and so forth, which was literally the last step after all of the music and the editing was done.
But now, more and more, there are fixes the occur sort of during the editing process where the director will often say, "You know what? Let's replace that sky". Or, "let's add a window over there", or whatever. And so there's the risk that the work that you do is going to be handled by other people. If they are, in fact, qualified people you're fine, but it can get out of hand if the work that's done is just sort of capriciously done and not with an educated eye.
Reading around about you, some of your work that's clearly got such a huge fanbase are the films that you did with John Carpenter, particularly Halloween. Would you say that's been one of your fondest collaborations?
I think so. It was one of my very earliest steps into working with a director who knew the importance of the camera, of the visual image as far as storytelling, and was willing to take the time to elaborate and embellish a moment using the camera.
I had been working previously with directors who used the camera to record actors talking. John was one of the first directors to say, "No". As we look at these old movies done by great old directors - you know he was very fond of Howard Hawks - he realised how you showed the audience the moment was as important as what the actors were saying. So Halloween really became my first gratifying steps into that area.
Would you say that was your 'break', if you like?
I think so. The films I had done before, while some of them were kind of interesting, they were in fact just sort of drive-in movie films. And Halloween was the first one that became a big enough success that everybody said, "Oh, those people are obviously skilled".
In Halloween you pretty much helped pioneer the Steadicam technique, but I'm guessing on a film like that you were more looking for a solution to a problem than trying to overtly break new ground.
Well, yes and no. Actually John was very aware of the fact that the Steadicam was a new way to move the camera in a style where the audience may not have been absolutely aware of the fact that they were not just watching a hand-held camera, or a camera on a dolly, but a new kind of camera movement. So John was very aware of that, and as a result I was able to participate in creating a new subconscious feeling in the audience about how the camera moves and where it goes.
That's another area where you were ahead of the game, making the camera a character in a film. Was that always the ethos you were striving for?
I would say so, and I think that you if you look at early, old films from the 30s and 40s there were particular films that, as I look back at them now - you know, watching them on television or whatever - you can see that there were some directors who had pretty sophisticated ideas about how to use the camera. And as a result you were sort of drawn into moments in the story telling.
So I think that part of it was instinctual on our part, having watched old movies and you sort of sense the fact that there are ways to draw the audience into it, but I think a lot of it was also consciously trying to say, "How can we apply the camera? How can we make the visuals tell the story as much as the dialogue and the action?"
I re-watched Jurassic Park recently, while we're talking about camera movements, and what's particularly unsettling about it is a lot of the really small camera nudges, not the big overt sweeps or anything like that. It's almost as if the camera's not grounded for much of that film at all.
Yeah. One of the aspects of the film 'language' or 'grammar' that the audience has sort of been taught over a period of time is that certain little camera movements or compositions or things like that all have a particular kind of meaning or potential meaning, as far as visual storytelling. It's really a lot of fun to examine that vocabulary of film, you might say, and say, "Okay, how can I apply just a little bit of a dolly move here to accentuate it, or keep the audience a little bit unsettled?", or whatever you're trying to do.
And that's an experience thing, I would guess, rather than anything they can teach you.
Yes, I think so.
Also, you used lens flares in your John Carpenter films, and this was a technique that was once considered a 'mistake', but over time has just become more desirable and you're seeing lots and lots of people do it. What was your thinking there?
It's interesting, and I think that some of it is just, as I say, kind of instinctual. You know, you realise that a mistake in film is sometimes an important way of telling the audience that they're watching reality. I was always struck by the fact that in old films, especially the early colour ones, you could always tell when they were shooting an 'exterior' scene on a stage and when they were really outdoors. Because on the stage, it was possible to make the lighting very even and almost too perfect. And that perfection always said to me at least, and I think subconsciously to the audience, that we weren't watching a real situation, that it was a set that was constructed on a stage, a moment that was not real. And I think that more and more now, they deliberately add, and sometimes too much, they add the imperfection to a film - you know, the shaky camera, and so forth, that is trying to create the illusion of reality.
You moved on to some very big films, but what would you say are the practical differences between the cinematography of a low-budget film and its higher-budget counterpart. Particularly, is it a myth that you get more time on a bigger-budget film?
Well you do get more time, but usually it's been allocated to bigger things. So it isn't that I would, as a cinematographer, get more time necessarily to create something, but a lot of times it's taken up with the fact that you're working on a larger set so your time is taken up with moving equipment to a location, and constructing larger sets and so forth. And while you do get more time and more equipment, sometimes it's not always a good thing. It's eaten up by guys rigging up little bits of wire, and things like that, that are not obvious to the audience, and sometimes you just wonder of they are really necessary.
There are two superlatives that have come up time and time again aimed in your direction. One I thought was really interesting was 'The Master of Widescreen'. Digging into your work, you don't steadfastly stick with 1.85:1 or 2.35:1, you do vary between productions.
Yes. And sometimes that's quite true, sometimes it's fear on the part of the studio, and shooting widescreen. There was a whole period where because they immediately started thinking that the film was going to be shown on television, they didn't want to waste the frame. And of course it's never really a waste of frame. And now, the fact that they're starting to letterbox films so that you can see that whole thing gives you a little more choice to do widescreen and to do things with an aspect ratio that is more complementary to the story.
Do you have a preferred aspect ratio to shoot in?
Um, well I've always kind of favoured the 2.35:1, the wide, anamorphic frame, or whatever we would try to call it generically. Because I think it gives you a lot of creative possibilities, you know. The first objection to that a lot of the time comes from sometimes directors but often producers who say, "You can't frame a close-up with that". And well, yes you can, but what you're saying is that you look at a film as only valuable in the close-ups of the actors. There is a great deal more that you can put in the frame that tells the story and enthrals the audience. And I'm a believer in finding ways to fill the frame with the storytelling.
There's a story going around that when you came to Apollo 13 you didn't shoot it anamorphically simply because you couldn't get the lenses.
It was kind of like that. We didn't shoot it anamorphically because the depth of field, how close you can focus a lens, is limited. And Ron [Howard, director] and I talked about being very aware of not putting the camera outside the capsule, not breaking the 'fourth wall'. We didn't want the audience to ever feel the camera was in a place that it couldn't be in real-life in the capsule. So we consciously made a choice to go to Super 35, although we could use spherical lenses that would allow us to put the camera, the lens plane, inside the wall of the capsule.
Going back to the two superlatives, the other one was that you're 'a genius at shooting in the dark'. And you do seem to be able to wring all sorts of tension and great moments from all sorts of dimly-lit scenes.
To me that was always the challenge, because there's a conflict when you're shooting in the dark that it has to be light enough for the audience to be able to see, and to be able to see what it is, and yet it has to look like it's dark enough that the character, the actor, can't see. So it's a very, very careful case of lighting just the things that seem logical and yet hiding, all of the suspense and so forth. To me that's always one of the greatest challenges, that we, cinematographers, are faced with is creating the illusion of dark.
Was it the Halloween films and the Psycho sequel that really allowed you to fine-tune that?
Yeah, I think so. Certainly that and The Thing, was another example of a lot of action and storytelling that took place in the dark. And that's where I became the most thoughtful, but also had the most flexibility. I mean - in the case of John, he was not afraid of having dark areas in the frame because he understood the importance. Compared to other directors, who would say, "Well, it's dark, I can't see the wall in the corner back there", and so it was a case of being allowed the flexibility to experiment.
Some of your favourite work of mine is in the Back to the Future movies, of which I'm an enormous fan and I suspect a lot of people you meet are. What strikes me about the first one, in fact the first sequel as well, is the balancing act of it. There are very distinguishable 50s and 80s elements in the film, and I'm wondering do you differ much in the way you shoot those?
Yes, as a matter of fact we've just had a screening here, and I went to it and we had a little question-answer period with the audience, and I was able to watch it again on a big screen that I hadn't for a while, and it reminded me of the fact that we made such very conscious choices in shooting the film. The 50s we deliberately used warmer light, a little bit softer light to kind of create that nostalgic look back, consciously with the audience. And the 80s were sharper, more contrasty and a little cooler as far as the colour of the light.
And you carried that through to the second film as well? There's an on-screen contrast between the two different versions of the 80s that were shown.
Yeah, we deliberately did that also, what we called the 'Biff-Horrific' period, the 80s has been changed quite a bit. That was a style that was even more contrasty and darker, and cooler light, and then we tended to use other elements. There was smoke whenever we could, and so forth, and then when we went to the 50s, or the pleasant 80s, we tended to use, again, slightly warmer colours and softened the image by putting a little bit of atmosphere, a little bit of smoke or whatever in the set so there was a little bit of a glow around the windows, and a softening of the background.
Again, we're back to much of the distinction in front of the lens?
You came to Back to the Future off Romancing The Stone, again with Robert Zemeckis directing. And Romancing The Stone, from what you've said about it, has sounded like an exhausting job.
Yes, actually, it was probably the hardest job physically and as far as working on locations and stuff that I had done up until that point. It was one of those things that I think we had to overcome certain aspects of that, but also it allowed us to embrace certain parts of it too. You know, we had a lot of rain and so forth and so we were always working in mud. But at the same time it created a great illusion of hardship for the characters, and also, because the rain was constantly washing the bushes and the trees and everything, the colours were a little more vivid when they needed to be. It was one of those things that we were conscious of while we were working and tried to use.
Did the two projects in any way overlap? Because there didn't seem to be much turn-around time between them.
Only to a certain extent that there was very little time in between the two, that with the success of Romancing The Stone, Bob was very quickly able to get the next project going, which was Back To The Future. So...we were off and running very quickly.
Just one last question on Back To The Future - when it came to do the sequels, we've seen films done back-to-back now, but back then it just wasn't common at all. I'd imagine the challenge for you is that in many ways they were two very different films, not least one seemed very light, the other very dark.
Yeah. And I think that was one of the things that was most intriguing about both of them. We had literally two weeks off between them and the decision had been made - because originally it was one script - that it was going to be one sequel. And the script was too long, but as they tried trimming it and cutting, and rearranging, but it always meddled with the story and the various points it had to link.
So it was a very clever decision to say, "Fine, well we'll just make two films out of it". It was fun because was could think of them as one, long, continuous story, and we were able to relate to what we had he done in one period to one scene to another scene and so forth, and it was easier to remember exactly how we had done it. So I think it really made them a great, enjoyable project, and in many ways paved the way, I think, for other people to say, "Wow, we should think of this film as a trilogy, or whatever, we'll do the same as we did on Back To The Future, we'll shoot the two sequels together".
There was also Who Framed Roger Rabbit?, which just seemed to rip up the rule book. I read one interview with you where you got told by Disney animators what you should do, and you just went and ignored a lot of it. You must have made a hell of a job for yourself?
Yeah, as Bob Zemeckis said, Roger Rabbit was about all of the right people being at the right place at the right time. We were all off on this journey together, it wasn't like one person directing and dragging a lot of people along, we all really embraced the project as ground-breaking and understood that we were going to be doing things that hadn't been done before, that we were going to be finding ways to do them. And that we had, for the most part, the blessing of Disney after we had shot our little 30-second test and they saw what was possible and what we were going to attempt to do, they said, "Oh, we get it, okay. So, good luck". So we were all off on this journey with a positive attitude, together.
Do you ever have a moment where you sit and you think "You've made a rod for your own back here"?
Film is all about creativity, and if you look of the history of film and you look at the old movies and go, "Oh, look what those people did", and you'll look at a film like The Wizard of Oz, where people were out in areas that had never been done before, and you say, "Well, it's certainly possible!".
There's a tradition of film being able to go new places and try new things, so that there's always a way to do it. And I was always inspired by the fact that our visual effects supervisor, Ken Ralston, from ILM, Industrial Light and Magic, he was never one to say no. I would work with other visual effects people who says, "Oh no, we've never done, we can't do that!" as they were afraid of failure, or afraid that they were going to look bad at the company or something. Ken Ralston was one of these guys who said, we've never done that before, let's see if we can do it, maybe we'll find a way to do it - let's shoot one version that's really safe, but then go ahead and go out on a limb, and I would say probably 95 percent of the time, (Ken) and the guys at ILM would find a way to solve the visual effects difficulty. With that kind of camaraderie, we all had that attitude that, "Let's just try it, let's see if we can invent some way to do it".
In 1992 and 1993, you had two films come out that, in different ways - and I don't think that one of the films gets the credit it deserves - redesigned the way we look at integrating special effects into action. Jurassic Park I want to come to in a second, but Death Becomes Her – was a comedy where special effects are just part-and-parcel of so many shots in the film.
Again, the effects always took the backseat to the storytelling. They were just ways to draw the audience in to the moment, or the character, or the story point, as opposed to being a flashy moment.
It really was integral, wasn't it, you couldn't imagine the film without it as well. Jurassic Park, for an assortment of reasons, must have been a phenomenally difficult film. The one scene that I always pick out is the raptors running around the kitchen with all those reflective surfaces. I dread to think how long that took.
That was actually one of the most complex and thoughtful sequences, and it's always been one of my favourites in the film. Partly because when we walked into the set as it was being built, and I looked and saw that everywhere there was steel. But also it's brushed stainless steel, which is particularly difficult because it reflects light and things in all directions. So we were constantly devising ways to hide the things that shouldn't be seen, like lights and so forth, and yet create surfaces that the animators and compositors could put reflections in so that the illusion of reality was followed through with.
Would you say that was the most taxing bit of the film?
I think it probably was, because we were combining puppetry with visual effects, creatures...and again, doing Jurassic Park, nobody had photorealistic creatures in the computer before, so none of us knew anything about what they were going to look like when they were in, composited, any of the techniques we were just inventing them as we went along. Every shot required a great deal of thought. I think that a lot of the credit goes to the fact that Steven [Spielberg] was willing to find ways to accommodate all of the unknown, and as I would think of a potential difficulty on a particular shot and explain it to him, he would say, "Oh, okay, well how do we fix it?" and he was willing to listen to it rather than dismissing it and saying "Don't worry about it", and finding out later that it was less rewarding than you had hoped.
Steven Spielberg is one of several key collaborations you seem to have enjoyed through your career - John Carpenter, Robert Zemeckis, instantly spring to mind. Is there something that unites the way that they work that particularly appeals to you?
It all goes back to a director who understands the importance of using the camera to tell the story. That is what makes the great collaboration. Sometimes there are directors who may not understand exactly themselves how to do it, but they're willing to listen. They collaborate, they're willing to say, "Show me or tell me what you think should be done here". That's what makes for a great collaboration.
And are you keen to work with any of them again?
Oh yeah, I would work with any of them. I love working with all of them and the fact that they are visual storytellers is one of the key things I look for.
You're directing films yourself now, as well, I read the story about how you had seven million to film a forty million film, basically, with Honey We Shrunk Ourselves. Again, number one, was there always a thirsting to direct, and number two, were you attracted there just to the challenge of trying to cram so much out of so little?
I think it was a case of a film that was going to rely on the visuals, and how I could apply my experience and sensibilities. I'm actually hoping to do a little more directing, to go further into that.
You were attached to Dark Horse for a while - is that still going?
Yes, we're still in the midst of doing a re-write, so hopefully that'll happen.
One thing that strikes me about your career is how you've constantly beaten stereotypes. In your early career you could have just been bracketed in horror, as it went on there was science fiction and effects films, and the films that you're doing now - Garfield, The Holiday, things like that - you're just an incredibly tricky man to pin down.
The thing that I find interesting is the new challenge, so that you don't always fall back on something you've done before - it's like how to challenge yourself to think about something new, or how to use a particular genre in a way that might be a little more refreshing. So that's one of the reasons I like to do different things.
If you're moving onto something like The Holiday, do you find that a more relaxed project in any way, or is it just presenting different challenges you've not met before?
It was presenting different challenges. You're now faced with creating fun and comedy, and there was a little bit of different style. There was the English portion, there was Beverly Hills, so looking for subtle ways to take the audience into different worlds.
I'm curious what your thoughts are on the digital revolution that's going through now, and by that I mean the digital video cameras that more and more directors seem to be using. Do you think this is progress or do you think this is a move towards a slightly lazier kind of filmmaking?
Well, it's sort of progress as far as just a technical development. Right now, the problem with digital capture is that there's not as much dynamic range, as far as being able to capture from light to shadow as there is in film. There are certain issues - you know, the archiving issue... film is the best way to preserve, and keep things upwardly mobile for the future kind of transmission and display and everything.
Right now, in some cases we're taking a little step back when we go into digital. And people have to stay aware of that. You know, it's very easy for the producers to say, "Oh well, we don't need film, we don't need the dailies...". And part of that is the fact that there's this illusion that because everybody has a camcorder at home that does everything for them, focus and exposure, that digital's going to be easier.
The reality is that filmmaking is very, very careful decisions about what you show the audience and how you show it to them, and if it's structured with the lighting, it's structured with the focus, it's structured with all of the technical things that are becoming automated with our consumer digital stuff. So there's this illusion created for producers that "Well maybe we're not gonna need to take time to do all this stuff any more".
And the reality is that no, that's all part of the language of filmmaking that's important - how you light a scene, and what lens you use and where the focus is and all, is all part of visual storytelling. It needs to be a continued part of the vocabulary. And the fact that you might be able to shortcut a few of the post-production steps in-between, you can't lose sight of the fact that you really want to be sure that you don't do any decision-making that's going to prevent you from keeping or archiving the film for future purposes.
What are you up to now and what we can look forward from you next?
Well, at the moment I'm reading a couple of scripts, and I'm kind of waiting a go-ahead with my friend, we've got a documentary that we've been doing. And also I'm doing commercials in-between, because I find them kind of fun to do, it's a different kind of filmmaking.
So you're almost doing that in reverse, really. A lot of the new people coming in are cutting their teeth on commercials and you're almost relaxing a little bit with them. Relaxing's probably the wrong word, but I think you know what I mean?
There are guys who learn on commercials looking for a chance to do a big feature, and while I'm looking for the next big feature challenge, I'm enjoying doing some commercials.
Dean Cundey, thank you very much!


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Ex-firefighter, Colon's, labor complaint gets dismissed
LORAIN — State officials have dismissed a labor complaint filed by a Lorain firefighter who claimed he was wrongly forced to resign.
The State Employment Relations Board on Wednesday ruled against Joseph A. Colon, a 16-year firefighter who left the Lorain Fire Department this year.
Colon's attorney filed an unfair labor practice complaint in July against the city, arguing Safety-Service Director R. Michael Fowler coerced him to leave the force in May.
City officials argued Colon abused Lorain's sick time policy for municipal workers.
The State Employment Relations Board found Colon failed to establish a case of discrimination and was not a public employee when the grievance was filed two months after he resigned, according to the SERB ruling.
"We think we were completely justified in what we did in this matter and there was no violation of the code," said Geoffrey Smith, deputy safety/service director for human resources and risk management.
Colon also has filed a labor grievance that is scheduled to go to arbitration in February, Smith said. He added the city expects to prevail in that case.
Colon and his attorney, Kenneth Stumphauzer, also have appealed to the Lorain Civil Service Commission, which has held the case in abeyance pending the outcome of the grievance. Stumphauzer was not available for comment last night.
Colon also is a registered nurse who works part time at the Cleveland Clinic.
On May 8, Fowler produced documentation alleging Colon was working at the clinic while he took sick time from the fire department on Dec. 23, 2010, according to Colon's July 26 letter to the Civil Service Commission. Continued...
On May 8, Colon could not recall the exact incident, but later remembered he was present at the Cleveland Clinic while his daughter was having a tonsillectomy there, according to his letter to SERB.
Fowler "intimated that Mr. Colon's conduct constituted theft in office," the letter to SERB said.
Colon believed if Fowler filed criminal charges against him, he could lose his job as a firefighter and lose his nursing license, said his letter to SERB.
Colon was required to be present at the hospital for his daughter's surgical procedure, his letter stated. While Colon was waiting for her to recover, a supervisor asked him "if he wanted to make phone calls to the patients who were having procedures performed the subsequent day."
Colon did so for three hours until his daughter was released from the clinic, the letter stated.
Colon argued he was discharged without just cause and has asked to be reinstated with back wages and benefits.
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From Dr. Rock, your dose of the BEST music ever made!
This is a fantastic band i met the lead singer a long time ago wen i saw them live?
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You are planning your big day but where do you start? As befitting the capital city, London has hundreds and hundreds of wedding reception venues of all shapes and sizes and to suit every kind of budget. Wedding reception venues in Central London will work closely with you to ensure your dream day is a perfect success.
What kind of wedding reception venue in Central London should I choose?
Most Wedding reception venues have dedicated wedding planners that will work alongside you to ensure nothing is forgotten. The backdrop, décor and table plans, to flowers, catering, drinks and specific dietary requirements, all have to be taken into account and your wedding planners will guide you every step on the way and liaise with the suppliers to ensure everything goes like clockwork.
Dependent on your remit you have plenty of choice when it comes to wedding reception venues in Central London. You may want to choose a wedding reception venue that has a licence to conduct the ceremony, especially if it only a small gathering of close family and friends. Maybe you are looking for a major gathering such as an Asian wedding, or somewhere that you can hold a civil wedding ceremony, if so you will not be disappointed with the choices on offer.
Many of the major hotel brands have purpose built wedding reception venues in Central London, and there are country house style venues to consider many with stunning gardens. The capital city also offers an unrivalled number of buildings of architectural and historical significance that now open their doors to the wedding market place so if you are looking for that perfect backdrop for those never to be forgotten photographs there are an abundance of wedding reception venues in Central London with that 'knockout' factor.
Venues, has hundreds of wedding reception venues in Central London to choose from and our service is completely free to use and you can post your enquiry to a venue of your choice in just a few clicks, or via our live chat service.
Venue | Location | Capacity |
Edinburgh, Lothian | 2 to 300 | |
West End, London | 2 to 1114 | |
Manchester, Lancashire | 0 to 280 | |
Putney, London | 2 to 200 | |
Marston, Lincolnshire | 2 to 300 | |
Stoke Mandeville, Buckinghamshire | 2 to 300 | |
South Cerney, Gloucestershire | 2 to 800 | |
Guildford, Surrey | 2 to 80 | |
Gravesend, Kent | 400 to 700 | |
Cambridge, Cambridgeshire | 2 to 150 |


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I absolutely LOVE the cut on this button-up shirt. It's narrow and the sleeves are just the right length. The shirt is the perfect length and fits so nicely when tucked in.
Blouse: NY & Co. gray pinstripe french cuff shirt- size XS (similar HERE and HERE and on major sale)
Skirt: Banana Republic gray pencil skirt- 00p (sold HERE and on SALE)
Shoes: Aldo gray leather pumps- size 5 (similar HERE)
I love gray pumps as an alternative only because I get tired of black shoes. Gray just adds a little something to any outfit. Click below to see the complete suit.
I wear outfits like these on days I know I have important meetings and appointments. I know Banana Republic button up shirts fit fairly nice too. I don't own one yet but I have tried them on in-store. I am very selective when it comes to button-ups because if you are curvy up top- it's hard to find ones that fit in the chest area and hope the all the buttons don't pop open randomly.
I used to never be able to wear these types of shirts only because none would fit like this. I like this cut because it looks like a custom tailored shirt made for my frame.
The white collar and white cuffs are so classy. It's hard to tell from the picture but the pattern is yellow and white pinstripes.
Here is my entire Banana Republic suit. I did a post on this in early March. See post HERE.


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Never Alone
After practicing, writing, and performing for a few years, the self-described "radical girls for God" found themselves at a festival with fellow Christian rockers Superchic[k]. The latter took a liking to the up-and-comers, even penning a song about them, helping BarlowGirl off of the side stages and into the spotlight. With a solid grassroots campaign and a single that gained momentum on Christian Hit Radio, it looked like their faith paid off. Their eponymous debut was produced by Otto Price (dc Talk) and released on Fervent Records on February 24, 2004. Another Journal Entry arrived a year later, followed by How Can We Be Silent in 2007 and Love & War in 2009. ~ James Christopher Monger, Rovi
BarlowGirl Never Alone
Track samples provided courtesy of iTunes
Shazam gives you instant satisfaction when you want to know what song is playing:
- Identify music
- Preview and purchase songs
- Watch music videos
- Get song lyrics, album reviews and more!


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ECN, which stands for Electronic Communication Network, is a network of Tier-1 Banks, Prime Brokers, and FCMs, connected together to form a deep pool of liquidity available for trading.
Until recently, ECN was exclusively available for large financial institutions, with huge trade volume and deposit requirements, and leverage up to 50:1.
However, AFBFX has proudly created its own ECN, which consists of 12 Major Banks connected directly to our trading platform via FIX Bridge, granting its retail and institutional clients direct access to the inter-bank market right from your MetaTrader4 client terminal, with the lowest deposit and trade size requirements, and the highest available leverage.
As the diagram above illustrates, our MetaTrader4 Server sits behind a price aggregator, which is responsible for receiving market prices from our connected banks, selecting only the best Bid and the best Ask individually, and posting them to our MetaTrader4 Market Watch.
This mechanism ensures that you are receiving the lowest forex spread available amongst our major providers at all times.
Therefore, the spread could be as low as 0 Pip!
On the other hand, our MetaTrader4 Server is connected via FIX Protocol Bridge to an ECN platform, which is responsible for matching your trade orders with the best available liquidity-price combination at the moment of receiving your order, and then sending it to the counterparty bank for execution. Keeping in mind that we only disclose the Price, Direction (Buy or Sell), and Instrument, your orders will be always treated anonymously and fairly.
This process is usually done in microseconds, due to the high-speed messaging of FIX Protocol (Financial Information Exchange), which was designed mainly for this purpose.
- No conflict of interest
Since all ECN trades are executed at the counterparty bank directly, we do not interfere in the execution process and we only benefit from a fixed fee per lot.
- Trading Freedom
We believe that it is our duty to accommodate our clients' needs, and that it is a nonnegotiable right for the trader to implement their desired trading technique. Having ECN Accounts in place, you will be able to implement:
- Scalping
- Hedging
- Automated Trading (EAs)
- Gridding (As long as it does not overload our trade servers).
- Tighter Spreads:
In ECN trading you can get spreads as low as 0.6 pip on all majors, and since these spreads are raw spreads directly from the interbank network they often float much lower than any other traditional broker with fixed or variable spreads.
- Accurate Execution:
ECN trading guarantees that all market participants are equal with respect to: instant access to prices provided by leading FX banks on a strict price/time model without intervention from any dealing desk and without requotes due to very high liquidity.


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Panic Turns to Violence
- Details
- Created on Friday, 24 May 2013 00:00
- Written by Scott Schopman
- Hits: 50
I logged in to check my bank account on a Monday morning two years ago. The balance was wrong.
WAY wrong...
The panic started. I clicked over to "Account Activity." I saw a $400 charge from a graphic design firm in Chicago. I didn't know any graphic designers in Chicago. I kept scrolling down the list of transactions.
There were hundreds of dollars of charges at Best Buy, McDonald's and Apple's iTunes Store. Someone had bought a new cell phone. Someone had bought a television. Someone had gone out to eat over a dozen times.
In total, identity theft cost me over $2,000. In 48 hours.
Introducing the World's Best "Emergency Currency"
- Details
- Created on Thursday, 23 May 2013 00:00
- Written by Blair Morse, Research Analyst, Bonner & Partners
- Hits: 70
It's been eight days since the power grid went down...
You thank God for the disaster "prepping" you did in advance. It's kept you and your family alive up to this point.
But you never imagined you'd need more than a week's worth of supplies...
Now your food and water are running dangerously low – there are a few packs of chips and some cookies in the kitchen cabinet... they'll keep your family fed another day. But you need a Plan B – FAST – because "normal service" isn't resuming anytime soon...
The local grocery store's shelves were stripped bare by panic buyers and looters on day one. It's since been boarded up and abandoned by the owners.
Read more: Introducing the World's Best "Emergency Currency"
Why the Stock Market Could Go MUCH Higher From Here
- Details
- Created on Wednesday, 22 May 2013 00:00
- Written by Justice Litle, Editor, Strategic Wealth Report
- Hits: 78
To understand why the stock market does what it does, you need to think like a money manager. A very specific type of money manager...
That's because individual investors don't have much influence on stock prices. Nor do professional speculators or hedge funds.
So what is the strongest force driving stock prices?
The answer: institutional investors.
Institutional investors are the blue whales of the investing world. The rest of us are plankton, comparatively speaking.
Read more: Why the Stock Market Could Go MUCH Higher From Here
The Only Safe Way to Double... or Even Triple... Your Income
- Details
- Created on Tuesday, 21 May 2013 00:00
- Written by Jim Nelson, Editor, Income & Dividend Report
- Hits: 82
If you live in the US, you're getting paid interest of less than 1% per year on your CD.
Bonds are yielding next to nothing. And dividend stocks are starting to look like a crowded play.
But there is a safe source of high yields available to you. It's a strategy called "covered call writing."
This strategy allows you to earn extra income on your dividend-paying stocks by collecting a steady stream of payments in the options market.
This may sound like a confusing – even a risky – way to boost your income. It isn't. You can use this strategy to double... or even triple... your regular dividend income over and over again without adding risk to your portfolio.
Read more: The Only Safe Way to Double... or Even Triple... Your Income


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The American Future Fund, a shady right-wing front group incorporated as a 501 c(4), is running a radio ad in Colorado criticizing Rep. Mark Udall (D-CO) for "blocking American energy." The ad, promoting an offshore drilling bill sponsored by 87 House Republicans, is replete with falsehoods:
Here are a few things to think about next time you pull up to the pump. The U.S. actually has more oil resources than Saudi Arabia. But Congress has put up to 85% of these resources off limits. Cuba is drilling for oil off the Florida coast but Congress continues to stop U.S. companies from doing the same thing.
Listen here:
The "things to think about" are simply incorrect. In fact, Saudi Arabia has ten times as much oil as the United States, most offshore oil is available for drilling, and there is no drilling taking place in Cuban waters:
The U.S. Has 2 Percent Of The World's Oil, Saudi Arabia Has 20 Percent. The best estimates of the world's proved oil reserves are that the United States has 22 to 30 billion barrels of oil, out of 1.2 to 1.3 trillion barrels worldwide — 1.6 to 2.5 percent of total reserves. Saudi Arabia has by far the greatest supply of oil, with 20 to 22 percent of total reserves. [Energy Information Administration, 2007]
75 Percent of U.S. Offshore Reserves Are Available For Drilling. "Most of the country's estimated offshore reserves – about 75 percent – lie in areas that have been drilled for years or are being opened for exploration. Roughly 48 percent of the nation's estimated reserves, or 41 billion barrels, lie beneath the western and central Gulf of Mexico, where oil companies armed with new drilling technology are pushing into ever deeper water. Another 27 percent of the estimated reserves, or 23.6 billion barrels, are believed to lie off the north coast of Alaska, where the federal government sold oil exploration leases this spring, despite fears that the work would hurt the polar bear population." [San Francisco Chronicle, 7/22/2008]
No Drilling Is Taking Place In Cuban Waters. "Cuba's state oil company, Cupet, has issued exploration contracts to companies from India, Canada, Spain, Malaysia and Norway, according to diplomats. But many oil companies from those countries have expressed reservations about how to turn potential crude oil into product. Cuba doesn't have the refinery capacity, and the Cuban embargo prohibits the oil from coming to U.S. refineries." According to Jorge Piñón, a senior energy fellow at the University of Miami specializing in Latin America, "[N]o one is currently drilling in any of those concessions." [McClatchy, 6/11/2008]
In exploiting high gas prices to promote a Big Oil agenda, the right wing is telling falsehoods, over and over again.
Transcript: Read more


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A scene in a movie caught my attention recently. A man had been permanently maimed in a senseless act of violence. With his wife, he had come to sit down, face-to-face, with his attacker. A psychologist working with him had initiated this meeting to work toward reconciliation and healing for both the victim and the attacker. Both were haunted by what had happened for their own reasons, so both had agreed to participate.
Sam Williams recently posted on The Gospel Coalition blog engaging the question: "Would there be value for biblical counselors to pursue PhD work outside Christian institutions, and what challenges would they face?" He answers, "There are two good answers to the question above: no and yes." Williams warns against putting oneself in such a context while lacking critical biblical and theological knowledge.
Question: What is "proof-texting" and a "proof text"? Are these positive or negative terms (i.e., when we use them to describe ministry of the Word of God)?
The person who asked this question didn't want to be a bother, "you can just answer 'yes' or 'no.'"
That's easy.
Yes. Mania is a physical problem.
And, since the question is by no means a bother but important, there is a little more we can say.
QUESTION: How do you apply the biblical counseling model with people who do not want to hear anything about the Bible or Jesus? Knowing what people need to hear is often very simple (e.g., God's love, forgiveness of sins). Should we still speak biblical truth in these instances?
If the person you are speaking with simply doesn't want to hear about the Bible or Jesus, then you can take several approaches, depending on the situation.
QUESTION: I just graduated with a BA in Psychology. We were taught that people with paranoid schizophrenia must first be medicated to break past the delusions, odd speech patterns, etc., before they can talk with a counselor. Do you think what I was taught is true?One beauty of a Christian approach to people, including extremely disturbed people, is that you can always talk with anyone. No guarantees that they'll listen, of course—just as there are no guarantees that "normal, undisturbed" people (who also have madness in their hearts: Ecclesiastes 9:3) will listen.
QUESTION: Does the "success" of counseling depend on the counselor's personal spiritual maturity or is it more a question of tactics? If the Holy Spirit is the one who does "most of the work," why then is it important to have a personal spiritual life and to study Scriptures and theology (and psychology)?
These questions nicely capture the difficulty of expressing the relationship between complementary truths. It gets to the heart of the question of WHY people change. Here are a few brief comments that address these questions.
CCEF has always had an eye for future generations. We are in the business ofapplying Scripture to everyday life, and since there is certainly no end to itsapplications, we hope to be an institution with longevity. Christian institutions,however, do not always last. There are various reasons for this of course—andnot all of them are bad. For some, the work is completed or taken over by newinstitutions. For others, fiscal struggles or mismanagement interrupt what mighthave been a fruitful ministry. But of greatest concern are institutions that fail
I find myself weary of dramatic hyperbole in descriptions of the ideal Christian life. Extreme! Radical! Passionate! Awesome! Edgy! On fire! Dramatic!
I can understand the emotional appeal of such hyperbole. After all, who wants to live half-baked, mediocre, listless, dull, bland, and boring?! But the opposite of listless is not necessarily all fired up. Our faith contains a wonderfully curious surprise.
"Dr P." had a vision problem. He could see 20/20, but somehow he lost his ability to read music—a significant problem for a music teacher. It gets worse. He also stopped being able to recognize people, at least when he could not hear their voices or see distinctive facial features. Abstracts weren't a problem—he identified squares, circles, even a dodecahedron. He could see. But there he was trying to have conversations with fire hydrants, and genuinely mistaking his wife for a hat.
The Psalms Are for You Now
The Psalms are often our go-to Scriptures because they are so immediately digestible in an "I…" format.
"The LORD is my shepherd;I shall not want…Even though I walk through the valley…You are with me." (Psalm 23:1, 4a)
The church is growing increasingly wise in its contemporary setting to articulate and practice a properly biblical and modern ministry. Scripture directs us from within its pages in its unique and comprehensive vision of ministry and change. It simultaneously directs us in processing the insights within culture, literature, and the psychologies that have been provided to us from beyond its pages.
What does it mean that we are created in the image of God?
There has been plenty of debate about this doctrine and it is trickier than it might seem. But, in some form, the image of God persists in every human being. Here is one aspect of that universal doctrine.
Because God made us, we can recognize him.
To be created in the image of God means we can all recognize God—even unbelievers. God speaks in a language we understand. We take notice when his character is on display; we recognize him.
From the moment our alarm goes off in the morning, we are counseling ourselves. We are listening to other counselors, too, and our hearts are pushed and pulled in different directions with everything that we hear and choose to do and say. David Powlison, in his class Dynamics of Biblical Change, tells us a story of the different counselors that bid for his heart and attention one winter morning.
Ed Welch writes,
"A friend was discussing a counseling situation with me in which he seemed unusually tentative. Though he was thinking clearly and wisely, and he had counseled others in very similar circumstances, he seemed intimidated.
I asked why he was so uncertain.
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Folks who enjoy a change from traditional tomato-based chilies will enjoy this version from Christy Campos of Richmond, Virginia. The flavorful blend has tender chunks of chicken, white beans and just enough zip.
This recipe is:
Editor's Note: Wear disposable gloves when cutting hot peppers; the oils can burn skin. Avoid touching your face.
Nutritional Facts 1 serving (1 cup) equals 202 calories, 6 g fat (1 g saturated fat), 42 mg cholesterol, 833 mg sodium, 17 g carbohydrate, 4 g fiber, 19 g protein.
Originally published as White Chili with Chicken in Quick Cooking September/October 2000, p19
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Reviewed on Jan. 29, 2013 by regina_talia
Awesome recipe just the way it is! I will definitely be making it again.
Reviewed on Sep. 07, 2012 by Helem
Simple and tasty.
Reviewed on Jan. 11, 2010 by mcavanagh
My family loved this recipe and wanted me to make it again the next week. I replaced the jalapeno with a small can of mild green chilis. It's a quick, nutritious comfort food!
Reviewed on Apr. 13, 2008 by annicehodge
Omit jalapeno peppers and add instead,1 (8oz) block Monterey Jack cheese with jalapeno peppers, cut into chunks
Omit jalapeno peppers and add instead,
1 (8oz) block Monterey Jack cheese with jalapeno peppers, cut into chunks
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Experian Consultant Profiles
Our business consultants are made up of former business leaders and consultants who have years of "real world" experience working in the markets and industries we serve. They have lived through many of the challenges facing clients today. This practical experience combined with industry forethought, global best practices, deep problem solving acumen and a common consulting engagement methodology give us the ability to serve our clients with the industry's leading team of consultants. |
Learn more about our Global Consulting Practice – North America consultants
Andrew Beddoes
With nearly 15 years of experience, Beddoes has the unique ability to understand how predictive models can be used in decision strategies to transform analytics into customer treatments.
Didi Frohardt
Frohardt has a strong sense for best evaluating workflows and designing custom project plans for implementation of new strategies and processes to maximize credit lending practices and operational efficiencies.
Jacqueline Maybaum
Maybaum has an impressive track record of generating revenue and mitigating losses for her clients through her hands-on experience driving credit risk, marketing, collections and high-risk account-management strategies for some of the world's largest financial institutions.
Jeff Bernstein
With 30 years of experience in collections and an extensive consulting background working with global clients in banking and financial services, Bernstein is highly sought after for his insight into leveraging data, technology and processes to improve the ability to identify risk and mitigate losses.
Joel Pruis
Pruis is dedicated to delivering programs to his clients that increase productivity and profitability and provide financial services organizations with the tools to gain a competitive advantage in the ever-changing market.
John Straka
Straka counsels mortgage-lending banks, government agencies, and other financial institutions on ways to mitigate risk, grow their business and increase returns. He offers a global perspective to produce an immediate positive impact for clients. Straka provides timely insights and ideas on industry trends.
Jon Hudson
With more than 20 years experience in credit risk management, Hudson offers Experian clients consulting services that mitigate consumer credit risk by managing everything from customer acquisition and account management to predelinquencyand collections.
Robert Stone
With a passion for establishing strong client relationships built on mutual trust and respect, Stone counsels a diverse client base, from credit unions to the largest international banks and government agencies.
Shannon Lois
Lois oversees Experian's Global Consulting Practice for North America. She is involved with every client project to uncover the client need and ascertain how Experian consulting expertise, combined with our product suite, can benefit clients.
Alexandra Siotos
Siotos, works with clients in the financial services industry to integrate the right solution into their collection process with the goal of improving operational efficiency and shortening collection time.
Christopher Shakespeare
With more than 20 years of specific experience in card, mortgage and home-equity lending, Shakespeare provides strategies that mitigate credit risk by managing everything from delinquencies and authorization strategies to credit line management.
Christopher Ryan
Ryan provides clients with strategies that reduce losses attributable to fraudulent activity. He has an impressive track record of stopping fraud in retail banking, auto lending, deposits, consumer and student lending sectors, and government identity proofing.
Jessica Ford
Utilizing best practices and her technical expertise in the areas of fraud analytics, verification, management and compliance, Ford provides her clients with strategies on how to implement fraud-prevention practices that meet their business needs.
Craig Wilson
With more than 18 years of real-world experience, Wilson provides practical advice and products and services based on firsthand knowledge of the issues facing Experian clients. His strategies have been successfully deployed to maximize profitability at a number of large blue-chip organizations.
John Taylor
John Taylor provides financial services organizations with effective strategies to attract, retain and manage profitable deposit customers. His deep expertise in credit risk and marketing analytics can help Experian clients grow their deposit business with more targeted cross-selling, greater customer loyalty, reduced deposit losses and enhanced revenues.
Armando Ramos
Armando Ramos brings more than 30 years of experience in the credit industry, with in-depth knowledge of information technology (IT), data center operations, workflow management and direct-marketing strategies. He serves Experian clients as a trusted adviser by providing strategies and guidance on how to improve operational efficiencies through workflow management and process improvement software for managing the consumer credit life cycle.
Jon Bailey
Jon Bailey provides data-driven marketing, analytics, risk management and performance measurement consulting services for financial services organizations. His combination of experience and dedication to high-impact solutions provides clients with the strategic support they need to drive tangible and sustainable business results while mitigating risk.


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Today's Hours: 10am to 5pm
Jaclyn Reynolds is the Public Relations and Social Media Manager for COSI. She has worked in communications and PR for more than 13 years. She has worked as a TV news producer in cable news and as a public information officer and communications specialist in state government.
(Columbus) – Science and the holidays come alive at COSI this season with a celebration unlike anything you'll find at the local shopping center or lights display. Get deep into the science of the season while playing with classic toys, building toys, games and trains. The holiday season officially kicks off at COSI with a one-day holiday event, "Joys of Toys Special Event: Classic Toys" on November 26. Then, for three weekends in December, COSI offers a chance to play like a kid during the "Joys of Toys" toy-themed weekend events where you can explore:
Continue Reading
Written by: Jaclyn Reynolds
(Columbus) – Thomas (Tom) D. Snowberger has been named to COSI's (The Center of Science and Industry) board of trustees. Mr. Snowberger is the Senior Vice President of Human Resources at Battelle and resides in Bexley.
(Columbus) – Get ready to explore with Dora and Diego at COSI (Center of Science and Industry) in the new exhibit Dora and Diego—Let's Explore! The exhibit features beloved characters Dora and Diego from Nickelodeon's hit preschool series Dora the Explorer and Go, Diego, Go!, along with their friends Boots, Map, Backpack, Isa, Tico, and of course Swiper, now in their own exhibit for your preschooler to explore as they learn and play along.
Explore The Wonders of Your Own Backyard!
Released April 18, 2013
Flight of the Butterflies in 3D Soars Into the Extreme Screen Theater
Released March 12, 2013
Myth Confirmed! COSI To Host MythBusters: The Explosive Exhibition
Released March 08, 2013
Unlock the Puzzle and Put Your Brainpower to the Test in Mindbender Mansion and Amazing Mazes
Released January 16, 2013
AEP Ohio President Named COSI Board Chair
Released January 11, 2013
© Copyright 2012-2013 COSI. All rights reserved.


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A Resource for Performing Artists, Scholars and Audiences.
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Story of a Lost Sky
Sat, 08/20/2011 - 14:13 | by Curly Brace
Story of a Lost Sky is a Turn Based Strategy RPG with gameplay that is similar to Fire Emblem. Units are placed on a tile map and each side takes turns moving and attacking. Outside the battle map, the player is able to customize their characters and equip new spells and traits. The game is developed in Python using the Pygame library.
System requirements:
Python, Pygame
Homepage Genre: | Role-playing, Turn-based |
Game theme: | Comic, Fantasy |
Game features: | Singleplayer |
Game modes: | Campaign |
Graphic: | 2D |
License: | Open |
Payment: | Free |
After looking at source code
After looking at source code I doubt you'll be able to run it fullscreen (and even resize the window), because UI element positions and sizes are mostly hardcoded and measured in "tile size" units.
Touhou cancer. Now on your
Touhou cancer. Now on your Linux. Enjoy.
Getting & Running:
- sudo apt-get install mercurial python-pygame
- hg clone https://bitbucket.org/featheredmelody/lost-sky-project-public
- cd lost-sky-project-public
- cd "Story of a Lost Sky"
- python srpg.py


text:
Our People
The ACO has a large staff of professional and extremely competent personnel, made up of optometrists from graduate to senior levels, as well as non-optometrists in support and management roles.
Listed below are details of our management team:
Chief Executive Officer - Maureen O'Keefe Maureen O'Keefe was appointed as Chief Executive Officer of the ACO in March 2013. Maureen is highly qualified, holding a Masters in Business Administration (MBA), a Bachelor of Science degree with Honours and a Diploma in Education. In addition Maureen is a graduate of the Australian Institute of Company Directors and the Williamson Community Leadership Program. More recently, Maureen completed an Executive Education Program at Massachusetts Institute of Technology (MIT). Maureen has spent her career in higher education, research and health organisations and has more than fifteen years experience in senior executive roles. Maureen was a member of the Council of the Victorian Cancer Agency for 6 years, a Ministerial appointment which commenced in 2007 and included two years as a member of the VCA Clinical Trials Working Group. Maureen is currently a member of the BioMelbourne Network, which she joined in 2011. Maureen left her role as Chief Operating Officer with the Walter and Eliza Hall Institute of Medical Research, where she had worked for the past seven years, to join the ACO. |
General Manager Finance & Corporate Services - Clare Escott Clare Escott was appointed as General Manager Finance & Corporate Services, and Company Secretary, in December 2010. Clare is a qualified Chartered Accountant who has a wide range of experience, having worked in both private practice and the public sector over the last 20 years. Most recently Clare held the position of Director of Corporate Services for North Down Borough Council, a local authority in Northern Ireland. In this role, she headed up a team of over 50 staff and was responsible for leading the delivery of Finance, Human Resources, ICT, Procurement and Member Support activities across all Council Departments. As General Manager, Finance & Corporate Services, Clare leads a team of staff in delivering and developing corporate support services, including Finance, IT, Property Services and Administration. |
Director of the National Vision Research Institute - Professor Michael Ibbotson Professor Michael Ibbotson was recruited as the new Director of the National Vision Research Institute in 2010 and started in the position in July 2011. Professor Ibbotson carried out his PhD in the field of visual neuroscience at Queen Mary, University of London. He took up a post-doctoral fellowship in the Centre for Visual Sciences at the Australian National University, Canberra, working with Professor Srinivasan in 1989. In the last year of that post he won an ARC research fellowship, during which he worked with Professor Richard Mark. He was awarded tenure at ANU in 2001 and simultaneously became Chair of Faculty at the Research School of Biological Sciences. He became Head of the Visual Sciences Department in 2006, and Associate Director of the ARC Centre of Excellence in Vision Science in 2007. In that same year he was tasked with the development of the Eccles Institute of Neuroscience at ANU. In 2011 he became Professorial Fellow of the University of Melbourne and also holds an honorary position at Monash University and a visting fellowship from the Australian National University. Professor Ibbotson has worked extensively at Emory University, Atlanta and New York University as part of research exchange programs since 2003. He has strong research collaborations with the University of Washington, the University of Queensland and with Monash University. He is one of the twelve Chief Investigators that won the special fund in 2009 to develop an Australian-built bionic eye. |
Head of Clinical Services - Associate Professor Jonathan Jackson Jonathan Jackson joined ACO in October 2011 having been appointed as Head of Clinical Services. He studied Ophthalmic Optics/Optometry at Glasgow College of Technology (UK), achieving a 1st Class Honours Degree (1981). Upon completion of a pre-registration year at Moorfields Eye Hospital, London, he obtained membership of the College of Optometrists and was awarded both the Scottish and Colebrook prizes (1982). In 1993 he completed a PhD entitled "An Analysis of Corneal Endothelial Morphology under Normal and Traumatic Conditions" at Queen's University, Belfast. More recently, Professor Jackson has been awarded Fellowship of the British Contact Lens Association (FBCLA, 2006) and the American Academy of Optometry (FAAOptom, 2008). In 2007/2008 he spent a sabbatical fellowship at University of Californial Berkeley under the mentorship of Professor I Bailey. He was responsible for developing hospital optometry in Northern Ireland and, until recently, was Head of Optometry at the Royal Victoria Hospital Belfast, Assistant Director of Integrated Care (Optometry) NI Health & Social Services Board and Policy Advisor (Optometry) at the Northern Ireland Department of Health & Social Services. Associate Professor Jackson has held, until recently, an Honorary Professorship in the School of Biomedical Sciences/Centre for Vision Science, Queen's University, Belfast. His research interests include visual disability, paediatric visual impairment and corneal physiology/contact lenses. Professor Jackson has contributed to in excess of 60 peer reviewed scientific papers and has presented research findings at a broad range of national and international multidisciplinary meetings. He has co-authored, along with Professor James Wolffsohn, a textbook on low vision entitled "The Low Vision Manual". |
Director Clinic Operations – Neville Turner Neville Turner graduated as an optometrist from the University of Melbourne in 1990 and begun work at the (then) Victorian College of Optometry as a Staff Optometrist. Over the years he has worked in many different areas of the organisation including managing a metropolitan clinic, involvement with low vision service provision, lecturing and clinical teaching. Whilst working at the ACO Neville has completed further post graduate studies including a Certificate for the Rehabilitation of the Partially Sighted, a Post Graduate Diploma of Advanced Clinical Optometry and a Graduate Certificate of Ocular Therapeutics. Over the past 10 years Neville has undertaken various management roles in the College with responsibilities for IT, reception, business, and dispensary services. Neville was appointed General Manager Clinic Operations in 2007, then with an organisational restructure, Senior Manager Clinic Operations in 2009. Currently Neville is Director Clinic Operations. |
General Manager Professional Development - Jolanda DeJong Jolanda DeJong joined the ACO in October 2012. Jolanda holds a Bachelor of Education and a Bachelor of Commerce. She worked in The Netherlands as a teacher before she came to Australia 17 years ago. Jolanda has held a number of senior management positions in the areas of service delivery and education industries. Most recently Jolanda was the Tasmanian State Manager and Manager of the Specific Interests Faculty for the Royal Australian College of General Practitioners. She was responsible for the delivery of a wide range of member services, including CPD, exams, collegial events and advocacy. Her experience in managing projects, leading change and delivering on service outcomes provides an excellent set of skills to the role of GM Professional Development. |
Lead Optometrists
Lead Optometrist Paediatric Services - Nelofar Deen
Lead Optometrist Contact Lens – Adrian Bruce
Acting Lead Optometrist Low Vision Services – Iris Huang
Acting Lead Optometrist Ocular Diseases – Leanne Nguyen
Lead Optometrist Outreach Services – Piers Carozzi
Lead Optometrist Primary Care – Jennifer Caulfield & Roman Serebrianik
Manager Aboriginal Services - Genevieve Napper


text:
+Waechter resigns from advisory boards
Former Sarasota GOP Chair Bob Waechter has resigned from the Sarasota County Tourism Development Council and the board of Zoning Appeals.
+Lakewood Ranch home burglarized
More than $30,000 in jewelry was stolen from a home on Cherry Hills Avenue Circle in River Club over the weekend.
+Sarasota County Sheriff's Office to present facility study
Sarasota County Sheriff Tom Knight Tuesday will present a study to county commissioners Tuesday, Jan. 8, that calls for the agency to double its facility space.
+Library checks out Longboat Key Town Commission candidates
Candidates for the Longboat Key Town Commission turned a new page Monday when they met with Longboat Library members for the first candidate forum of this year's election season.
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- Jun
20 Cafe L'Europe UnCorked!
5:00 pm - 6:30 pm - Jun
22 Dog Days of Summer - Adoption Event
11:00 am - 6:00 pm - Jun
27 Fresh Produce event: Live Life, Enjoy Color: A Coastal Affair
10:00 am - 9:00 pm
Dance teams show off skills
Children from Imagine School and Gullett Elementary School showed off their hard work and dancing talents recently, during a special end-of-year dance team recital. -
John Saputo: Undercover boss?
Look closely: Who is that stock boy? -
Turtles head home after rehab at Mote
Tyler the turtle is back at sea.


text: There is an interesting and enjoyable programme available to UK people through the BBC iPlayer. Its subject is Statistics. Yep - The Joy of Stats: Professor Hans Rosling presents a documentary about statistics, exploring their history, how they work mathematically and how they can be used to see the world as it really is.


text:
Go Afraid
It's not possible to go bravely all the time. Sometimes we must go afraid. I read that phrase "go afraid" in a Guideposts magazine article many years ago.
The story was about a group of people trapped inside a burning building. Firefighters struggled valiantly to rescue the people so they wouldn't die. The firefighters got the group to start moving to safety, but everyone had to cross a scary barrier. One woman balked. The fire terrified her.
"I'm afraid," she cried to the fireman.
"Then go afraid!" he shouted. Still feeling frightened, the woman crossed what seemed an unsteady support. But when she obeyed the expert, despite her fearful feelings, he was able to help her.
Our fears can be different types, with different levels of danger. The writer Anne Tyler, in her book "Celestial Navigation," described a character who carried herself like an over-filled teacup. That's what it's like to be overwhelmed, to feel exhausted or fragile. Or to feel afraid of something, like fear of criticism or rejection or ridicule. The fears, some more serious than others, multiply until we may say inside, "I can't go. I'm afraid."
But there's something good to read about feeling fearful or being "Exhausted But Pursuing," by Gary Wilkerson, in the February 6, 2012 World Challenge Pulpit Series. The encouragement is at http://www.worldchallenge.org.
On the back of the newsletter are words from Isaiah 43:1-2: "Fear not…when you walk through the fire, you will not be burned, and the flame shall not consume you."
It's so difficult to go afraid. But God promised. Somehow, God will help.
Related articles
- Be Afraid. Love Anyway. (letmeseelove.com)
- Take every chance. Drop every fear. (littlemissyogi.wordpress.com)
- Is Fear Controlling You? (destinysfreedom.wordpress.com)
- The Crippling Disease (olamideopere.wordpress.com)


text:
The NBC25 Newsroom is a continuous news desk that keeps viewers connected to Flint, Saginaw, Bay City, and Midland.
HOWELL (AP) -- A lawyer for a man suspected in a shooting spree that targeted motorists along the Interstate 96 corridor in four Michigan counties says there's nothing new in fresh charges announced in the case.
Defense attorney Charles Groh tells The Associated Press in an email Friday the charges announced a day earlier against 43-year-old Raulie Casteel of Wixom are based on the same allegations made by Livingston County authorities.
The seven new counts, including terrorism, came three weeks after Attorney General Bill Schuette announced he was taking over cases at the request of prosecutors in Livingston, Ingham and Shiawassee counties.
Groh says Casteel is scheduled to appear for an arraignment next Thursday.
Most of the shootings, which were reported between Oct. 16 and Oct. 27, targeted cars near I-96.
(Copyright ©2012 by The Associated Press. All Rights Reserved.)


text:
If you want to go bowling, its a good idea to put your name down on the list first, and knock back some drinks with friends while you wait. They'll text you when a lane opens up.
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text:
All hail the internet's new king of heckler put-downs, comedian Bryson Turner. In a video that's going viral, Turner expertly handles a heckler in...
Read Whole Story
In just over a week I'll be making my way to Robin Hill Country Park on the Isle of Wight to attend one of the most anticipated festivals on the summer music schedule: Bestival.
With the recent deaths of Bin Laden, Gadaffi and Kim Jong Il, there is officially nobody left on the planet who doesn't love the Muppets. You'd have to be a soulless idiot not to.


text: "In the Acre: Celebrate! Create! Participate!,'' the signature neighborhood event for the 2012 Discover Lowell series, will take place from noon to 4 p.m. on Saturday in the Acre neighborhood. The free family event will feature live demonstrations by Western Avenue Studios artists; an interactive teaching performance with Angkor Dance Troupe; performances by school choruses and local music groups; a container garden workshop with Mill City Grow; and food from Acre restaurants. The area's newest public art project also will be unveiled on the steps of the North Common Amphitheater, located between Fletcher Street and Hancock Avenue: a new mural featuring the word "welcome" in several languages to reflect the diversity of the neighborhood. For more information, visit cultureiscool.org/acre.


text:
Israel bans too-skinny models
The country uses body mass index to determine who's too thin. The US is unlikely to follow the example.
Israel's lawmakers have set an unusual New Year's resolution: a ban on too-skinny models.
The law, which went into effect on Tuesday, effectively bars models with a body mass index of less than 18.5, reports The Wall Street Journal. People with a BMI below that number -- or women who are 5 feet 9 inches tall but weigh less than 124 pounds -- are considered too thin, according to the U.S. Centers for Disease Control and Prevention.
The fashion and advertising industries have come under fire for years for their reliance on skinny models, with some criticizing an unrealistic portrayal of beauty.
The average American woman is 5 feet 3 inches tall and weighs 166 pounds (a BMI of 29.4, considered overweight), according to statistics from the CDC. That's a hefty jump from size of the average U.S. model, who measures 5 feet 11 inches and weighs 117 pounds (an underweight BMI of 16.3), according to a report from Rader Programs, which offers programs for sufferers of eating disorders.
"Adolescents often feel fatally flawed if their weight, hips, and breasts don't match up to those of models and actors," according to the Rader report.
Supporters of the Israel law are hopeful it will encourage the use of healthier-looking models, according to the Journal. While Israel isn't the first to try to regulate models' weight -- the Milan Fashion Week banned overly thin models in 2006 -- it's typically tough to enforce. The Milan fashion show made headlines just a few years after the ban, when a "skeletal model" took to the runway.
The US. fashion industry indicated it's not likely to follow Israel's lead. The Council of Fashion Designers of America told the Journal on Tuesday that it would continue to recommend guidelines for healthy eating and fitness. "We never had an approach of mandate or enforce," he said. "We create awareness and education."
While that might strike some as a bit toothless, some in the fashion industry have advocated for more realistic depictions, with the editor of British Vogue asking designers to increase sample sizes. Unfortunately, even "big" models are getting thinner: Plus-sized models now average between size 6 and 14, while a decade ago most were in the size 12 to 18 range, according to Rader.
The irony might be that "plus" sized models could depict the healthiest lifestyle, with a new report from U.S. government finding that plump people may actually have a lower risk of dying than those at an idea weight.
More on Money Now
Tags: | EntertainmentHealth care |
BTW.....Aunt Tony.....It is spelled Re-TOG......Sorry about your comprehension skills...
Most readers would only consider this Article a cruel joke, with a cute blonde to lure you in..
And Really, you really have "something meaningful to contribute"....Hmmmmm.
I guess I have to assume you are a FATTY, or have serious issues, with what others look like compared to yourself....Too bad about your self esteem...Well, not really.
Guess you should worry about keeping your own house clean, ours is fine.
And we don't get all hung up on how others look..
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While incompetent bosses like Michael Scott and Andy Bernard typically can't survive in the workplace, office romances are a very real part of corporate culture.
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[BRIEFING.COM] The S&P 500 ended this week with a bang, roaring to a new all-time high on the back of stronger-than-expected economic data, influential leadership, and an ongoing appreciation for the Fed's monetary policy support.
The bullish bias was evident in premarket action as the S&P futures pointed to a higher start without the benefit of any definitive news catalyst. Stocks indeed benefited from a blast of buying interest at the opening bell on this ... More
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All hail the bull market, which ended the week with a big rally. But it also is starting to look a little like 1987, which suffered an epic blow-out.
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I was checking Kuwait Stock Exchange website this early morning, you see I also lost a big deal of money in trading (or should I call it playing around) with stock exchange, I saw they have introduced a new smart trading system named X-Stream which is used by American stock exchange NASDAQ.
Initially I can say the new trading system is faster and far more reliable, they cancelled trading by fractions and now minimum trading amount is one share, they increased the order value to 5 Million shares, also no more 5 minutes waiting for cancelling/modifying orders, in addition to many new features.
I heard the new system will help preventing the last minute changes (closing time) thus reducing cheating, nice.
Note: There was a problem in the first day of launching the new trading system and they say they will fix it shortly.


text:
The Goods
Aphex Twin A Tribe Called Quest Benjamin Dranklin Biggie Biz Markie Bobby McFerrin Clipse D'Angelo Daft Punk De La Soul DJ Earworm Dr. Dre Drake Elizabethtown Garden State Girl Talk Gym Class Heroes Happy Dre Jay-Z J Dilla Juicy Justin Bieber Kanye West Lil Wayne Lupe Fiasco Manic Pixie Dream Girl Mash-Up Notorious B.I.G. Ozonian Party Ben Phoenix Photon Wave Orchestra Public Enemy Sampling Sky Ferreira SNL Sufjan Stevens Supertramp The Beatles The Hood Internet Timbaland United State of Pop U Smile Vanilla Ice Wiz Khalifa
Tag Archives: Last Donut of the Night
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In "Time: The Donuts of the Heart", a track off of "Donuts", Dilla samples a few seconds from the Jackson 5′s "All I Do Is Think of You". JD actually finished "Donuts" while in the hospital with TTP, and died … Continue reading
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Tagged Donuts, J Dilla, Jackson 5, Last Donut of the Night, The Roots
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text:
ASTM D885 / D885M - 10a Standard Test Methods for Tire Cords, Tire Cord Fabrics, and Industrial Filament Yarns Made from Manufactured Organic-Base FibersCiting ASTM Standards
Citation data is made available by participants in CrossRefs Cited-by Linking service. A comprehensive list of citations to this standard are listed here.
D629 Standard Test Methods for Quantitative Analysis of Textiles D1776 Standard Practice for Conditioning and Testing Textiles D2256/D2256M Standard Test Method for Tensile Properties of Yarns by the Single-Strand Method D2495 Standard Test Method for Moisture in Cotton by Oven-Drying D2969 Standard Test Methods for Steel Tire Cords D2970/D2970M Standard Test Method for Testing Tire Cords, Tire Cord Fabrics, and Industrial Yarns Made From Glass Filaments D4830 Standard Test Methods for Characterizing Thermoplastic Fabrics Used in Roofing and Waterproofing D4920 Standard Terminology Relating to Conditioning, Chemical, and Thermal Properties D4974 Standard Test Method for Hot Air Thermal Shrinkage of Yarn and Cord Using a Thermal Shrinkage Oven D5591 Standard Test Method for Thermal Shrinkage Force of Yarn and Cord With a Thermal Shrinkage Force Tester D6477 Standard Terminology Relating to Tire Cord, Bead Wire, Hose Reinforcing Wire, and Fabrics D6588/D6588M Standard Test Method for Fatigue of Tire Cords (Disc Fatigue Test) F2848 Standard Specification for Medical-Grade Ultra-High Molecular Weight Polyethylene Yarns There are currently no referencing documents for this standard.Referenced ASTM Standards
The documents listed below are referenced within the subject standard but are not provided as part of the standard.


text:
Item: | Dimensions: | Weight: |
Adjustable Easel With 27 Piece Paint Set | Unavailable | 32 lbs |
Board Included: | Yes |
Product Category: | Easels |
Type: | Children's |
John Del Barone from raleigh nc
Disapointed Looks great in the discription and picture but it did not come with any supplies like promised. My granddaughter couldnt use it. it is just a 100 triangle board. |
Amy the Mom from Denver, Colorado
Great easel It is sturdy and a great size. The trays are nice, too. My daugther loves it! |
The Queen Mom from Manchester, CT
happy I am very happy with this purchase. It was very easy to put together and did not take very long. It seems to be very sturdy and our child has loved it! The dry erase, chalk board and painting has been her favorite. The little bit extra on cost is worth it because this easel will last us awhile and it come with a lot of art supplies. |
crystal from Rawlins,Wy
"All kids should be creative! Luv it!" My child learn how to read and write colors in spanish becuase everything is labled.My child also practises writing and has fun doing it! |
moma from Newfoundland, CANADA
I would recommend this product It is easy to assemble and it is made out of real wood so it is sturdy and durable. The only problem is the holes in the legs don't lign up easily with the holes in the board so we ended up using the drill in one instance. Other than this it is fine. |
nyc mom from new york, ny
Seems great I have just received this and put it together. It seems great so far and my two year old seems to love it. I cant testify to its durability since it is so new. |
Susan from Arlington Heights, IL
As advertised The product was just as described. Both my neice (7) and nephew (9) love it. They're being home schooled and their mother uses it when teaching. Sturdy yet easy to move. Great value. |
Valerie from palos verdes, ca
Great toddler height This product shipped really fast and was easy to assemble. My little guy loves the chalk board. He's 18 months and loves his "Gaulk". I wish the hinges locked when in the open position if they did I would rate this a 5, so far it isn't a problem It might be if he tries to move it himself. Overall this is a fantastic value with the art supplies. |
Laura from Massachusetts
Great Product I am very happy with this product. I searched for about 2 months before Christmas for the perfect easel. This was by far the best one. The fact that it is adjustable was a big selling point to me. I also really like that it came with the paint, brushes, etc. As I was searching the toy stores, I realized these products are very hard to find. The paint cups are one of the best inventions.. ever! |
Anonymous from Minnesota
CSN School is now part of Wayfair Supply, the ultimate destination for all of your business needs, including furniture, supplies and more!