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Hot answers tagged ios
There are many alternatives, though perhaps none with the richness of Evernote.
BTW, I think that offline support is still available. It was available for favourites on the standard login but for everything if you sign up for Premium - has that changed?
One alternative is Microsoft OneNote. You can have free OneNote notebooks by signing up to live.com, the ...
The easiest method would be to install the Gmail app for iOS.
Otherwise you can add your Google Apps account using IMAP to the built in mail app using the method below (taken from this Google help article):
To configure the 'Mail' app on an Apple device for access to Gmail,
just follow these steps:
Make sure you've enabled IMAP in your main Gmail ...
I can't tell for sure if you're using the Trello website or the the Trello iPhone app, though I'm assuming it's the web site, given the context.
I recommend you use the app, however. It allows you to tap and drag cards left and right, to different lists, and that works well.
Note that when you click on a card to open it, you can click on the list name, to ...
Only top voted, non community-wiki answers of a minimum length are eligible


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subset: commoncrawl


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Home > Research > Research Publications |
Staff Reports |
Information Acquisition and Financial Intermediation |
September 2012 Number 571 |
JEL classification: G12, G19, E44, G00 |
Author: Nina Boyarchenko This paper considers the problem of information acquisition in an intermediated market, where the specialists have access to superior technology for acquiring information. These informational advantages of specialists relative to households lead to disagreement between the two groups, changing the shape of the intermediation-constrained region of the economy and increasing the frequency of periods when the intermediation constraint binds. Acquiring the additional information is, however, costly to the specialists, making them less likely to decrease their risky asset holdings when the intermediation constraint binds. I show that this behavior leads the equity capital constraint to bind more frequently, making asset prices in the economy more volatile. I find empirical evidence consistent with these predictions.
Available only in PDF
53 pages / 509 kb |


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EON 120 Zeiss micro eyepiece maniac: PL 10x18, PL 16x16, 25x10 Zeiss 68deg Diascope eyepieces: 12.8mm, 16.5mm, Brandon 12mm Zeiss Jena microscope binoviewers ES: 24mm 68deg, 31mm 82deg
MarkLeica 8x20; Nikon Action 7x35; Vixen Apex Pro 8x42; Orion 15x63; Docter Nobilem 15x60WO Megrez II 80 FD / APM 107mm f/6.5 / Mewlon 210 on DM-6 + Berlebach Planet
ES 68º series complete 2x ES Barlow WO Bino's NPL 30 RKE 28 SWA 20 15 WA 12 pairs 150 f12 Istar Achro f4.8 Orion Optics (UK) VX 10" Newt NEQ6
"Considered as a collector of rare and precious things, the amateur astronomer has a great advantage over amateurs in other fields ... the amateur astronomer has access at all times to the original objects of his study; the masterworks of the heavens belong to him as much as to the great observatories of the world. And there is no privilege like that of being allowed to stand in the presence of the original." --Robert Burnham Jr, Burnham's Celestial Handbook
Quote: They slightly vignette at 68X.
"I have been paddling in the shallows of a great ocean of knowledge." - Sir Isaac Newton * * 15" F4.55 Starsplitter Dob & a Denk II binoviewer * * http://peaceofsky.wordpress.com/ Pacheco State Park Fremont Peak
Quote: Quote: They slightly vignette at 68X. Yes, the 24mm Pans i used (for a few years!) in my Denk were splendid for views, but they *did* vignette in the lowest-power, widest-field config. Replaced them with pairs of Vixen LVW's at 22mm & 17mm, and have never looked back! They seem a perfect match for the Denk's optical train! In addition to the above, they seem a bit more neutral of tone to my eye, compared to the Pans. Plus they have gobs of ER... VERY eyeglass friendly, unlike the Pans. Their views are sharp edge-to-edge, and even for all their glass, they consistently show faint stars, galaxies, & subtle detail in everything they're pointed at. I wouldn't exactly turn down a *free* pair of 20mm Pentax or 17mm Delos, but until that occurs, i'm exceedingly thrilled with my LVW pairs!
Quote:I'm using a 4.75" refractor so I'm somewhat aperture limited
Quote: ES 24 68deg
Whenever I have come into large sums of money in my life, I always put half of it aside to spend on fast cars and the pursuit of loose women.
I put aside the other half to spend frivolously.
Meade LS8 ACF Meade 2" Diagonal Apetura 10" Tweakers Package Meade ETX-125, ETX-90 for Solar Celestron 80mm APO PST Meade SWA - 34mm,28mm,24mm,20mm Brandon 32mm, 16mm Vernonscope 40mm Erfle 2" ES 14mm,11mm,6.7mm 8.8 Nagler 13mm T6, Pan 19mm Meade 12.4 Pl,9.7mm, 15mm SP Meade 2x Shorty Barlow Powermate 2.5x WO Bino Viewer, 20mm 66* pair Denkmier 2 Super System Meade Nebula Filters Meade 9x60 Bino Vivitar S1 8x42 Bino Canon T2i, 18-55mm, 50mm 1.8, 55-250mm
Quote:I had a pair of 24mm Panoptics and as far as I could tell, I was getting the full 68 degree field and I believe I read one of the manuals for the Maxbrights, the 24 Pan is suggested as the widest one can go at that FL.
François C8 f/10, lunt 102 mm f/7 ED. SkyWatcher 12" f/5. pentax XW 40, 30,10 delos 14, 8, 6, 4.5. Vixen lvw 22 Brandon 12, 8 TV 2x barlow Closer and closer to the ideal eyepiece collection, but never reaching perfection


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Open SpacesSpeculations on Openings, Closings, and Thresholds in International Public Media |
Monday, March 3, 2014
Written by Patricia R. Zimmermann, Professor of Screen Studies and AFS Film Envoy
Three continents—North America, Europe, Africa—three flights, and three days of travel.
Africa—well, more exactly, Guinea—is harder to get to than Beijing.
My vaccination card secured by a rubber band in my passport verifies I have a yellow fever vaccination. Guinea requires this documentation for entry into the country.
The nurse practitioner at the Cornell University travel office insisted I take two cards. She has heard of immigration officers in Nepal , Benin, and Guinea Bisseau apprehending the vaccination forms and then selling them on the black market.
I politely share there are several countries called Guinea: Guinea, Equatorial Guinea, Guinea-Bissau, Papua New Guinea. She knows: pointing to the Center for Disease Control site for travel to Guinea shining on her Dell computer, she cautions me about malaria, yellow fever, tetanus, diarrhea, dengue fever.
I'm in Charles DeGaulle Airport in Paris for a second day. It's 8 a.m. Ensconced with travel carts, backpacks, carry ons and earbuds dangling, everyone in this lounge stretchesout. Shoes off, hats shrouding their eyes, they sprawl across the taupe couches. Comment t'allez-vous,? I ask a two year boy staring at my Kindle.
I'm thinking: An airport that actually understands the deepest desires of travelers to stretch out and sleep. But I am nervous. Will I ever make it to Guinea?
In his Emerging Africa: How 17 Countries Are Leading the Way (Brookings Institution Press, 2010), Stephen Radelet points out the staggering size of Africa, the world's second largest continent. The continental United States fits snugly into West Africa. Most West African countries have been postcolonial for 50 years.
Africa is a complex place. It is also a place completely overdetermined and smothered by Western literary, cinematic, and missionary fantasies. Think Joseph Conrad , Heart of Darkness. Think Out of Africa. Think King Solomon's Mines. As a corrective, think Chinua Achebe, Things Fall Apart (Nigeria); Chimamanda Ngozi Adichie, Americanah (Nigeria); Tierno Monenembo ,The King of Kahel (Guinea).
It is maybe the only place in the world reduced and vacuum pressed to the generalizing, essentializing, unifying, problematic of one word: Africa, a shorthand, covering term for a western, racialized white imaginary of the vast, the unknowable, the chaotic, the undecipherable. In The Economist magazine's view, Africa looms as the last frontier, a place rich in untapped resources to be extracted to meet the ravenous demands of globalization and rapid development.
West African countries differ significantly in terms of culture, language, economic growth, the rise of democratic and accountable institutions, environmental conditions, agriculture.stability, civil society, anti-corruption, and health. HIV/AIDs continues in epidemic proportions compared to the rest of the world.
Radelet identifies emerging and threshold countries that have featured annual income growth and declines in the percentage of citizens living in poverty. Nigeria has oil. Ghana has cocoa. Over the last 15 years, both have posted economic growth. Guinea is not on these lists.
Ibuprofen, immodium, albutorol inhalers, malarone, ambient, zyrtec, DEET, giner chews, and five small bottles of anti-bacterial cleaners bulge in Ziploc bags in my suitcase. According to our contacts at the Embassy post in Conakry, the meds are not to be trusted in Guinea due to procurement issues.
Stewart, my partner, teaches international public health. As a result of his background and my asthma, I'm always on high alert about health issues in countries where I travel, researching conditions and problems.
According to the World Health Organization, the life expectancy in Guinea, a country of 11 million, is 54. The leading causes of death in children under 5 are malaria, pneumonia, and diarrhea. Access to maternal health care is limited.
The Guinea Development Foundation, a health nongovernmental organization, claims that health conditionsin Guinea are among the poorest in the world. Potable water is inaccessible. 73% of the population live in areas inaccessible to health care.
According to the BBC News country site, Guinea's vast mineral wealth in bauxite (a key component of aluminum), iron, and diamonds, ranks it as one of the most resource rich countries in Africa. Yet its people are among the poorest, in the lowest 25% of the least developed countries. Some contend Guinea is actually one of the three poorest countries in the world. Most people live on $1 a day.
Delayed by over two hours, my Air France flight from Kennedy Airport in New York City landed in Paris Sunday afternoon. I missed the flight to Conarky by 90 minutes. Kate Amend did not even get on the flight. Her flight from Los Angeles was on time but circled Kennedy for nearly 40 minutes. Then, she discovered the flight to Paris was booked. She spend the night in New York, booked the next day.
The Air France customer service desk booked me on the next and only flight to Guinea—on Monday morning. Kate texted. Rewarding herself with a glass of wine, she wanted to confirm we were booked on the same flight to Conarky. The original plan entailed traveling together from New York City, a plan we both looked forward to so we could chat about and plan our presentations on documentary in Guinea. At least the last leg of our journey would be together. Our plane will stop first in Mauritania, then onward to Conarky. 8 hours of travel south from Paris.
The efficient and smiling Air France representative handed me vouchers for a night at the Ibis Style Hotel, with dinner and breakfast. The quest to sleep in a bed after 25 hours of airports and airplanes got me through the disorienting maze of DeGaulle to find Niveau Cinq , where the complimentary hotel buses would pick us up. I make a note in my iPhone to remember to take my Malarone, the expensive anti-malarial drug, after I eat dinner. My two and a half week prescription cost $110.
The free airport WiFi refused to load. I worried that our contacts at the US Embassy in Guinea—Emily and Kimberly—would not get news of our delay. I figured they were probably accustomed to flight delays into Conakry. I texted Kate. I asked if she might let them know our new flight plans. Jet lag and fatigue amplified my worry we would end up in the airport in Conarky with no one to expedite us through customs. We were told to not go through alone.
Kate got through to post. They would pick us up at the Conarky Airport at 6.
Now it's time to walk to gate M46. I'll take a shot of Kate and I, united at last. And then I 'll board the plane to Conarky with hand sanitizers, backpack, and Kindle loaded with books on West Africa and Guinea. 8 more hours.
Saturday, February 15, 2014
Post written by Patricia R. Zimmermann, professor of screen studies and codirector of the Finger Lakes Environmental Film Festival
Since the first film made in 1966, Guinea has produced 14 films.
To put this astonishing number in context, that's the same number of films fourth year undergraduates produced in the advanced Cinema Workshop at Ithaca College last Spring.
These comparisons between heavily resourced and technologically rich film schools of the Global North and under-resourced media movements of the global south crack open a divide worth considering more deeply.
The staggering but often unconscious privilege of American film schools contrasts with the enormous capacity building and infrastructure challenges for Guinean independent media. In Guinea, media makers operate in one of the poorest countries of the world, where electrical outages ignite demonstrations and where five-star international hotels advertize their generators.
I write this sitting in Kennedy airport in the food court by Wok and Roll, gray skies creeping over the skylights in Terminal I. I have an 11 hour wait for my flight to Paris and then to Conakry, the capital of Guinea, a port on the Atlantic coast.
Due to my worries about upstate New York weather, I flew down to JFK yesterday from Syracuse. I spent the night watching the Olympics, with men's figure skating and giant slalom.
I thought, no Africans skate those rinks or slalom those slopes. But I also spent the night reading about the history of Guinea, a country rich in bauxite, iron ore, and diamonds but with few roads to aid in export. The significance of mining--or extractive industries, as historians and the World Bank call them-- is suggested by the organization of some of the Guinean news websites: along with politics, culture, economics, opinion, many sites feature a separate category called mining. Companies from Isreal, China, and Brazil converge in Guinea in five star hotels, complaining about the maid service on Yelp sties while they spend months dealing with mineral mining.
I am traveling to Guinea as a film envoy for the US State Department's American Film Showcase. My iPhone weather app says its 90 degrees in Conakry.
As the flight boards show delays, my anxiety about connecting to Air France to Guinea in Paris with only a 60 minute turnaround lessen a bit knowing I will be traveling with Kate Amend. Kate is the well-known , award-winning documentary film editor of the compelling and moving First Position, which chronicles young, focused ballet dancers competing for spots with the world's top ballet companies.
The documentary will be screened in Guinea to various arts and media groups. Kate will explain how she conceives and organizes the editing process of these complex, beautiful works.I have been asked to do some presentations on the ways in which new media has moved documentary into more participatory, accessible terrains.
Kate and I represent some contrasts as well. She works as a highly respected, legendary editor of feature length documentaries. My experience is less glamorous: I am a screen studies historian and theorist who researches the intersections between new technologies, participatory practices, and documentary. Together, perhaps we show the wide ecology of documentary practices in the United States ranging from features to more modest new media projects.
The differences between gray and sun, between New York City and Conakry, between English and French (Guinea is a francophone country) do not seem as extreme as these differences in capacity, access, infrastructure, voices.
As scholar Roy Armes points out in African Filmmaking: North and South of the Sahara (Indiana, 2006), of these 14 films produced, 7 were first films. Dansogho Mohamed Camara and Cheik Doukoure (who lived in France for most of his life) are two key names in Guinean film history.
In comparison, Senegal, to the North, whose filmmakers often receive French government funding, has produced 47 films since 1964. Since 1971, Burkina Faso, the country that hosts the famous Panafrican Film and Television Festival of Ouagadougou (FESPACO), has produced 40 films since 1971.
In a chart itemizing film production in the Maghreb and Subsaharan Africa since independence, Armes reveals a staggering fact: only 588 films have been produced across almost five decades.
One of the first countries in West Africa to assert its independence from France, in 1958, Guinea, a largely Muslim country also known as Guinea Conakry, was ruled by Sekou Toure, a nationalist, dictator, and a Marxist, until 1984. As film scholar Manthia Diawara, a Guinean of Malian descent, contends in his compelling critical memoir In Search of Africa, Sekou Toure brought change to Guinea, one of the poorest in the world. He prioritized education. He nationalized the arts, forming the famous Les Ballets Africains. He also incarcerated and tortured opponents in the notorious Camp Boiro in Conakry.
Toure also instituted iconoclasm, an assault against traditional icons. In Unmasking the State: Making Guinea Modern (Chicago, 2013), anthropologist Mike McGovern details the impact of the banning and burning of masks and dances on life in the forestierre region of southeastern Guinea. He points out that while Toure destroyed masks , banned dances, and prevented rite of passage rituals, his minions saved outstanding masks for display in the national museum.
The vast, almost incomprehensible differences between access to financing, production, distribution, and exhibition across the globe--whether comparing Ithaca College to Guinea, or France to Guinea, or mega-million transnational special effects Hollywood to Guinea--remind me of the absolutely urgent necessity of thinking seriously and in concrete ways about capacity building, infrastructure, exhibition, and the role of media in community. These differences also remind me to never think of where I am as the center of the world, but to think of where I work as a place connected to other places across the globe.
These sobering differences also push me to think beyond the resource-rich privileges of my own position as screen studies professor, where we faculty often complain that we do not have the latest Blu Ray,high end head sets for lectures, or best digital cameras.
About ten summers ago, a visiting delegation of Cameroonian filmmakers and journalists toured the Park School. I bumped into them picking up my mail.
I asked one of them how they were finding their trip to Ithaca. One filmmaker shared that he was completely stunned. The Park School, he claimed, had more cameras and studios and facilities than all of francophone Africa combined.
Sunday, February 3, 2013
By Patricia R. Zimmermann, professor of screen studies and codirector, Finger Lakes Environmental Film Festival, at Ithaca College
Monday afternoon in megacity Guangzhou, China, in Guangdong Province in south China, for the American Film Showcase.
I'm popping Zyrtec and inhaling Albutorol daily to prevent gagging from pollution so thick my face and hands feel grimy all the time. My lungs feel like I smoked a pack of unfiltered Camel cigarettes.
Famous in China for its cuisine rich in vegetables and complex spicing, Guangdong has become known as a bit of a hotbed for its active and courageous civil society in labor, women's, LGBT, and environmental issues and its bold investigative journalism that rejects party control and censorship. Guangzhou journalists are renowned, for example, for their fearlessness in breaking the story of SARS-- initially denied by the Chinese government-- ten years ago. Guangzhou was ground zero for this transnational pandemic.
Another long van ride through stalled traffic, grey particle-infused skies, and endless new highrises jutting out in every direction took me to Sun Yat Sen University, one of the top universities in Guandong Province. Professors and students road bikes around campus, an image summoning up older images of China before Deng Xiaopeng's Opening and Reform policies instituted after Mao's death in the late 1970s got translated into "everyone needs to own a car."
My presentation was entitled "Open Space Documentary: Participatory Media in Action," a look at new ways of considering documentary as it migrates to online and interface forms.
My argument is simple.
Documentary is undergoing a radical, tectonic change in form and format as significant--if not more so-- as the coming of sound. Transmedia forms migrate across interfaces in digital, analog and embodied domains, recalibrating documentary practice and theories in the process.
At the opening of my lecture, I drew a large triangle on the board and then an arrow to an equally large circle.
The documentary triangle of director, subject, audience has recalibrated into the documentary circle, where designers, participants, audience and form feed into and change each other.
The Chinese Department Building was comprised of 7 floors. My lecture was in Room 207. Two architectural details confronted me immediately.
First, in contrast to the five star Garden Hotel with its Western-style toilets and marble, the Chinese Department Building bathrooms featured squat toilets. Second, every single classroom featured fixed lecture hall seating with about twenty rows on an raked incline, each with a long table for note taking.
At Ithaca College, where I teach, it's hard to book one of the very few large lecture halls on our campus. The emphasis in American higher education, at least at private (read expensive and "student-centered") four year colleges, drills down into small classes in the round privileging discussion and student engagement. At Sun Yat Sen, I saw only lecture halls.
But even that cursory observation as we looked for the lecture hall ended up being more culturally complicated than I anticipated. I also encountered much better and more seamless smart classroom lecture podiums and projection than I have at Ithaca College.
I was slated to give a lecture on open space transmedia documentaries to undergraduates and graduate students studying theory in the Chinese department. I was not sure what "theory" meant in a Chinese university context. Was it Continental theory? Postcolonial theory? Cosmopolitanism? Or work in Freud, Marx and the poststructuralists? I was intimidated and a bit insecure, not sure what to expect.
I had a bit of anxiety about whether the concepts of participatory new media I was exploring would connect with students of literary theory. I also had some anxiety about talking about new media projects in a country where Facebook, Twitter, YouTube and Google are blocked.Both anxieties ended up being ungrounded in unexpected ways.
Coached by the ever-generous and astute Janice Engelhart from the U.S Consulate in Guangzhou, my powerpoint was composed of two elements: images and then short headlines of the theoretical concepts of open space. It featured screen grabs of the American open space transmedia projects like Lunch Love Community, Cotton Road, Preemptive Media Collective, Sourcemap, Triangle Fire Open Archive, Precious Places, The Counter Kitchen. Janice and her excellent editing skills helped me to craft a punchy title for my talk.
Uncertain whether the content would be blocked on Chinese servers, and uncertain as to whether the venues where I was speaking would have a live internet connection, I made my PPT (as it was referred to by my Chinese contacts) with screen grabs from these web-based projects.
I worried that these exciting, user-generated projects would lose their vitality and "liveness" as they became immobilized in a still image.
But I was wrong.
Instead, showing static shots of these various projects and headline concepts spurred the audiences to want to see more on their own. It also gave me space to show many more projects and examples.
Dr. Wang Dun, associate professor of Chinese, warmly greeted me and my fabulous and patient English to Chinese translator, Jean. I could not read the computer as all the symbols were in Chinese characters, so Dr. Wang set up my PPT. When I asked whether there was an internet connection, he apologized and said no. He then offered the more positive spin that students would not be surfing or doing social media networking during my talk.
But most importantly, Dr. Wang wanted me to provide him with two ideas: first, my bio (which I had printed out just in case), and second, a short précis of my theoretical model so he could position my talk for these advanced students.
I explained my model combined documentary theory, new media theory, and postcolonial historiography, particularly ideas from Ranajit Guha and the subaltern school. It was not based on one theory, but an intersection of ideas, like a good stir fry, I offered. He said he was very happy that my talk would have theory, since that would be more congruent with the students work.
My talk argued for a consideration of these new forms of documentary as participatory rather than as arguments from a director. Rather than taking on large events, these projects focus on microterritories like good food in Berkeley schools in Lunch Love Community by Helen de Michiel, or deconstructing the chemicals in hair products in Brooke Singer's The Counter Kitchen.
Open Space transmedia documentaries utilize combinatory, user-generated storytelling to create mosaic forms. I emphasized to the students that these projects move from pushing out an idea or an argument towards a pulling in of participants. In this way, they are constructed on ideas not of fixity but of permeability.
The audience surprised me.
First, out of over 100 students ( I multiplied the number of rows by the number of seats in each row), only six were men.
Throughout my lecture, I noticed students smiling at me warmly, nodding their heads, and taking notes with a ferocity and focus I do not see in my American classrooms. In the US, not a week goes without a student pulling down their baseball cap, stretching out,and sleeping during a lecture or even a small group discussion. Almost every week I need to ask a student to stop texting during class--and I have an strict electronic gadget policy.
At Sun Yat Sen University, not one student texted on a smartphone or surfed on a computer while I spoke. Jean asked me to say a few sentences and then wait for her to translate. This process helped me to focus on expressing myself clearly and slowly, a challenge since I tend to lecture rapidly. The students all spoke English, but the professor, Jean, and I decided that the theoretical ideas and digital works would be clearer to the students with some assist in translation into Mandarin.
At the end of my lecture, I asked if there were any questions. In higher education, the stereotype of Chinese undergraduates never speaking, writing down every word, and obediently memorizing constitutes a powerful meme in the so-called "west." However, when deconstructed for its colonizing phantasmatic, it only serves to reinforce an somewhat unexamined ideology of United States academic superiority founded on individuality, feeling, consumerism, and opinions.
I actually found myself charmed by the respectful lecture hall environment at Sun Yat Sen Univesrity, where the students seemed more interested in how these works provoked "civil society" and "participation" than in dismissing anything not related to internships or careers as inconsequential because it was not instrumental. It was exhiliarating to be with students interested in big philosophical questions--and ones that China as a rapidly developing world economy is grappling with, such as the tensions between state control, the global market, human rights, and emergent civil society.
These students complicated the Chinese stereotype advanced in places like The New York Times and The Economist. Many hands popped up with questions.
How did these projects get people to participate? Did the designers ever fear going to jail? Why did they combine analog and digital? How did they use social media? Why did they reject documentary as a form a propaganda to tell people what to think? Were there projects like this in China? How did the designers and communities use social media networks to get their projects out? What if too many people wanted to participate? How did the designers figure out how to embody a polyphonic historiography? Did the government pay for these projects or did the designers? How does one think through and structure many ideas and arguments instead of one idea from a central source?
At the end, Professor Wang thanked me for my presentation . He then lauded the students for their active participation in the discussion. Three young women dressed in black came down and asked to photograph me with their friends. They snapped photos of me with their smartphones. I noticed one smartphone case was decorated with glittering orange and purple sequins. The orange sequins were a Chinese character.
These young women thanked me for sharing ways to design encounters for participation and told me that social media networks in China crackled with "issues that were the same but looked different."
These women students shared in private that they could find any of these projects or even shorts on YouTube with their "secret" networks, which I assumed were VPN (virtual private networks with servers outside China).
Then one asked me something that I do not think I have ever encountered in an American college classroom.
"Professor Zimmermann, " she inquired "would you mind if we copied your PPT to this flash drive before you leave? We want to study the examples and the theories and see if there is a match in China. We want to discuss more."
I said, of course, ideas are to be shared and circulated.
They quickly inserted a purple flash drive into the university PC, downloaded my slides, and then slipped out of the room while I spoke with Dr. Wang about the challenges of teaching theory.
Monday, December 10, 2012
23 students sat in a room with gray tables at the Guangzhou English Training Center for the Handicapped (GETCH). The night before, they screened Jim Bigham's For Once in My Life, a compelling documentary following seven disabled adults working at Goodwill Industries in Miami, Florida, who form a band.
Jim and I had left the Garden Hotel lobby at 10:20 in a cab with Esther Yang, our escort from the US Consulate in Guangzhou. The cab inched forward slowly on massive expressway arteries crammed with trucks, cars, and cabs and rimmed with endless high rise apartment complexes shooting 30 stories high into the constant umbrella of gray skies. We were in Guangzhou, China, as film envoys for the American Film Showcase, an initiative between the US State Department and the University of Southern California to foster international dialogues through film and conversation.
Then, the scale shifted abruptly. Our driver snaked through a neighborhood with three story, older buildings, the street level bustling with small shops selling roast pork and chicken, noodles, or bottled water. Shirts and skirts hung out to dry on poles from windows flapped overhead from the second floor.
We walked down a quiet street lined with small shops selling plastic buckets and brooms. A man riding an old blue bicycle with fat tires rolled by. Esther pointed out that these smaller scale areas were called "villages." I imagined that before the development fueled by China's rapid growth in its Reform and Opening, post-Mao period, this area—which felt much more manageable than other parts of Guangzhou-- might have been a stand-alone village. With its 25 million people and rapid industrialization in the last 30 years, Guangzhou is the second largest megacity in the world.
Crossing a concrete threshold, we walked into the open courtyard of GETCH. A student on crutches moved slowly across the open space. "Hello", he said in English.
A two by three foot picture of Franklin Delano Roosevelt, the US President struck by polio, hung on one wall and on another, a similarly-sized picture of Stephen Hawking, autographed for the school. GETCH trains young adults between 18 to 23 to learn English and computer skills such as Microsoft Word, Excel, PowerPoint, and other computer program so that they can join the booming Chinese economy, one of the most high growth and powerful economies in the world. Tuition is free. Students pay for meals and the dormitories.
Jim and I entered the room. It was simple: white walls, a fan, gray metal tables, a beat up wooden lectern with a computer, a white screen pulled down from the ceiling. Rae Zhuang, a professional translator, greeted us. However, the students wanted to speak English.
Jim turned on his camera, holding it at waist level. Jim Bigham has vast experience in the feature film industry, commercial television, advertising, documentary, and indiewood. I noticed he made constant eye contact with the students, only glancing through the viewfinder sporadically. He asked the students, all of whom had various disabilities, their names. They all shared their English, rather than Chinese, names: Helen, Serena, Bessie, Max, Victoria, Sophia, Ben, Cherry, Sky. Annie, from Shanghai, proclaimed that she lived in the school and "loves it here."
"Did you see the movie?" Jim asked. "Yes" the group shouted in unison. "Have you ever wanted to play a musical instrument?" The students just smiled. They asked "What difficulties happened when you made the movie?" Jim answered " I wanted to make a story about people with disabilities without statistics, about the hearts of the people."
Drawing its title from a song by Stevie Wonder, who is blind, For Once is My Life deploys the structure of a Hollywood musical, with frequent breaks from the narrative to immerse in the music.
Another student queried "How did you communicate with members of the band when they speak different languages, like Spanish, Creole?" Jim pointed out that some of the band members featured in For Once in My Life could speak but not comprehend. He revealed that all band members could communicate through music.
Another young woman probed further. "Are there any companies in the United States willing to accept people with disabilities?" Goodwill Industries, Jim said. He also explained that in the United States, we have an Americans with Disabilities Act (1990) that prohibits discrimination based on disabilities.
"For Once in My Life is a love letter from them to you," Jim added. The students smiled, and then clapped.
At that point, the session transformed from a q and a with a film director into an interactive, engaged community. One student shared she really liked one of the band members because he was "so cute." Another student pointed out the Goodwin, the Chinese American, played piano well. Camera running, Jim then asked the students if they would like to send a video letter to band. They all shouted "YES!"
His camera at eye-level with the seated students, Jim asked each student to send a video letter to a member of the band. He kept eye contact with the students, as though the camera was invisible. Jim had mentioned in an session the day before that his direct cinema style was directly influenced by his mentor, D.A. Pennebaker, one of the originators of direct cinema who adhered to becoming invisible as a filmmaker. I saw Jim's style in action: the camera and his technique became invisible as he focused on his interactions with the students.
Bessie said to the camera "I like your music. I like one boy in the band,David. He plays the horn. You are very handsome."
Serena pronounced " I am so moved at the moment. No matter what kind of disability we can succeed." Jim asked her what her disability was. " I have an artificial leg."
" I learned a lot from this movie," Sky shared. "I was impressed by Javier (the able bodied band leader) because he acted like a father to everyone. Will you bring the band to China?" Jim explained that the band leader, Javier, lost his full time job. He was leading the band part-time. He is now in Memphis, Tennesse, doing the public relations for children with cancer.
"To Melissa (a young woman with Down's Syndrome whose father deserted her and her mother), you father missed out on an opportunity," shared Sophie.
After shooting video letters with several more students, Jim announced that he would put each of the GETCH students video letters up on Facebook. The students started to laugh. "Facebook is blocked in China!" a student noted. Jim replied he would then have to figure out another strategy to post the videos.
He then queried the students: "What would you like me to tell people? What advice would you give Americans?"
A student raised her hand. "Why don't Americans learn Chinese?"
As the session ended, Jim asked the group if they could sing a song he could film. Encouraged by their teacher, the students inched slowly to the front of the classroom. They sang a Tiawenese pop song by Chang Yu Sheng called "My Future is Not A Dream."
Jim filmed with his small black camera.
He moved around the group as they sang, softly at first, and then gaining volume as confidence grew. He shot in very close range, maybe 18 inches from each face.
Jim own eyes rarely looked through the viewfinder.Smiling, he always looked straight into the eyes of the students.
Monday, December 10, 2012
A red banner bedazzled with gold words in Mandarin hung beneath the white screen, announcing the Guangzhou International Documentary Film Festival (GZDOCS)with a little sign in English, "Director Meet and Greet." Chinese pop music played loudly from a computer at the lectern.
About 35 students and some unidentified adults sat in the small classroom with fixed long tables and fixed metal chairs in a very large building with a huge open atrium at Sun Yat Sen University (SYS), the most prestigious university in economically booming Guangdong province in south China. Jim Bigham and I were there as part of the American Film Showcase, an initiative between the US State Department and the University of Southern California for people to people exchanges to foster greater understanding.
Jim Bigham , the voluble, charming, and open director of the feature length documentary For Once in My Life, Esther, our patient escort from the consulate, and myself finally found the screening/classroom room after our driver got lost on the vast SYS campus at night. He and Esther, who spoke Mandarin, had stopped three different groups of students strolling around campus at night to ask for directions to the building.
It took nearly 45 minutes to get from the Garden Hotel to SYS. The traffic in Gaungzhou, known as GZ, clogged the expressways no matter what time of the day or night. With the intense pollution and constantly gray skies, I resorted to daily doses of Zyrtec and shots from my Albutorol inhaler so that I could keep my voice, stay alert, and breathe.
Two "interpreters" greeted us. Emily and Leo (their English names) were students at another university volunteering for the festival. Emily studied law, Leo, economics. They were interested in the festival as a way to expand their "cultural skills" beyond their studies. We thought they needed to translate. We were wrong: they told us the people in the room, mostly students at SYS, spoke English.
Jim and I were not sure what our role was. Noone official beyond the "interpreters" guided us. Jim asked a man at the computer to do a sound check, thinking that he was technical support. Later, at the end of the post screening Q and A, we discovered, much to our embarrassment, that he was the professor of anthropology and that the assembled students were enrolled in his class.
Echoing the tradition of hand-held direct cinema that fashions characters and a narrative, For Once in My Life lovingly chronicles 28 disabled musicians who form a band. They all work at Goodwill Industries in Miami, Florida. The film focuses on seven characters in their attempts to learn the music for a big concert for a conference of U.S. mayors—and to navigate their own independence as they deal with blindness, autism, down's syndrome, physical disabilities.
Structured like a backstage musical, with dramas and romances ensuing between characters and struggles to mount the show, For Once in My Life places the audience into the rehearsal room and in the characters apartments and homes, immersing us in a world of disability that asks us to dispose of our preconceptions about our own able bodies. The film coincided with the 20th anniversary of the Americans with Disabilities Act (1990). According to Jim, it was screened in Washington,D.C.
I parked myself in the back of the room during the screening so I could watch the audience. I expected non-stop texting. Instead, I witnessed uninterrupted rapture. Not a screen or smartphone in sight.
Jim, who has enjoyed a high profile, three-decades-plus career in the commercial media and indie sectors, skillfully started the discussion by stating " I need you to know, I have a disability. I can't play music." After that, the post-screening discussion percolated with some surprising questions and insights.
First, it was a lively discussion, with non-stop questions about the film, about disabilities in America and China, about the characters. Jim pointed out that in the US, most feature-length documentaries only focus on a maximum of three characters. He emphasized that his style of documentary is character-centric, a way to expand the audience for documentary through narrative framing techniques. But his ethics of documentary reveal a deeply humanistic and ethical grounding: Jim not only drove many of the characters to and from rehearsal, but keeps the characters in the film continually informed of the response he receives at screenings. His dream: to take the band on tour.
For Once in My Life sustains a complex weave of seven characters and a behind-the-scenes story about rehearsing for a big concert. Many in the audience expressed their interest in Goodwin, the Chinese American autistic pianist. Jim pointed out that the characters all represent the ethnic and racial mix of Miami: Cuban, Latin America, African American, Asian, caucasion. One young man wanted to know what the characters in the film thought of the film. Jim said they loved it, and were honored to have the film and their work screened in China.
Another young woman wanted to know what people in the United States knew about Chinese film. That's where I morphed from my role as moderator to my role as screen studies professor, sharing that I taught the works of Zhang Yimou, Chen Kaige, Jia Zhangke, and more emerging contemporary Chinese independent documentaries, called d-cinema or the Chinese new documentary movement.
One young woman in the audience then shared that she really liked the music, prompting enthusiastic head-shaking from most of the room.
Another young woman said that the film confused her. She thought documentaries were always boring. Instead, she found herself absorbed in For Once in My Life. Jim thanked her. He explained he seeks to blend difficult, activist content with entertainment values to reach a larger audience. One young man asked how he might make a film about disabilities in China. Jim replied with a simple statement: find a character.
Jim ended the public discussion with a moving statement: "We all need to remember that in the space of one second, any of us could move from able-bodied to disabled."
The "interpreters" wanted their picture taken with us. A young man who identified himself as a professional photographer for GZDOCs placed us in front of the banner which was at knee level and not easy to see..
In the hallway, a different, more driven, much more intense exchange occurred. The young students swarmed around Jim, who is over six feet tall with curly reddish blond hair and an open, engaging, generous manner. I heard one question repeated: "How can I make a documentary film?" And another question: "How did he shoot these people? How did they respond to the camera?" Jim pointed out that some characters "hammed it up" while others were shy.
A group of five young women, smartphones clutched in one hand, bookbags in the other, pulled me away from the larger group. One asked "How can we be trained to make a documentary in the proper way? How can we make a documentary if we do not have good enough equipment? "
I replied there is not just one way to make a documentary. The route looks different depending on age, history, politics, place, nation. I suggested that watching as many films as possible, going to art museums, and engaging the world without preconception through questions yielded more than "training," which might produce a standardized vision. Documentary is about learning to see the world with new eyes and to ask hard questions of that world.
I then pointed out that they had the best equipment imaginable.
I pointed to my head. They queried "your brain?" I said yes.
Then I pulled out my iPhone. Holding it in the air, I whispered: remember, we all have cameras. These small amateur cameras are powered by ideas, not specific training or electrical outlets.
With bluntly cut bangs and bright purple blouse, one young woman smiled shyly. She replied "Oh, I think I understand. It is about us, not you or copying this film."
Note: If you look at the image with this blog, you will notice that as soon as the screening ended, the GZDOC festival banner was removed.


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Will we get first glimpses of Froyo at Google I/O?
Google I/O is only a few weeks away and the Android fanboys are getting anxious. At last year's event Google teased us with unreleased features like gesture search and the only phone on the market was the T-Mobile G1. Later in the year, some of these enhancements were rolled out as individual apps and OS upgrades, so as we near this year's two-day conference, which starts on May 19, questions are starting to pop up. What does Google have up its sleeve?
Most of the tech community is in agreement that Android 2.2 (Froyo) features will … Read more


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Hang tight!
Recipe by Sadie
"This is a lightly sweetened butter that goes great on biscuits!! If you want yours sweeter, just add a little more honey."
Watch video tips and tricks
1/4 cup butter, softened
1/2 tablespoon honey
1/2 teaspoon orange zest
Very easy and very good! What more could you ask for from three little ingredients that you have around the house? It's slightly sweet with a nice hint of orange. It's a great way to perk up bagels, biscuits, scones or toast. But, I could definitely see many uses for this - over pancakes, waffles, muffins or thick slices of warm pumpkin or cranberry breads.
I made it exactly as directed. It was OK. Not great, not bad. Could use more honey.
22 Ratings
Fresh tasting, light citrusy taste and pleasantly sweet. Pretty too, with its pale yellow color and flecks of orange zest. I know it will be good on a lot of things - toast, biscuits, even pancakes - but tonight it was wonderful slathered on a warmed slice of pumpkin bread. Nice treat!
I really enjoyed this butter. I was looking for something to make my homemade bread a little more special and this worked fabulous! I did add a little more honey for more sweetness. I love the orange flavoring!
Very good. I did add just a little more honey to make it a little sweeter. We ate this on muffins for breakfast...thanks for something a little different.
This was delicious and very easy to make. After mixing, place it in the fridge for about 5 minutes to firm up a little bit. Thanks for a great recipe!
Yummy! Added a bit more honey and used unsalted butter.
This was good! I used powdered orange zest and was tickled with the results. Thanks!
* Percent Daily Values are based on a 2,000 calorie diet.
Orange Honey Butter
Serving Size: 1/4 of a recipe Servings Per Recipe: 4 Amount Per Serving Calories: 110 Calories from Fat: 104
Everything you need to party like a leprechaun.
New for spring! Good-for-you food you'll love to eat.
Delicious recipes, party ideas, and helpful cooking tips! Get a year of Allrecipes magazine for just $9.99!
Let your slow cooker make this irresistible apple butter for you.
This simple brown butter sauce is perfect spooned over white fish.
Watch Chef John prepare a simple but impressive balsamic and butter sauce.


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Tabletop dispensing robots are an efficient way to increase both output and quality in assembly processes where fluids like adhesives, lubricants, and silicones must be applied in controlled, repeatable amounts. By automating repetitive fluid dispensing tasks, they provide a cost-effective way to:
- Reduce process time
- Increase output without adding personnel
- Reduce rejects and rework
- Minimize non-value-added activity
- Prevent bottlenecks and reduce work-in-process
Squeeze bottles, brushes and other manual fluid applicators provide only minimal control over the amount of fluid applied, leaving it up to the operator to control the size and placement of the fluid deposit.
Air-powered fluid dispensers are a dramatic improvement over these manual tools. With air-powered dispensing systems, the amount of fluid applied is determined by the size of the dispensing tip, the pressure applied to the fluid, and the dispense time. By using controlled air pressure and precision timers to regulate the amount of material applied, they take subjective operator judgment out of the dispensing equation. This significantly improves accuracy and consistency while reducing rework, rejects and waste.
While a dispenser will ensure that the volume of fluid remains constant, it still remains up to the individual operator to determine the location and speed at which fluid is applied. This is where a dispensing robot that combines an air-powered syringe-based or valve-based dispensing system with an electronically controlled positioning platform can provide a distinct advantage. Instead of relying on the operator to determine where to deposit the fluid, a teaching pendant is used to set the placement and movement of the dispensing tip to produce the desired dot, line, circle, arc, or fill.
When the dispensing and positioning parameters have been set, the operator simply loads the part or parts onto a fixture, places the fixture on the robot's work platform, and initiates the dispensing cycle. As fluid is being applied, the operator is freed up to perform other, more value-added tasks, such as loading/unloading other parts or packaging products for shipment. With all variations in deposit volume, placement and application speed eliminated, workflow and quality are improved, bottlenecks are reduced or eliminated, and production rates become more predictable.
In addition to low- to medium-volume production runs, tabletop dispensing robots are ideal for prototyping applications, because switching between jobs typically requires little more than reprogramming the positioning and dispensing parameters and using a different dispense tip. Even a totally different fluid—such as a thick RTV silicone instead of a thin cyanoacrylate—can be accommodated by changing the dispenser settings and tip, or switching to dispense valve that matches the new fluid and application.
Tabletop dispensing robots provide a way to apply virtually any assembly fluid with greater accuracy and consistency than manual applicators, and with more precise placement than operator-controlled air-powered dispensers. By increasing productivity, improving quality and reducing costs, they offer assemblers a cost-effective way to gain a significant advantage in today's competitive manufacturing environment.
Nordson EFD
40 Catamore Boulevard
East Providence, RI 02914
800.556.3484 +1 401.431.7000


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There will be an informational meeting about the Charleston Area Alliance's 2013 Italy trade mission and cultural tour at 5:30 p.m. Wednesday at National Travel's office, 164 Court St.
The alliance previously announced its 2013 mission and tour destination will be northern Italy with visits to Varese, the northern lake region, Milan, Parma, Florence and Venice.
The tour will be from May 7 to May 17. National Travel is in charge of arrangements. The cost is $4,099 per person, double occupancy. For more information, email Jeri Adkins at JAdk...@Charleston
AreaAlliance.org or call her at 304-340-4253.


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Tora! Tora! Tora! Handsome Hamptons Sushi Prince Charms Silicon Alley
Toranosuke "Tora" Matsuoka looks like he just got off the Jitney.
Tall and handsome, with a slick of black curls, he glides through the dining room of his Flatiron restaurant, shirt over-unbuttoned in that Hamptons way.
Mr. Matsuoka, 32, co-owns Sen, the seven-month-old sushi den that has become the social center of Silicon Alley's cool crowd. The son of a New York artist working for Vogue magazine in Japan and a sumo wrestler, you could call him a poster-boy for globalization.
He calls himself "Jew-panese." Read More


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Reviewed by a Hotels.com guest on Aug 5, 2012
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Reviewed by a Hotels.com guest on Jun 23, 2012
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"Degli Aranci - Vieste, Apulia, Adriatic views"Reviewed by Debra C of "Illinois" on Jun 18, 2011
The Hotel Degli Aranci in Vieste, Apulia, Italy, is beautiful. The hotel staff is very pleasant and efficient. The hotel is very clean and the rooms are very attractive and comfortable. We had a beautiful view of the Adriatic sea and the town of Vieste is adorable, historic and quaint. The hotel is in the beach resort area of Vieste, which is loaded with condos, apartments and hotels. We were not in Vieste for the beach, which seems very nice, even with the rows and rows of umbrellas awaiting the summer hordes. But the views were great and the town itself makes for a great visit.
Star Rating
All rates are per double room per night and exclude taxes and fees. They are subject to availability.


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COLUMBIA — The Missouri women's basketball team has added two new players to its roster for the 2012-13 season.
Missouri women's basketball team finishes signing 2012 recruiting class
Tuesday, May 22, 2012 | 7:50 p.m. CDT;
updated 8:33 p.m. CDT, Tuesday, May 22, 2012
To read the full article, please sign up or login.
Get full access to the Columbia Missourian on your computer, phone, and tablet for just $5.95 per month.
* Unlimited access on your iPhone, iPad, Android phone and Android tablet
* All the high-quality, in-depth journalism of the Columbia Missourian and Vox Magazine, updated 24/7
* Your news. Your device. Your time.
If you'd like to read more about the value of being a member, read this column from the Missourian's executive editor, Tom Warhover.


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About the Blog
What students (and often their teachers and their principals) don't know about research and an enriching liberal education
September 18, 2013 by Adam F.
Author Pseudonyms and Pen Names and Aliases, Oh My!
July 23, 2013 by Peter SM
Friday Five: How-To's for Your B-B-Q!
May 24, 2013 by Peter SM
Free Library Mobile Services at the Tap of Your Finger!
May 14, 2013 by Peter SM
Have Yourself A Happy High-Tech Holiday!
December 18, 2012 by Peter SM
Learning By Doing meets Ladies, Start Your Engines
October 18, 2010 by Kim B.
Surviving Your First Job
September 3, 2008 by Liz A.


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[JURIST] A judge in the US District Court for the Southern District of New York [official website] on Monday accepted [opinion, PDF] a $150 million dollar settlement agreement between the Securities and Exchange Commission (SEC) [official website] and Bank of America (BOA) [corporate website]. In his ruling, Judge Jed Rakoff said he was "reluctantly agreeing" to the settlement, which he called "improved, but far from ideal" and "half-baked justice at best." Rakoff further indicated:
If the Court were deciding that question solely on the merits de novo, as the lawyers say - the Court would reject the settlement as inadequate and misguided. But as both parties never hesitate to remind the Court, the law requires the Court to give substantial deference to the SEC as the regulatory body having primary responsibility for policing the securities markets, especially with respect to matters of transparency. While such deference can never be absolute - since the Judgment ultimately entered is the Court's and is enforced by the Court's contempt power the Court would fail in its duty if it did not give considerable weight to the SEC's position.


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BeerAdvocate on your phone?! True story. Try the beta now.
Tickets for American Craft Beer Fest are on sale now! (May 30 & 31 in Boston, MA)
Bourbon Berry Grove - Jackie O's Pub & Brewery
Displayed for educational use only; do not reuse. |
Ratings: 88 | Reviews: 38 | Show All Ratings:
Reviews by metalgdog:
More User Reviews:
3.08/5 rDev -22%
look: 3.5 | smell: 3.5 | taste: 3 | feel: 2.5 | overall: 3
Poured from the bottle into a Chimay goblet.
Appearance: The beer pours a murky dark brown with a reddish hue. There is a ton of foamy off white head but it fades pretty quickly to a layer on top of the pour.
Smell: I'm getting a sweet malty note up front with a tartness that probably isn't supposed to be there. The berries and bourbon are there, but this has definitely turned into a fruity dark sour. There is just a touch of vanilla in the background.
Taste: The taste isn't quite as tart as I expected it would be, but there is a dark sour note to it. I'm definitely getting a lot of sweet malt along with some berries. There is a touch of bourbon along with some vanilla. There also seems to be some dark fruit and oak in the taste. The finish is tart and sweet.
Mouthfeel: The body is medium with way too much carbonation, I mean way too much. The finish is a bit dry.
Overall: I didn't hate this beer, which is what I expected. I would have liked to have this one not infected. I guess that should teach me something.
Serving type: bottle
12-21-2012 04:41:05 | More by oline73
4.1/5 rDev +3.8%
look: 4 | smell: 4.5 | taste: 4 | feel: 4 | overall: 4
I super chilled the bottle to prevent gushers. No gushers from this super cold bottle. The beer was served in a snifter. I had to pour the beer a couple times in order to get a full glass. The carbonation is a bit explosive.
A- The body of the beer has a ruddy plum coloration. The head was an off white with reddish purple tinges. The head has massive staying power and lacing is super thick.
S- As I was expecting the bourbon pops out undertones to the bourbon are berries really unable to determine what kind of berries, tart and sour cherries, vanilla, honey charred oak.
T- As with the aroma bourbon is popping out all over. If you dont like bourbon dont even bother. Underneath this tide of bourbon is berries, tart and sour cherries, more bourbon, vanilla oak. I am getting a bit of sourness from this beer but I am not minding it in the least. Is the beer infected?
M- The body of the beer is medium. The carbonation is very high. I mentioned possible infection with the flavor and perhaps excess carbonation. I think the high level of carbonation makes this beer more drinkable. No alcohol heat is noted from this beer
O- I like bourbon. I like beers that are a bit boozey. This beer hits both out of the park. The beer only continued to improve as it warmed in my glass. Again I am not certain if the beer is infected? I wish I had a few more bottles.
Serving type: bottle
09-08-2012 12:02:20 | More by nlmartin
New Jersey
3.63/5 rDev -8.1%
look: 3 | smell: 4 | taste: 3.5 | feel: 4 | overall: 3.5
Pours a dark ruddy amber color with a short lived off-white head that leaves some spotty lacing if you agitate and swirl the beer.
Aromas begin with, no surprise, a lot of berries. Soon after, however, you get a lot of bourbon, vanilla and quite a bit of charred oak.
The tastes follow the nose with initial cherry and blackberry syrupy juiciness. But then it's all barrel again with vanilla, bourbon and the charred oak flavors which clash with the fruit and wheatwine base.
The mouthfeel is medium bodied with a low amount of carbonation. Finish is boozy and sweet.
Overall I just don't really like the combination of flavors here. It's also pretty much a bourbon bomb with fruit juice added. Jackie-O's steps up to the plate, swing and miss, as usual.
Serving type: bottle
08-24-2012 17:12:54 | More by claspada
South Carolina
3.35/5 rDev -15.2%
look: 3.5 | smell: 3.5 | taste: 3.5 | feel: 2 | overall: 3.5
Big thanks goes out to Mississipping for sharing this one during StayWhatYouAre2's pre-wedding tasting! Thanks Ian! Bottle 92 of 180! Infected??? Served from bottle into a Boulevard tulip. Poured a deep brown with a three finger tan head that subsided to two fingers very slowly. Maintained nice lacing throughout the glass. The aroma was comprised of sweet malt, pineapple, coconut, cherry, and funk. The flavor was of sweet malt, fruit, sour, tart, vanilla, cherry, funk, earth, and peanut. It had a light feel on the palate with massively high carbonation. Overall this was a fairly decent brew. A part of me thinks this one was infected. I'm not sure what the flavors were they were shooting for here, but just based on the carbonation alone I would cry infection. After each sip, the liquid would turn to foam on your palate almost instantly. Just glad I wasn't taking large sips or I might have suffocated due to the carbonation formed in my mouth. I really would have loved to try this one un-infected, but you have to take what the brew gives you.
Serving type: bottle
07-06-2012 10:52:13 | More by thagr81us
4.23/5 rDev +7.1%
look: 3 | smell: 4.5 | taste: 4.5 | feel: 3.5 | overall: 4
Bomber to tulip
Bottle #101/1192
Sampled 17JUN12
Thanks to Alex for this bottle from a trade more than a year ago.
[A] Less than a 1/2 finger tan head rises and fades without sustained retention. A creamy crescent shaped collar remains, however, throughout the course. The pour is darker than expected, plum colored with a chestnut brown hint and bright ruby highlights when backlit. Clarity is impressive. Wavy patterns and random dots of lace cling to the glass or slide down slowly.
[S] Clean bourbon impresses upon the nose first and is then backed by a layer of sweet, dark fruits becoming more apparent as the temperature rises. The same can be said for the oak. The actual fruits aromas are clearly noticeable, but aren't as easy to identify on the nose as they were on the palate. The initial heat wears off and is much less noticeable now than it was at first pour. Light vanilla. Perhaps a dusting of cocoa.
[T] Again, first impressions are of bourbon. But the dark fruit flavor sets in on the back end and provides a lasting impression of cherries and blueberries, which are incorporated exceptionally well. While the honey comes through with restraint, the wheat component is entirely unnoticeable. Tannic oak adds to the drying impression on the finish.
[M] Medium body with a dry, tannic texture - probably thinned out a little by the high ABV. (My bottle lists 11.5% instead of BA's current listing of 12%.)
[O] Bourbon Berry Grove is an impressive Wheatwine and it improves in aroma and flavor with each rise in degree. By the end of the bottle - approaching room temperature - this beer was highly enjoyable. A better mouthfeel would have increased my rating tremendously. Well done Brad.
Serving type: bottle
06-24-2012 10:43:44 | More by FeDUBBELFIST
Bourbon Berry Grove from Jackie O's Pub & Brewery
out of 100
based on 88 ratings.


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Call for Entries: Radiant or Ravaged Photo Exhibition
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Hispanic Leadership Conference
Friday, February 28 9:00 AM - 4:00 PM
Registration Deadline: February 14 *Will be capped at 200, first come first serve
The Hispanic Leadership Conference is a program for Hispanic high school sophomores, juniors and seniors. Our conference staff encourages students to pursue higher education and help them realize their potential to be successful leaders of the future. Students are invited from Southern Idaho, Cache Valley, Ogden, and Salt Lake area schools. This free conference consists of speakers, workshops, meals, and an opportunity to compete for scholarships through student presentations. We welcome any who are interested to register and attend! We will contact you shortly after you submit your application. If you have questions, please contact Karrie Begay.
Karrie Begay 435.797.8676 email@example.com
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"If they feel like it's simple, then we can start worrying about the things that make them good players,'' Holgorsen said. "If they're not thinking, then it's more about the technique and effort and repping, getting comfortable and timing and all the rest. We don't want them thinking, we want them playing good. And the less thinking they do, the more we can coach them to play good.''
During West Virginia's five weeks of spring drills, Holgorsen was able to put in virtually his entire system in three days. He then went back and repeated the first three days and continued to do so until his new players knew it as almost second nature.
There's not much more to be installed. By the end of spring practice, Holgorsen had even managed to throw in a tight end formation or two, something he didn't think he would even do with this group.
"We didn't do anything with tight ends just because we don't have any,'' Holgorsen said. "I mean, if we had three tight ends laying around we'd probably use a couple of tight end sets. But we don't have any. Last year [at Oklahoma State] we ran a tight end set probably five percent of the time. But it's hard to do if you don't have them.''
But by the end of spring, this group had picked up the system so well that Holgorsen went ahead with the tight end sets for Tyler Urban. He could do that because the rest of the offense was so simple that most everything had already been mastered.
The trick now - and what makes the offense really go - is repetition and learning the nuances.
The trick, of course, is creating a simple offense and having it succeed. The more basic the offense, the easier it is for defenses to figure it out. But there are so many variations to the same plays in this offense that few defenses have been able to master that yet.
And that's Holgorsen's chief goal now that he seemingly has come up with the simple system that he really likes - changing just enough so that defenses never really figure it out.
"We try to make it all look the same,'' Holgorsen said. "We self-scout ourselves. We have for years and we know what the tendencies are and we try to fix them. And then when you go into a new place or a new year, you do what you can to fix what the tendencies were that you had the previous year. We're definitely trying to focus on not having any. It's hard, but you do your best with it.''
Reach Dave Hickman at 304-348-1734 or dphickm...@aol.com.


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recipe reviews for:
"This is a basic cornmeal coating for fried fish. You can substitute any type of fish you like."
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Panther Martin® Holograph Vivif Minnows
Panther Martin's Holographic Vivif Minnow is a very lively, flashy swimbait that produces loads of wiggling, wobbling fish-catching action. Sporting a vibrant inline spinner and a holographic finish that shimmers in the water, the 3'' Vivif Minnow is designed with a high dorsal fin which acts like a rudder and ensures true swimming action. Effective cast or trolled. 4.5'' overall length.
Rated 3.4 out of 5 by 7
Rated 1 out of 5 by gubahead Piece of junk
I'll just say this, I'm going to take it apart throw away the cheep worthless hook they put on it and see if i can use any of the the other components when i make other lures. Stunningly poor craftsmanship in this lure.
May 14, 2012
Rated 5 out of 5 by Scottmac12 great for pickerel
this is a great lure for pickerel and i would guess pike. theonly problem is it gets chewed up by toothy fish. 3fish 6 bites.
September 15, 2010
Rated 1 out of 5 by SnookKing98 Panther Martin Vivif Minnows
I am not satisfied with this lure. I tried it out and found it to be quite annoying. It swims off to the side to much and it tangles up you line and it gets in tangles. I haven't caught anything on it also. Don't buy this, its really bad.
May 30, 2010
Rated 5 out of 5 by maxmilam16 great lure
great lure and i caught 2 bluegill and a pretty large bass in my first five casts
April 18, 2010
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Mepps Agila hands down!1 of 1
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Flu outbreak shows no signs of letting up
This year's flu season shows no signs of peaking yet in North Jersey as patients continue to overwhelm emergency rooms and healthy residents are having an increasingly difficult time finding a flu vaccine.
Though some emergency rooms treated slightly fewer patients complaining of flu-like symptoms over the weekend, the numbers began to rise again Monday.
"We're seeing a lot of flu — our volume is up about 15 percent overall," said Dr. Joseph Yallowitz, medical director of the emergency department at The Valley Hospital in Ridgewood.
Hackensack University Medical Center was on divert again on Monday for several hours after having to send ambulances to other hospitals on Friday.
"Our emergency room is probably up about 10 percent, which doesn't sound like a lot, but our admissions are also up about 15 percent," said Ed Yamin, vice chairman of the emergency trauma department at Hackensack. "So our admissions aren't readily moving upstairs and being held in the ER for a time."
For the most part, physicians are seeing the type A H3N2 strain of flu, which is particularly virulent and appears to be leading frequently to pneumonia in the elderly.
Influenza has hit with such force that it's been leading news reports across the country and prompting some states such as New York to declare a public health emergency. Governor Christie has not taken the same action, but public health officials told the Assembly Health and Senior Services Committee on Monday that New Jersey seems to be at the epicenter of the national epidemic. The influenza epidemic has filled New Jersey hospitals to capacity, forcing them to put patients in hallways and consider converting conference rooms and cafeterias into sick wards.
"I've never seen anything like this," said Dr. Rachelle A. Greenman, who works in the Cooper University Hospital emergency room in Camden. "Record numbers of patients with flu-like symptoms are seeking medical care." Greenman said more patients are visiting New Jersey hospitals than they did during the H1N1 flu scare of several years ago, which at the time raised fears of a pandemic.
More than 2,200 patients have been hospitalized nationwide and 20 children, including two boys in New Jersey, have died.
Health officials say the most unusual aspect to this year's outbreak in the early onset of the illness — hitting hard in December compared with January or February, when it typically peaks.


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Sunday March 9, 2014; 01:07 pm EDT
The Almighty Oyster • free
Event Date:
March 1, 2013 - 7:00pm
John Wennersten talks evolution of the state's oyster industry from the colonial period to the mid-20th century, detailing the rise of the oyster from a poor people's food to a delicacy. 7pm at the College of Southern Maryland's Prince Frederick Campus, off of Rt. 231: 301-934-7827; www.csmd.edu/arts.


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Remove dirt and moss from decking grooves and joints improving grip and appearance.
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EconlibThe LibraryOther Sites |
Front Page Titles (by Subject) CHAPTER II: ON LAND, AS A SOURCE OF WEALTH - Selected Economic Writings
Return to Title Page for Selected Economic WritingsThe Online Library of LibertyA project of Liberty Fund, Inc.Search this Title:Also in the Library:
CHAPTER II: ON LAND, AS A SOURCE OF WEALTH - James Mill, Selected Economic Writings [1804]Edition used:Selected Economic Writings, ed. Donald Winch (Edinburgh: Oliver Boyd for the Scottish Economic Society, 1966).
About Liberty Fund:Liberty Fund, Inc. is a private, educational foundation established to encourage the study of the ideal of a society of free and responsible individuals. Copyright information:This book is published online with the kind permission of the copyright holders, The Scottish Economic Society. Fair use statement:This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.
CHAPTER IION LAND, AS A SOURCE OF WEALTHIn the praises which the Economistes, together with Mr Spence and Mr Cobbett, bestow upon land as a source of wealth, absolutely considered, the intelligent reader will not hesitate to join. Of all species of labour, that which is bestowed upon the soil, is in general rewarded by the most abundant product. In the present circumstances of the greater part of Europe, the cultivation of the soil not only pays the wages of labour, and the profit of stock employed in it, the sole return of other species of industry, but over and above this affords a share of the produce payable, as rent to the landlord. On this point, therefore, no controversy strictly exists; and when the patrons of the agricultural theory lament that the cabinets and legislatures of Europe, influenced by the ideas of the mercantile system, have so often thrown obstructions in the way of rural industry in favour of manufactures and trade, we acknowledge the justness of their accusations. One of the main objects which the immortal Smith proposed to himself, was to unfold the delusions of the mercantile system, by which the policy of almost all the governments of Europe was turned to the encouragement of trade rather than of agriculture, and a greater share of the industry and capital of every nation than consisted with its interests, was thus forcibly diverted into the commercial channel. Even to this hour the sound inquirer has most frequently occasion for his efforts in exposing the errors into which both governments and individuals fall by the remaining influence of the same theory. The firm hold indeed which this doctrine yet maintains on the minds of men, forms the principal obstacle to the diffusion, among mankind, of juster principles of political economy and of government. When a system, therefore, is propagated, diametrically opposite to the Mercantile, we might quietly allow the two theories to combat one another; and trust that the exposure of errors, if not the establishment of truths, would be the consequence. Unfortunately, however, it is much more the propensity of mankind to run from one extreme to another, than to rest in the wise and salutary middle; and a bias to the errors of the agricultural system would be not a whit less pernicious than a bias to the system which it would supplant. Of this indeed we have experimental proof; as some of the worst regulations which the new legislators of France adopted, were entirely founded upon the system of the Economistes. There is one consequence of the doctrine which Messrs Spence and Cobbett have embraced, which they seem rather unfairly to have kept out of sight. They address themselves with great industry to the self-interest of the landholders, and study to win their support by representing the landed interest as deeply suffering by the opinions which prevail. They abstain, however, from informing this class of their readers, that land, according to their doctrine, is the one and only proper subject of taxation. This the Economistes taught. It is a logical conclusion from their principles. If land be the one and only source of wealth, the absurdity is evident of seeking in any other quarter that portion of the national produce which is required for the necessities of the state; nor can one single argument be used against the exclusive taxation of land, which is not an argument, equally pointed, against the doctrine which the agricultural theorists espouse. It is shrewdly to be suspected that the landholders would deem themselves but little indebted to those gentlemen for the establishment of their system, were it to be followed by this practical consequence. The fact is, that land in this country bears infinitely less than its due proportion of taxes, while commerce is loaded with them. At the beginning of the last century, and previous to that period, the land-tax equalled, or rather exceeded, the whole amount of all the other taxes taken together. How insignificant a proportion does the land-tax now bear to the taxes on consumable commodities? The land-tax has remained without augmentation, while the permanent taxes have risen from little more than two millions to upwards of two and forty millions a year, and while the value of land has risen from fourteen or fifteen years purchase to thirty years purchase and upwards. The landholders, therefore, have little foundation for complaining, though the policy of the country has frequently appeared to favour mercantile rather than agricultural industry. By their superior influence in the legislature, they have taken care to repay themselves, as far as their personal interests were concerned, by throwing the burthen of the taxes upon the growing produce of commerce, while the increasing value of land stood exempt. The interests, however, of the country at large, the interests of the middling and industrious classes, have thus suffered in two ways. They have suffered by sustaining an undue proportion of the taxes; and they have suffered by the diminution of the annual produce of the land and labour of the country.6 [6]Mr Spence, in a new passage inserted in his 3d edition, p. 40 [p. 36], does at last state as a consequence of his doctrine, 'that all taxes, however levied, in the end fall upon the soil'. But this is very different from saying that they ought to be immediately levied upon the soil. The landholders may very quietly allow you to say that the taxes fall upon them, as long as you make them light upon others. Mr Spence is even accommodating enough to say that the corollary of the Economistes is wrong; and that taxes ought not to light, as they teach, upon the landlords. It is a matter of regret he did not give us his reasons; for I can discover none which are not as strong against the theory as against the corollary. Unfortunately, however, all that Mr Spence affords us on this score is the following; 'Reasons,' says he, (Ibid, p. 41, 42,) [p. 37, 38] 'which it is impracticable in this plan to adduce, render it doubtful, whether a direct land-tax would be advisable even in an infant state; and it is much more obvious that the intricate and artificial regulations of adult societies wholly preclude the propriety of such a tax.' |


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1340cc, 55bhp, 110mph, Insurance group 15
The Harley-Davidson Softail Springer is an ultra retro Harley based on the FXST Softail. Minimal but charming cruiser which harks back to the post war years when Harley-Davidson motorcycles were popular and their identity was really cemented. 'Springer' front Forks are based on the 1948 model but the rest of the Harley-Davidson Softail Springer is relatively modern – well as modern as air ...
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There are plenty of cracking classics you could buy for the price of a Royal Enfield Bullet Electra . These are the Indian-built 'modern' takes on the Fifties single, but to be honest even the addition of electric start can't save this bike from being something that perhaps ought to have died out with drainpipe trousers and Teddy Boys.
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Sure, the first half of this Titanfall tips video from Microsoft is mostly just hype, but in the second half, they've included a few simple but worthwhile pointers.
Disney Punks: don't confuse the Neverlanders for a gang—they're just a group of hardcore tattooed Disney fanatics that roam Disneyland in denim vests. Vice has the fascinating story here.
Valve Just Hired A Very Talented Artist
Robert Briscoe was the artist behind Dear Esther, a game I didn't actually enjoy that much but which I thought was very easy on the eyes.
Death Is 20 Cheeseburgers Becoming One Giant Cheeseburger
If Inception were a cheeseburger, this is monstrous creation is exactly what it would be.
Dark Souls II: Great game, but a bit crusty on consoles. Eurogamer's Digital Foundry has got a detailed breakdown of the PS3 and Xbox 360 versions of the new (very good) Dark Souls II. It sounds like neither version is without its share of technical issues, though they say the 360 version is the smoother one in terms…
Xbox Live "Core Services" Are Down (Don't Blame Titanfall)
Of all the times for Xbox Live to be experiencing "limited service".
999 is coming to iOS, sort of: The cult Nintendo DS game 999: Nine Hours, Nine Persons, Nine Doors is coming to iOS in visual novel form on March 17th, according to localizer Aksys Games' Facebook page. Called 999: The Novel, it'll be a story-only version of the original game. Despite that, it should still be a good…
Meet The Assholes Ruining Online Gaming
You can hear terrible prejudices bubble up when you're playing a Killzone, Call of Duty or Halo match online. This stuff is bad when you're in the heat of a tense deathmatch showdown, trying to just have fun and win. It's even worse away from the game.
The Argument For Offline Multiplayer Games
It's the internet age, the age of connectedness. Ask Sony or Microsoft about the defining feature of their next-gen consoles, and they'll start telling you about "social," about playing together online, all the time. That's all well and good, but does every game need online multiplayer?
Hearthstone is "like, really fun," Blizzard just announced in a press release. Also, the card game is out of beta now, and free-to-play for all.
The Simpsons' Couch Gag, In Lego Form
If it exists, then there is probably a Simpsons couch gag for it—and Lego is no exception.
Pole Dancing Robots Are a Real Thing
A slightly uncomfortable and awkward thing—are those security cameras as heads, for christ's sake?—but they're real thing nonetheless. Behold, German pole dancing robots. They cost $40,000 each.
Wacky Titanfall News Report Has Halo, Call of Duty Shooting Each Other
Look, we can't say that Next Media Animation's segment on today's hot release actually, y'know, makes sense, as far what the moving images signify. But it's fun to watch. And, hey, it's Francis! Think he knows he's in this?
Tips For Playing Titanfall
It's Titanfall day, people. Are you prepared for a parkour-filled, multiplayer-only, first-person shooter experience? We've been playing for days and have a few tips on how to best take advantage of all its neat features.
Skrillex Uses Video Game To Premiere Surprise New Album
If you want to be the first to hear Skrillex's newest music, one of the easiest ways is to play some video games.
Two Incredible Glitches Make The First Pokémon Games Way Easier
One thing many Pokémon fans have in common is that growing up, we'd hear all sorts of stories about glitches and legendaries you could capture if you did something random and esoteric. Most kids, as we now know, were lying. Or well: it's more like they didn't know how to pull the glitches off, exactly.
Kingdom Hearts III, Titanfall Season Pass, Wolfenstein [Deals]
Kingdom Hearts III, Watch Dogs, Wolfenstein, Titanfall's Season Pass, Dark Souls Collector's Edition. We've got your pre-orders right here. Want to see all the upcoming releases and their pre-order deals? Click here.
The Witcher 3 Delayed Until February, 2015
You're going to have to wait a bit before playing the hotly-anticipated role-playing game The Witcher 3: Wild Hunt. Once planned for a late 2014 release on PC, PS4 and Xbox One, it'll now be out in February of next year.


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RUBY ROCK-IT-Fundamentals: Hallmarks. Place these hallmark stickers on the back of your handmade card creations! This package contains fifty-four 3/8x2-3/8 inch white stickers with black text: nine each of six sayings (Handmade by:; Created by:; Original by:; Created by Hand; Lovingly made by:; and An Original Creation by:). Imported.


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BioDrop Low Volume Cuvette Launched – An Innovative Solution for Accurate Low Volume Spectroscopy from just 1 μl.
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{{ DomRef() }}
Calls a function repeatedly, with a fixed time delay between each call to that function.
var intervalID = window.setInterval(func, delay[, param1, param2, ...]); var intervalID = window.setInterval(code, delay);
is a unique interval ID you can pass toclearInterval()
is the function you want to be called repeatedly.code
in the alternate syntax, is a string of code you want to be executed repeatedly. (Using this syntax is not recommended for the same reasons as using eval())delay
is the number of milliseconds (thousandths of a second) that thesetInterval()
function should wait before each call tofunc
. As with setTimeout, there is a minimum delay enforced.
Note that passing additional parameters to the function in the first syntax does not work in Internet Explorer.
var intervalID = window.setInterval(animate, 500);
The following example will continue to call the flashtext()
function once a second, until you clear the intervalID
by clicking the Stop button.
  <title>setInterval/clearInterval example</title>

Hello World

 <button onclick="stopTextColor();">Stop</button>
The setInterval()
function is commonly used to set a delay for functions that are executed again and again, such as animations.
You can cancel the interval using window.clearInterval()
If you wish to have your function called once after the specified delay, use window.setTimeout()
Callback arguments
If you need to pass an argument to your callback function, but need it to work in Internet Explorer, which doesn't support sending additional parameters with setInterval()
, use an anonymous function to call your callback.
var intervalID = setInterval(function() { funcflashText(); }, 1000);
{{ h3_gecko_minversion("Inactive tabs", "5.0") }}
Starting in Gecko 5.0 {{ geckoRelease("5.0") }}, intervals are clamped to fire no more often than once per second in inactive tabs.
The 'this
' problem
When you pass a method to setInterval()
(or any other function, for that matter), it will be invoked with a wrong this
value. This problem is explained in detail in the JavaScript reference.
Dangerous usage
If there is a possibility that your logic could take longer to execute than the interval time, it is recommended that you recursively call a named function using window.setTimeout
. For example, if using setInterval
to poll a remote server every 5 seconds, network latency, an unresponsive server, and a host of other issues could prevent the request from completing in its alloted time. As such, you may find yourself with queued up XHR requests that won't necessarily return in order.
For such cases, a recursive setTimeout
pattern is preferred:
(function loop(){ setTimeout(function(){ // logic here // recurse loop(); }, 1000); })();
In the above snippet, a named function loop
is declared and is immediately executed. loop
is recursively called inside setTimeout
after the logic has completed executing. While this pattern does not guarantee execution on a fixed interval, it does guarantee that the previous interval has completed before recursing.
Browser compatibility
{{ CompatibilityTable() }}
Feature | Chrome | Firefox (Gecko) | Internet Explorer | Opera | Safari |
Basic support | 1.0 | {{ CompatGeckoDesktop("1") }} | 4.0 | 4.0 | 1.0 |
Feature | Android | Chrome for Android | Firefox Mobile (Gecko) | IE Mobile | Opera Mobile | Safari Mobile |
Basic support | 1.0 | 1.0 | {{ CompatGeckoMobile("1") }} | 6.0 | 6.0 | 1.0 |
{{ languages( { "fr": "fr/DOM/window.setInterval", "ja": "ja/DOM/window.setInterval", "pl": "pl/DOM/window.setInterval" } ) }}