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Designing a Secure DNS Architecture [ Source: Infoblox ]
May 2014- In today's networking landscape, it is no longer adequate to have a DNS infrastructure that simply responds to queries. What is needed is an integrated self-protecting DNS architecture that also enables smart growth. DNS is essential to any organization. Without a working DNS protocol, it would be almost impossible to have an Internet of Things that communicate with each other. Without a proper DNS infrastructure, your organization would not have a presence in cyberspace. Ecommerce ...
DNS ebook: Four Ways DNS Can Accelerate Business Growth [ Source: Neustar ]
February 2014- This e-book describes how DNS has developed over the years to support business growth as new needs have emerged, for example, advanced traffic management and protection from cyber threats. It outlines the evolution of DNS as "invented by geeks, perfected by suits" and suggests how organizations can win by augmenting their current DNS set-up.
Financial Security: What Smaller Institutions Can Learn From DDoS Attacks On Big Banks [ Source: Neustar ]
February 2014- Since last fall, several waves of distributed denial of service (DDoS) attacks have targeted major players in the U.S. banking industry. JPMorgan Chase, Wells Fargo and PNC were among the first to sustain intermittent damage. Eventually, the top 50 institutions found themselves in the crosshairs. Websites crashed, customers couldn't connect to make transactions and banks scrambled to get back online- and stay there as long as they could. In the months to come, security experts ...
Ecommerce Site Needs Protection Against Cyber 'Pirate' [ Source: Neustar ]
February 2014- There are over 7,000 DDoS attacks every single day and they can happen to anyone, at any time. In this case study, learn how a business with 95% of revenues generated online was hit by DDoS attacks over a 6-month period, resulting in lost sales and damage to its brand. However, by assessing the threat and using Neustar SiteProtect and UltraDNS solutions, they were able to mitigate and protect their Website from future attacks. Read this case ...
Exploring the Fundamental Differences Between Network Memory and Application Caching [ Source: Silver Peak ]
October 2013- Enterprises have long been battling the inherent performance limitations of Wide Area Networks (WANs) when delivering applications to remote offices. Caching emerged in the 1990's as a potential way of addressing this problem, accelerating the performance of specific applications, such as web services, while reducing overall WAN traffic. While caching achieved reasonable success for a few short years, the market for these point products ultimately subsided as a result of several operational and functional limitations. ...
Detecção e investigação de ameaças avançadas. Infraestrutura [ Source: EMC ]
February 2013- A infraestrutura do RSA Security Analytics: oferece arquitetura modular para coleta distribuída, é baseada em metadados para fornecer indexação, armazenamento e capacidade de pesquisa eficientes. Utiliza a infraestrutura do RSA NetWitness para análise lógica e investigações, inclui o warehouse que fornece análise intensiva e arquivamento de longo prazo.
Bring Your Own Device (BYOD) & Business Networks [ Source: Blue Coat ]
October 2012- Learn how to control, optimize and accelerate BYOD traffic and minimize its impact on business applications.
Solution Brief: Customer Benefits of the New Blue Coat WebFilter Categories [ Source: Blue Coat ]
November 2011- Blue Coat WebFilter helps you easily manage web content by categorizing it into a discrete number of categories. This enables you to set and enforce granular policies based on your business requirements. We work to minimize any disruption to customer environments. However, we occasionally find it important to introduce changes based on customer feedback and the dynamic changes occurring in the nature of web content.
Bandwidth Bandits [ Source: MessageLabs, Symantec Hosted Services ]
September 2010- This white paper will discuss how the Internet bandwidth is a finite and expensive resource that needs protection from spammers, criminals, hackers, time-wasters and employee misuse. Not only is it expensive and limited, but it is a vital business tool. This paper also explains the true cost of bandwidth bandits on businesses.
Inside Remote Access [ Source: SMB ]
June 2010- Inside Remote Access
THE MISSING LINK: What your Existing Monitoring Solutions Don't Show [ Source: INETCO Systems Ltd. ]
June 2010- Is it time to evaluate the next wave of monitoring technologies? This whitepaper was written to help IT teams, working in payment processing environments, answer the question: Is my current monitoring strategy missing critical information that could make, break or optimize our business? We start by taking a deep dive into internal and external factors shaping IT priorities within a payment processing environment. The next section will help you evaluate existing monitoring strategies and problem ...
Not Just Words: Enforce Your Email and Web Acceptable Usage Policies [ Source: MessageLabs, Symantec Hosted Services ]
May 2010-
Unmanaged employee use of email and the web can subject any organization to potentially costly risks including litigation, regulatory investigations, security breaches, lost productivity, business interruptions, and public embarrassment.
For responsible organizations operating in the age of email and the web, Acceptable Usage Policies (AUPs) are essential business tools. Clearly written and effectively communicated email and web AUPssupported by employee training and enforced by proven technology solutionscan help employers minimize risks, ...
Cloud Computing and Web Application Performance: The Risks of Adopting the Cloud [ Source: Gomez ]
May 2010-
Any business considering cloud computing to support its customer-facing Web applications must look beyond the clouds cost savings and scalability and evaluate how cloud adoption will impact the end-user experience.
This whitepaper addresses the Web experience challenges companies must address when adopting the cloud. It offers perspective and best practices to achieve world-class Web performance and assist in the evaluation of cloud providers and development of cloud performance SLAs.
Beating the Browser Wars: How to Win the Battle for Web Performance [ Source: Gomez ]
May 2010- With Internet Explorers dominance waning and Firefox, Safari, Google Chrome and a host of others catching up fast, managing browser diversity is becoming increasingly challenging. Plus there are multiple versions of each browser in use, underscoring a fact of life for website designers, web application developers, and your entire IT department: web pages can look and perform differently from one browser to another.
12 Steps to Ensure Successful SaaS Delivery - How to protect revenue, renewals, and customer satisfaction [ Source: Gomez ]
May 2010-
SaaS leaders like Omniture, Monster.com, Salary.com and Webex have known for years that performance problems can impact customer experience and have a huge impact on revenues, renewals, brand perception and overall user satisfaction.
Savvy SaaS leaders know that overall Web performance including availability, responsiveness and consistency needs to be a top concern in order to protect their customer experiences and minimize Web performance issues before they have a catastrophic impact on ...
Why the Mobile Web is Disappointing End-Users: A Market Research Study [ Source: Gomez ]
May 2010- One thing is clear the mobile web has crossed the chasm to the benefit of organizations everywhere. Yet what are mobile users expectations and how do they characterize the current mobile web experience? To find out, Gomez, Inc. commissioned Equation Research to conduct a study of consumers mobile Internet usage and perceptions.
When more Website visitors hurt your business: Are you ready for peak traffic? [ Source: Gomez ]
May 2010- Peak Online Traffic Periods are critical since more Web visitors mean more revenue opportunities. Yet what are consumers expectations during peak traffic times, and how do they behave if/when they experience poor web performance? To find out, Gomez commissioned Equation Research to conduct a study of consumer Internet usage experiences during peak traffic times.
Controlling Peer-to-Peer And Recreational Internet Traffic [ Source: Exinda Inc. ]
June 2009- Recreational use of the Internet at work has far reaching implications for employers. wide area networks, already strained to the limit supporting business-critical applications, are increasingly vulnerable to the adverse effects of traffic generated by peer-to-peer (P2P) file sharing, YouTube, and social networking sites like Facebook, MySpace, and LinkedIn. This white paper discusses strategies for controlling a broad range of recreational Internet traffic, such as instant messaging, P2P file sharing, and social networking ...
A Smarter Approach To WAN Optimization [ Source: Exinda Inc. ]
April 2009- Organizations rely heavily upon their applications to do business and support employees and customers. When bandwidth congestion and network issues slow the performance of critical business applications, productivity suffers and the entire organization may be put at risk. This white paper discusses how organizations can best optimize their wide area network (WAN) and meet growing expectations for fast access to applications. It also shows how common practices such as application acceleration and adding more bandwidth ...
Making Sense Of Search Positions [ Source: Ambergreen ]
June 2009- What does monitoring your Google organic search positions mean to you? Grant Whiteside, technical director of Ambergreen, looks at the new developments that mean you can now work out exactly what the value of each organic search query was worth to you.
Modern Filtering Solutions Rein In Employees' Internet Usage [ Source: RnD Software ]
April 2009- This whitepaper presents the latest trends in Internet usage at the workplace, the ways in which this usage affects companies' productivity, and the latest, most effective methods to fight informational threats through modern content-filtering solutions.
Visibility and Control With Proxy Appliances [ Source: Blue Coat ]
April 2009- The majority of enterprise Internet traffic passing through the firewall is Web traffic, which creates serious business risks. What's needed is a high-performance solution that can provide total visibility and control of all network users during Web-based communications with zero impact on firewall operations and network bandwidth.
Application Visibility And Monitoring: An Integrated Approach To Application Delivery [ Source: Blue Coat ]
April 2009- It's no secret that application performance drives business performance. But to achieve the level of application performance your business demands, you need total visibility into your network infrastructure so you can identify and monitor all your applications and resolve the issues that impede performance.
5 Reasons Why You Need Better Visibility Of Your Network [ Source: Blue Coat ]
April 2009- Ever try walking across the room in the dark? Lack of visibility makes even the simplest task difficult indeed. Imagine tackling complex jobs like nailing ROI targets or meeting rising network performance expectations. Get five concrete reasons why you should work toward greater network visibility.
Event Driven Marketing Woos Customers with Pull Strategy [ Source: Cequity Solutions ]
December 2008- Event Driven Marketing (EDM) has come as a breath of fresh air for financial institutions. Offering the ability to access customers through a "pull" strategy, EDM is relevant instantly as it meaningfully assimilates to a customer's need. From a technological point of view, it also is vital in explaining the importance of what drives audiences on their Web pages and elsewhere.
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Awesome Bracelet, made by Jolle during the war, is simply stunning. It is made with both small, round and baguette, rhinestones and is gilt sterling. It measures about 6.75 " around by about 5/8" wide. It is in great vintage condition.
Item ID: DCJ0022
Only 1 available. Don't miss out!
Great Vintage Jewelry at Affordable Prices!

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Home » News » Public Safety
March 23. 2013 5:28PM
Two people injured in Rochester crash
Patricia Smith, 51, of Rochester, was turning onto Route 125 from Church Street about 1:15 p.m. Saturday and hit a car driven by Tara English, 39, of Rochester, who was heading north on Route 125. They were both taken to Frisbie Memorial Hospital for treatment of injuries that were not life-threatening, police said.
Route 125 between Oak Street and Church Street was closed for about 90 minutes because of the accident, police said.
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After the election is over, the signs remain
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The three-year full-time Bachelor of Fine Arts (Acting) is designed to provide students with skills and knowledge to work across theatre, film and television.
In addition to learning voice, movement and music skills, students are introduced to a variety of acting methods and encouraged to develop their own individual approach.
Following in the footsteps of alumni Cate Blanchett, Sam Worthington, Hugo Weaving, Shari Sebbens and Ryan Corr, students showcase their learning in productions and performances throughout the duration of the course.
In the second and third years, students undertake study in one of three Studio Electives: Music Theatre, Applied Theatre, or Physical Theatre.
NIDA lecturers are leaders in the arts and entertainment industries, both nationally and internationally. Students have the opportunity to interact with the profession and develop important contacts in their field.
Want to know more about this course? Jeff Janisheski, Head of Acting and Di Drew, Head of Screen explains.
Course structure
Course dates and times
2015 Course dates
Term 1: 27 January – 3 April
Mid Semester Break: 4 April – 19 April
Term 2: 20 April – 26 June
Mid Year Break: 27 June – 12 July
Term 3: 13 July – 23 August
Mid Semester Break: 24 August – 30 August
Term 4: 31 August – 30 October
The semester continues until early December for those involved in the Directors' productions.
Course contact hours
Students are at NIDA from 9am to 6pm from Monday to Friday. During production terms students may also be required for rehearsals after hours and on weekends.
Additional time also needs to be allocated to library work, research, preparation for classes and private study. For this reason it is difficult for NIDA students to maintain regular part-time jobs. Studying at NIDA is a big commitment so students need to manage their time and resources carefully.
First year
Acting Studio
ACT7101A ACTING STUDIO (30 credit points)
This subject introduces students to the theoretical, technical and practical foundations of acting, voice, movement and music for the professional actor. It aims to cultivate the uniqueness of self to reveal and release habitual physical patterns that impede effective communication. Technical cognizance coupled with knowledge and critical awareness of self will aid the actor in making imaginative connections to body, sound, words, emotion, and the creative world of stage and screen. The subject begins the process of cultivating the technical craft required of the individual actor, releasing imagination and creativity within a developing ensemble. Self-discipline and awareness are developed through practical experiential exercise with classes examining particular theatrical and screen forms, individual and group research, vocal, physical and music training.
ACT7101B ACTING STUDIO (30 credit points)
This subject further engages with the theoretical, technical and practical fundamentals (acting, voice, movement and music) for effective communication for the professional actor. It aims to continue the process of unlocking habitual physical patterns that impede self-expression, individualism and creativity, and, through the exploration of the principles of voice, body and music, release and reveal textual and physical constructs (i.e. ownership of language, form and structure of verse, rhythm, length of words and imagery). The embodiment of technical facility and flexibility, coupled with knowledge and critical awareness of self, will aid the actor in making imaginative connections to words, emotion, and the creative world of stage and screen. The subject solidifies the personal technical craft of the individual actor, releasing the individuals' imaginative response within an ensemble. Classes examine particular theatrical and screen forms, individual and group research, vocal, physical and music training.
Acting Interdisciplinary Collaboration
ACT7102A ACTING INTERDISCIPLINARY COLLABORATION (15 credit points)
This subject offers students with the opportunity to engage with theories and techniques that encourage creative collaborative stagecraft and performance practice for the actor. The subject aims to support and transfer technical proficiency discovered in the Acting Studio subject enabling and revealing cognisance of self (self-awareness) within/through a text or non-text based collaborative performance context. Through the interface with collaborative theatre practice and the rehearsal process students acquire an appreciation of the roles and responsibilities that inform theatrical production and actively contribute and participate in the forming of a creative ensemble. Classes examine particular theatrical constructs, as well as individual and group research for collaborative in-house performance outcomes.
ACT7102B ACTING INTERDISCIPLINARY COLLABORATION (15 credit points)
This subject requires the transference of theoretical, technical and practical skills acquired to collaborative performance practice for the screen actor. The subject enables students to further acquire an informed cognisance of self towards self-actualisation within/through text and/or non-text based cooperative production contexts. The subject places an emphasis on the individual actor's aptitude for self-expression within collaborative rehearsal and production processes in theatre and screen. Students will acquire a detailed and practical understanding of the roles and responsibilities that inform stage and screen production, and actively participate and engage creatively and imaginatively within an ensemble for stage and/or screen production. Classes and rehearsals examine particular theatrical and screen forms, as well as individual and group research.
Performance and Ideas
COM7101A PERFORMANCE AND IDEAS (10 credit points)
This subject investigates six different play texts to create a trans-historical understanding of the tragic form and the ideas that have influenced tragedy across the centuries.
Students interrogate three main questions:
- What is tragedy?
- In what way has innovation in the tragic forms sprung out of a tradition of practices?
- In what way does this tradition influence our meaning making and practice today?
Students investigate these questions within the broader context of the 'world views' through which we can examine tragedy critically, the responses that these 'world views' have provoked to tragedy, the way we have responded to them artistically, and what tragedy can teach us about ourselves and about society.
COM7101B PERFORMANCE AND IDEAS (10 credit points)
This subject's focus is on comic forms and intercultural analysis. It investigates five different play texts to create a framework of understanding of the comic form and the ideas that have influenced comedy across the centuries, in particular interculturalism.
Students consider three main questions:
- What is comedy?
- In what way has innovation in the comic forms sprung out of a tradition of practices?
- In what way does this tradition influence our meaning making and our practice today?
Introduction to Collaboration
COM7102A INTRODUCTION TO COLLABORATION (5 credit points)
The focus of Introduction to Collaboration is the theory and practice of collaboration.
This subject introduces students to the principles of collaboration, which includes defining collaboration and creativity and examining how ethics, values and behaviours of collaboration are generated. Students investigate notions of ownership, agreement, creative conflict and how to generate ideas and create innovative practice.
This subject provides a theoretical, conceptual and practical scaffold for other BFA subjects including Student-led Projects and Interdisciplinary Collaboration.
COM7102B INTRODUCTION TO COLLABORATION (5 credit points)
This subject builds upon the principles of collaboration, skills and conceptual tasks featured in the previous semester. The concepts previously explored are now realised through practice in a group collaborative project. These small cross cohort collaborations are supervised and mentored. They have strategies and articulated milestones for the collaboration built into the conceptual plan so that students remain accountable to the learning outcomes of the subject.
Second year
Acting Studio
ACT7201A ACTING STUDIO (30 credit points)
In this subject, particular emphasis is placed on the interaction between the imaginative, theoretical, technical and practical skills of acting, voice, movement and music for the actor. It has a particular focus on the application and integration of technical facility and creative expression to reveal character. It is linked specifically to the exploration of complex text and language (classical dramatic, heightened verse and prose), physicality, voice and speech (such as accents and dialects) as well as the engagement with three Studio Electives - Music Theatre, Applied Theatre, and Physical Theatre. In the elected Studio Electives students investigate a distinctive creative modality in order to concentrate on and cultivate a broad range of skills as professional actors and/or artists
The subject aims to develop well researched, self-disciplined, determined and creative actors and/or artists that constantly challenge their understanding of the creative process by undertaking a series of projects that develop skills in cultural interfacing, observation, imagination and character development. Classes examine particular theatrical and screen forms, individual and group research, vocal, physical and music training.
ACT7201B ACTING STUDIO (30 credit points)
In this subject, students are encouraged to embody the theoretical, technical and practical applications of acting, voice, movement and music within theatrical and screen constructs for public performance. The subject places particular emphasis on the actualisation and transformation of character, through the exploration of highly complex text and language (dramatic, comedy, heightened verse and prose), voice, physicality and continued creative engagement with specialist Studio Electives (Music Theatre, Applied Theatre, and Physical Theatre).
The subject aims to develop technically creative and imaginative artists who are able to appreciate and express various styles and forms (American comedy and American theatre) inherent in theatre, screen and societal contexts for the actualisation and expression of text, character and meaning. Students explore performance styles and production contexts by undertaking a series of projects to develop skills in cultural interface, observation, imagination and actualisation of character.
Acting Interdisciplinary Collaboration
ACT7202A ACTING INTERDISCIPLINARY COLLABORATION (15 credit points)
This subject introduces students to interdisciplinary collaboration and performance for public production. It encourages actors to engage responsibly with other disciplines across NIDA and clearly define their role and responsibilities within a professional production. The subject is designed to interface with the Acting Studio subject, supporting and transferring technical proficiency to investigate character development within the collaborative rehearsal process for a public theatrical production. Students engage and participate in professional rehearsal room expectations, interfacing with stage managers, costume designers, prop makers, lighting designers, voice coaches, etc. and with resident and other professional directors. The rehearsal process aims to replicate as fully as possible current professional practice, the director and acting tutors placing emphasis on the actors' craft with the focus on marrying technique and expression for interesting, imaginative and involved behaviour in creative collaborative situations.
ACT7202B ACTING INTERDISCIPLINARY COLLABORATION (15 credit points)
Students develop the ability to transfer skills developed in Acting Studio to realise character in and through interdisciplinary rehearsal and public performance. The subject demands that the actor engage with initiative in the creative process of theatre and screen making. Students use emerging leadership skills and technical proficiency discovered in Acting Studio to realise character through the collaborative rehearsal process, public production and practice from stage to screen. The rehearsal process aims to replicate as fully as possible current professional practice. The focus is on the seamless integration of acting technique and creative expression for interesting, imaginative and involved behaviour in production/public performance. Classes examine particular theatrical, and screen forms, and individual and group research within a collaborative context.
Performance and Ideas
COM7201A PERFORMANCE AND IDEAS (10 credit points)
This subject draws together some of the earlier learning about tragedy and comedy and brings into focus twelve
different play texts through which students form an understanding of the tragi-comedic form and the ideas that have influenced it across the centuries.
COM7201B PERFORMANCE AND IDEAS (10 credit points)
This subject builds upon the knowledge and analytical skills built in the earlier semesters of Performance and Ideas, and culminates in a study of nine different works to develop an understanding of non-Aristotelian experiments as they have impacted on the development of contemporary performance. The subject addresses the questions:
- What can performance be?
- What are the ethics of performance?
In what way has innovation in performance ruptured, adapted and affirmed a tradition of practice?
Student-led Projects
COM7201A STUDENT-LED PROJECTS (5 credit points)
Student-led Projects derive from the theoretical and methodological frameworks explored in introduction to Collaboration. Students self-select their collaborative teams with cross cohort representation. Together each team shapes an idea for presentation drawing on the individual knowledge and ability of each member to problem-solve in the development and realisation of the collaborative endeavour. Collaborative groups request input from staff or external mentors when it is required. In this subject, students apply their acquired knowledge of behaviours, innovation in practice, leadership, followership, emotional intelligence and negotiation skills to devise a collaborative performative work.
Each group draws on the collective knowledge of different performance forms and processes to decide on the particular shape of their work and has strategies and articulated stages for the collaboration built into a written conceptual plan. A peer-review framework for assessment makes each student individually and collectively behaviourally accountable to the vision of the work.
COM7201B STUDENT-LED PROJECTS (5 credit points)
In this subject students build on the collaborative practice project established in the preceding semester by bringing their project to realisation and, if they wish, presenting it in a public or semi-public setting.
Students complete their documentation of the whole project in this semester, refine and finalise their framework for peer review, and document the outcome of the peer review process after final presentations of the work.
Third year
Acting Studio
ACT7301A ACTING STUDIO (15 credit points)
This subject focuses on acquiring the professional competencies required of the 'industry-ready' artist. It is designed to provide students with a broad range of industry specific skills (such as voice-overs, ADR/looping recording, commercials etc.). It also continues a detailed rigorous engagement with the Studio Electives with a view to realising students' potential as interesting, imaginative and engaged artists.
Classes are designed to accompany and complement productions in Acting Interdisciplinary Collaboration, as well as to examine particular theatrical, screen forms, individual and group research, vocal, physical and music training.
ACT7301B ACTING STUDIO (15 credit points)With a continuing focus on the application of technical, imaginative and expressive skills, students take part in presentations that enable them to demonstrate skilled and industry- ready leadership and transformation of emotional, physical, and vocal range to creating a variety of roles. The subject aims to prepare students to be the creative and artistic leaders of the future, capable of contributing to the professional industry (both nationally and internationally) to a high standard. The subject is designed to establish the individual student actor in an industry context by consolidating three years of conservatoire education and training in an industry Showcase. Classes are designed to complement Showcase, Showreel and final productions, as well as to examine particular societal contexts, theatrical and screen forms, and individual and group research.
Acting Interdisciplinary Collaboration
ACT7302A ACTING INTERDISCIPLINARY COLLABORATION (30 credit points)
This subject focuses on performance-orientated competencies for the professional actor through the collaborative process in a range of different cultural and personal territories for stage and/or screen and various media. The subject encourages actors to engage with the principles and practices of the professional actor in collaborative, devised and contemporary performance. The subject is designed to provide students with a broad range of industry specific skills supporting and transferring technical proficiency discovered in Acting Studio to develop and actualise character in the devising and rehearsal process, as well as in a public theatrical production with a focus on professional competency in the role. Classes examine particular theatrical constructs, and individual and group research within a collaborative context.
ACT7302B ACTING INTERDISCIPLINARY COLLABORATION (30 credit points)The actors/artists demonstrate career-ready competency through the collaborative process in a range of different cultural and personal territories. The subject is designed to enable students by providing them with a broad range of industry specific opportunities and a final public performance/production. The productions are designed to support and showcase technical proficiency of the student actor to the contemporary professional industry. Students participate in professional rehearsal room expectations, interfacing with stage managers, costume designers, prop makers, lighting designers, as well as internal and professional external directors. The rehearsal process aims to replicate as fully as possible current professional practice. The focus is on the advanced application and amalgamation of technique and expression for interesting, imaginative and involved behaviour in production/public performance.
Acting Professional Practice
ACT7303A ACTING PROFESSIONAL PRACTICE (15 credit points)
This is a cross-disciplinary subject designed to prepare the actors/artists for professional industry practice by providing opportunity to create a professional portfolio, as well as demonstrating a responsible and consistent attitude towards the self-management required of an independent career in the performing arts. The subject formalises the transition from personal development to a career-orientated model and aims to foster an in-depth understanding and knowledge of industry and industrial relationships, such as presenting a Showcase, agents' visits, developing auditioning skills, maintaining employment contracts, clarifying the role of casting agents, casting directors, and becoming knowledgeable about policy-making and funding bodies. Students perform unplugged (i.e. without theatrical conventions) for agents and industry professionals from across Australia.
ACT7303B ACTING PROFESSIONAL PRACTICE (30 credit points)
This subject aims to be the stepping-stone into the professional industry and assists in building business skills (websites, self-testing, and marketing) and industry relationships with directors, agents and casting directors. Students develop and present a fully supported Showcase and Showreel for the industry, completing their professional portfolio.
Domestic and international students are required to pay tuition fees by the due date each semester.
Domestic students are Australian citizens, Australian permanent residents and New Zealand citizens.
Australian citizens and holders of permanent humanitarian visas are eligible for an Australian Government FEE-HELP loan for all or part of their tuition fees. For more information about FEE-HELP please read the information below and visit Study Assist.
Tuition fees for 2014 for domestic undergraduate students
Fees for 2014: $8,240.00 per annum
International Students
Further financial information
FEE-HELP is the Australian Government loan scheme that assists eligible students to pay their tuition fees, so that students do not have to pay tuition fees up-front. FEE-HELP can cover all or part of a student's tuition fees, up to a lifetime limit of $96,000. From 1 January 2016 there will no longer be a FEE-HELP limit.
A loan fee of 25% applies to FEE-HELP loans for undergraduate courses of study. The FEE-HELP limit does not include the loan fee. The Australian Government announced on 13 May 2014 that the FEE-HELP loan fee will be removed with effect from 1 January 2016.
The Government pays the amount of the loan directly to NIDA. Students repay their loan through the tax system once their income rises above the minimum threshold for compulsory repayment.
See study assist for further information on the Australian Government's higher education loan programs.
You are eligible for a FEE-HELP loan if you are either:
- an Australian Citizen; or
- hold a permanent humanitarian visa.
The following students are NOT eligible for FEE-HELP:
- New Zealand citizens
- Australian permanent residents
- Overseas students.
The census date is the last day domestic students are able to withdraw without incurring a fee liability for the course. If a domestic student has paid their fees upfront, and withdraws before the census date, they are entitled to a full refund of the tuition fees paid. Please note this is not applicable to international students, please refer to NIDA's Refund Policy for International Students.
The census date for undergraduate courses in 2014 is 3 April 2014.
In exceptional circumstances, a student may apply after the census date to have their FEE-HELP balance re-credited. For further details refer to NIDA's Policy for Withdrawal and Re-credit of FEE-HELP. See NIDA student policies.
Financial assistance
Eligible students, who are Australian residents, can apply to Centrelink for financial assistance through Youth Allowance, Austudy or ABSTUDY. Visit Centerlink or call 132 490 for more information.
While at NIDA, students can also apply for consideration for a NIDA student bursary.
Statement of Tuition Assurance Exemption
Under the Higher Education Support Act 2003, (the HESA) and the Higher Education Provider Guidelines, approved Higher Education Providers must have arrangements in place to protect students if the Provider is unable to continue to offer a course for any reason, unless the Provider has been exempted from this requirement.
As required under 220.127.116.11 of the Higher Education Provider Guidelines of 23 November 2006, NIDA advises that, under section 16-30 (2) of the HESA, NIDA has been granted an exemption from the tuition assurance requirements of HESA. The reason for the exemption is that NIDA is in receipt of funding from the Australian Government. As NIDA is principally funded by the Australian Government, appropriate transition arrangements would be put in place should it be decided to discontinue a course.
Graduates of the Bachelor of Fine Arts (Acting) will have the performance skills and theoretical knowledge to be employed in a range of industries, including television, film, theatre and radio.
Students will graduate having studied one of three Studio Majors: Music Theatre, Applied Theatre, or Physical Theatre. Graduating students will also have a professional portfolio through which to showcase their talent and have ample opportunities to connect with industry professionals including agents and casting directors.
Potential careers
- Stage actor
- Film actor
- Television actor
- Radio actor
- Voiceover artist
Auditions and how to apply
How to apply
Application process
Applications for the Bachelor of Fine Arts (Acting) 2015 are still open for some cities. See 'Key Dates' below for details.
- The first step to applying is to fill in the online application form.
- All eligible applicants who submit their applications by the deadline will be invited to audition.
- Applications close on 30 September 2014 but late applications will be accepted as long as there are audition spaces available.
- After we have received your application and you have paid the application fee, you will be sent your audition date and venue details.
- You must attend your audition in person – auditioning via video or other electronic means is not permitted.
- Auditions in 2014 will take place in Adelaide, Brisbane, Cairns, Darwin, Hobart, Melbourne, Sydney and Perth.
- Audition dates for each city are available in key dates below. Please note any dates you are not able to attend on your application form and we will do our best to accommodate your date preferences.
- Prepare for your audition by reading the information below.
Key dates
Late applications will still be accepted as long as there are audition places available.
Audition dates
Adelaide - limited places available
Thursday 20 – Friday 21 November
Saturday 22 November (Recall)
Brisbane - limited places available
Monday 24 – Saturday 29 November
Monday 1 Dec (Recall)
Tuesday 2 Dec (Recall)
Cairns - CLOSED
Darwin - CLOSED
Hobart - open
Wednesday 3 Dec
Thursday 4 Dec (Recall)
Melbourne - CLOSED
Parramatta - CLOSED
Perth - CLOSED
Sydney - open
Monday 17 – Friday 21 November
Monday 24 – Wednesday 26 November
Thursday 27 November (Recall)
Friday 28 November (Recall)
Tuesday 2 – Friday 5 December
Monday 8 Dec (Recall)
Tuesday 9 Dec (Recall)
Audition process
On the day
At the initial audition you will perform two of your prepared pieces to the panel and a group of around 20 other auditionees. You may be asked to try new ways of approaching part of one, or more, of your monologues. After the morning session and a short break you may be invited to stay on and present your third piece and/or rework an earlier piece.
At the end of this afternoon session the panel may ask you to attend a second audition – a recall. This will occur on another day and may require additional preparation
Recall auditions
Recall auditions may involve:
- redirection of scenes
- improvisation
- discussion on interpretation
- musical and rhythmic tests
- sight reading
- Singing (if you intend to sing at your recall audition, you must choose a song from the list that will be available on the website from 1 July)
You may be asked:
- to relate dramatic roles to your personal experience
- about your knowledge of and experience in the theatre and related media
- to talk about your ideas and aspirations
Outcome of your audition
The audition process is informal and open. Should you have any queries about the audition process or about what is said to you during the audition, please speak to a member of the audition panel before you leave.
Selections are made around the second week of December each year. If you are successful you will be advised initially by telephone and then in writing that you have been accepted for the course.
Please note that if you have not been invited to present your third piece at your initial audition or have not been invited to a recall audition, or have not been asked to stay for the duration of the recall audition, then your application has not been successful and you will not receive any further communication regarding your application.
Audition requirements
All applicants must prepare and memorise three short monologues according to the requirements below.One piece by William Shakespeare
Select one short monologue from a play by William Shakespeare.
- Choose a piece that is in verse.
- Do not choose a sonnet or a poem.
You may download:
- You can choose an Australian or an international play.
- Modern pieces could be by playwrights such as Anton Chekhov, Johan Strindberg, Henrik Ibsen, Eugene O'Neill, Tennessee Williams or Arthur Miller.
- Contemporary plays are deemed to be those produced from the 1970s onwards.
Select one monologue of your own choosing from any period.Please note:
- Your chosen monologues should be no longer than two minutes. The panel will not time your performance but please keep to the time limit as much as possible.
- Your monologues should be committed to memory.
- You should bring two copies of each monologue to the audition – one for yourself and one for the audition panel.
If you want to demonstrate your singing ability, you will have the opportunity to do so, if you are invited to attend a recall audition. You should choose a song from the list below. A piano accompanist will be provided.
- Gravity Sara Bareilles
- Ordinary People John Legend
- I Remember (from Evening Primrose) Stephen Sondheim
- Not A Day Goes By (from Merrily We Roll Along) Stephen Sondheim
- I'm Alive (from Next To Normal) Tom Kitt/Brian Yorkey
- Superboy And The Invisible Girl (from Next To Normal) Tom Kitt/Brian Yorkey
- Someone To Watch Over Me George & Ira Gershwin
- They Can't Take That Away From Me George & Ira Gershwin
- King Of The World (from Songs For A New World) Jason Robert Brown
- Stars And The Moon (from Songs For A New World) Jason Robert Brown
Preparing for your audition
The following dos and don'ts are intended to help you with your audition and the selection of your monologues, so please take the time to read them carefully.
- select monologues from plays, not TV programs or films
- read the whole of each play that your monologues come from – research is important
- choose characters close to your current age range – while you don't need to stick to your exact age try to avoid the extremes, such as Shakespeare's King Lear or Willy Loman from Death of a Salesman
- choose characters who are in circumstances you can identify with and that you will enjoy exploring
- select pieces that are new to you and that you have not presented before
- pick monologues that will showcase you and your acting choices
- feel free to use contrasting material when selecting your monologues; for example, serious and comic or internal versus and external
- think about who you are talking to and what you want from them – know what you mean and what you say
- make all of your monologues active, use an invisible partner – for example, your audience – as a friend, conspirator, confidant or whatever is needed for the scene
- relax and enjoy yourself – we find that most applicants manage to relax and enjoy the experience and we hope that you will too!
- prepare monologues from self-devised work
- use a book of monologues, except as a reference – if you find a piece in an audition book that you like, you must still read the whole play
- select material for shock value, as this often backfires – while there are no real rules around this we suggest that you avoid material with strong sexual references or excessive use of expletives
- present monologues you have prepared and presented at previous NIDA auditions
- present any monologue other educational institutions have on their audition monologue sheets – we understand that this may result in extra work if you are auditioning for other institutions, but we are interested in your curiosity, hunger and level of preparation
Tips for the day
- that this is your audition – while it is useful to test out your monologue on a friend, do not worry about acting coaches and don't let anybody tell you how to act it
- to wear suitable clothing – any casual clothing that does not limit your movement is acceptable
- that you will be asked to work in bare feet, so do not wear closed-toe tights
- to wear little or no make-up.
Selection of students
Selection of students
We select students who:
- demonstrate commitment, motivation and passion in relation to the arts, entertainment and related industries, to their chosen discipline, and to the course of study
- provide evidence of their capacity to work creatively and imaginatively
- demonstrate an aptitude to collaborate with peers as part of a creative process
- demonstrate a range of knowledge, skills, technical abilities and/or problem-solving techniques relevant to their discipline
- demonstrate cultural and contextual awareness
- articulate and communicate ideas clearly
NIDA encourages applications from students from diverse backgrounds, with different levels of experience in theatre, film, television or other areas.
Due to the volume of auditions carried out, we are unable to provide you with individual feedback. The decision of the audition panel is final.
It is not possible to defer an offer of a place at NIDA.
International students
We require all international applicants to:
- attend an audition in Australia
- be aware of the visa conditions and financial obligations you are required to meet as an overseas student
- accept full responsibility for all arrangements concerning entry into, and residence in, Australia (including visas and health insurance).
- have an English language proficiency equivalent to an overall band score of 8.0 IELTS. Information on IELTS and testing centres in your country is available at www.ielts.org
For more information on applying as an international student, see international students.
Age and education requirements
- All applicants applying for any undergraduate course at NIDA must have completed their Higher School Certificate or equivalent qualification at the end of high school.
- Applicants must also be 18 years of age by 31 March in their first year of enrolment. Only in exceptional circumstances can this condition be waived.
- Students must be proficient in written and spoken English, with international applicants required to have an English language proficiency equivalent to an overall band score of IELTS 7.0. Information on IELTS and testing centres in your country is available at www.ielts.org.
If you have any further questions about the application process, please contact:
Email: firstname.lastname@example.com
Phone: +61 (02) 9697 7614
215 Anzac Parade
Kensington NSW 2033
Entry requirements FAQs
What ATAR score do I need to get into NIDA?
What subjects should I study at school?
NIDA does not require students to have studied any particular subjects at school. However, it is beneficial during their period of study at NIDA for students to have a high level of literacy and to have read widely. A strong working knowledge of subjects such as English and History is helpful to provide an understanding of historical context and literary references in theatre and literature. It is helpful to have an understanding of drama and, if possible, to have attended a range of theatre and films. Applicants for some courses often study Design and Technology, Textiles and Design, or similar subjects such as Art. Knowledge of a language other than English and understanding of other cultures is also beneficial.
For courses such as Properties and Objects, Staging, Design for Performance, and Technical Theatre and Stage Management there is a need to have some numeracy and basic computing skills. For the Staging and Properties and Objects courses there is a need to be comfortable with basic applied algebra, geometry and physical concepts but memorisation is not required and use of these concepts is very practically focused.
Is there a minimum age restriction?
The minimum age for entry into NIDA's full-time courses is 18 years. Students are expected to be at least 18 years of age at the commencement of their first year, or within a few months of commencement. In exceptional circumstances this condition may be waived. Applicants must be at least 17 years of age at the time of their audition or interview.
Applications from those 16 years and younger will not be accepted.
Is there a maximum age restriction?
Audition and interview FAQs
What do I need to prepare for my audition/interview?
Does NIDA give audition/interview feedback?
What are my chances of getting into NIDA's Acting course straight from high school?
Studying at NIDA FAQs
What are the contact hours for BFA courses?
Students are at NIDA from 9am to 6pm from Monday to Friday. During production terms students may also be required for rehearsals after hours and on weekends.
Additional time also needs to be allocated to library work, research, preparation for classes and private study. For this reason it is difficult for NIDA students to maintain regular part-time jobs. Studying at NIDA is a big commitment so students need to manage their time and resources carefully.
Does NIDA offer accommodation for students?
NIDA does not have on-campus accommodation for students. NIDA has a close relationship with the University of New South Wales (UNSW) which is located opposite NIDA. UNSW offers a range of housing options which NIDA students can access. For more details see UNSW Residential Communities.
New and returning students can also access the NIDA student noticeboards and webpages to advertise or seek accommodation and many liaise via email and Facebook to arrange housing together.
Students are responsible for arranging their own accommodation.
How are NIDA's full-time courses structured?
NIDA offers a conservatoire based method of education and training based around intensive practice-based learning.
There is formal class work, practical instruction, lectures and, for some courses, periods of placements in the arts industry. Each course has dedicated time to discipline-specific immersion, as well as common subjects undertaken by students of all disciplines.
NIDA Play Productions and screen work provides practical learning experiences, giving students the opportunity to apply learnt technical skills. Play productions are an important part of NIDA's higher education courses with usually five productions being produced each semester.
More detailed information about course structure can be found on the individual course pages.
What facilities does NIDA offer?
NIDA's award winning campus includes a range of facilities available to students:
- the Parade Theatre, seating over 700 people, is equipped with advanced technology in sound, lighting and scenery
- performance spaces of varying sizes. The Parade Studio, Parade Playhouse, Parade Space and Atrium are also utilised for productions
- the state-of-the-art Reg Grundy Studio is used for film and television recording
- the Rodney Seaborn Library, specialising in the performing arts
- computer-aided design (CAD) and multimedia studios
- rehearsal rooms, teaching spaces and music practice rooms
- and workshops for the manufacture of scenery, properties and costumes.
What student services does NIDA offer?
Because of NIDA's close relationship with UNSW, in addition to the NIDA library, NIDA students have access to the UNSW Library, The Learning Centre, health services and the UNSW Fitness and Aquatic Centre, all located close to NIDA.
NIDA students have access to student counselling services provided through UNSW.
Indigenous students can also use the services of the Nura Gili Indigenous Programs Centre at UNSW.
Does NIDA offer credit transfer for study undertaken elsewhere?
Yes, NIDA grants credit for formal study undertaken in recognised higher institutions in Australia, including universities, colleges, TAFE and other post-secondary education institutions and for study at recognised overseas institutions, where the applicant has met the learning outcomes, attained the knowledge and/or developed the skills relevant to a specific subject. An application for credit must be submitted and approved prior to commencement of the course. For further information see NIDA's credit transfer policy.
NIDA Student policies FAQs
Can I defer my studies at NIDA?
Due to the highly competitive nature of NIDA's admissions process, you must enrol for the year for which you have been offered a place. You cannot defer acceptance of a place. If you want to enrol in a subsequent year, you will need to apply again the following year and go through the audition/interview process again. There is no guarantee that you will be offered a place next time.
A first year student who discontinues a course of study during the year and wishes to return the following year, must re-apply for admission to NIDA in the normal manner. There is no guarantee of re-admission.
Application for leave of absence by continuing students must be made in writing with reasons to the Head of Course for consideration and recommendation to the Director. Approval for leave of absence can only be granted by the Director/CEO. It should be noted that approval for leave of absence will only be granted under exceptional circumstances.
Can students be suspended from NIDA?
Where can I find more information about NIDA Student Policies?
See NIDA Student Policies for more information.
Fees FAQs
What are the tuition fees for full-time courses?
Are there any other costs to study at NIDA apart from tuition fees?
There is an optional annual fee of $40 to join the Student Council of NIDA (SCON).While students are provided with the script of any plays they are involved in as part of the NIDA Production Program, students are encouraged to purchase other scripts and textbooks for subjects such as Performance and Ideas.
Acting students must wear "blacks" to class everyday i.e. leotards, jogging pants, sweat pants, simple black tops or T-shirts, so students need to make sure they have at least a couple of sets of blacks to get themselves through the week. Acting students must also supply their own make-up and soft black shoes.
Staging, Design for Performance, Costume, Properties and Objects, Technical Theatre and Stage Management students are required to purchase specific tools and equipment, which should be considered as lifelong investments. Students using workshop spaces are also required to have closed-toe protective footwear. Technical Theatre and Stage Management students should also have a few sets of "blacks" for working on productions.
Design for Performance students are also expected to purchase their own art equipment, drawing paper, cardboard and other material for models and should allow around $1000 for this each year.
While students have access to IT facilities at NIDA, the number of computers is limited and students, especially Technical Theatre and Stage Management and Design for Performance students, will find it helpful to have a laptop computer. The recommended equipment to access the NIDA wireless network is a laptop (Windows XP SP3 and later), Macbook (OSX 10.5 Leopard or later) or Tablets, that are less than three years old with Wireless facility that complies with 802.11a/b/g/n WPA2 Enterprise security.
For file transfers and data backup, a 500GB hard drive or higher and a 8GB USB stick are also recommended, as is a DVD burner znc, optional 1GB dedicated Graphics card, except for Design for Performance students for whom a 1GB Graphics card is required.
Financial assistance FAQs
Are there scholarships available for studying at NIDA?
NIDA does not offer scholarships that cover the cost of tuition fees. NIDA students, who are Australian citizens, are able to access FEE-HELP loans for assistance with their tuition fees. For more information on FEE-HELP loans see www.studyassist.gov.au.
NIDA offers students the opportunity to apply for financial assistance (bursaries) at the beginning of each year to assist with living costs. The bursaries are made available through the generosity of donors to NIDA and from bequests. Bursaries are paid on a fortnightly basis during the NIDA year, with the value of individual bursaries in 2014 ranging from $1500 annually to $4000 annually, depending on need and the year and course of study. These funds are allocated to students on the basis of financial need, course of study and year of study. Bursaries are only available to students currently enrolled at NIDA.
What other financial assistance is available to undergraduate students?
Is financial assistance available for students in the Master of Fine Arts?
NZ and international students FAQs
Is there a limit on the number of international students accepted each year?
NIDA's welcomes applications from international students. While there is no quota for international students, as there are limited numbers of students in each course of study, there are usually only a few international students at NIDA at any one time.
In 2014 there are four international students studying at NIDA, excluding Study Abroad students.
What are the English language requirements for international students?
Students must be proficient in written and spoken English, with international applicants required to have an English language proficiency equivalent to an overall band score of IELTS 8.0 for Acting, Directing and Writing for Performance, or IELTS 7.0 for other higher education courses. Information on IELTS and testing centres in your country is available at www.ielts.org.
International applicants who are short-listed for the Acting course after the recall audition must provide evidence of their English language capability by the end of the first week in December in order to be considered in the final selection process. International applications for other courses should bring evidence of their English language capability to their interview.
Where can I find more information about international students at NIDA?
Head of Acting
Jeff Janisheski
Jeff Janisheski joined NIDA as Head of Acting in January 2012 with a formidable list of accomplishments in the field of theatre, education and training. He has a performance background as an actor, choreographer, director and producer and a long history of collaboration with luminaries such as Anne Bogart and the SITI Company.
Prior to joining NIDA, Jeff held the position of Artistic Director for the National Theatre Institute at the famed Eugene O'Neill Theater Center in Connecticut, America's preeminent organisation dedicated to the development of new plays and music theatre across a range of genres (including Broadway productions Avenue Q and The House of Blue Leaves). Here he spearheaded the redevelopment of the National Theatre Institute's curriculum into a progressive, highly rigorous conservatoire-based training program with global connections, launching a guest artists' residency program, devising a new playwriting program and introducing a music theatre syllabus to the O'Neill Theater Center's existing offerings.
Before his appointment at The Eugene O'Neill, Jeff was Associate Artistic Director at New York's Classic Stage Company.
Jeff holds a Master of Fine Arts in Theatre Directing gained from Columbia University, New York, and has been a member of the adjunct faculty of Fordham University at Lincoln Center, New York. He is a recipient of the Theater Communications Group (TCG) New Generations/Future Leaders fellowship.


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Sales Executive: Media (Radio) - Job Details
Job in 'Sales' discipline and 'Sales Executive: Media' category
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|Sales Executive: Media (Radio)
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|Sales Executive: Media
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|A strategic sales person is required to initiate, conceptual sales within the TV and/or radio client requirements
|Skills Required
|Strong sales abilities
Media sales experience - TV and/or radio
New business developer
Client relationship developer
|Own reliable car with valid driver's license
Computer literate
Presentation abilities
Professionally presented
Well spoken
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Playstation 3
Battle Of Tiles Ex Questions for Playstation 3Home / Playstation 3 /
Game Questions & Answers (Q&A) service lets you ask questions about video games for game consoles or PC games. So ask your Battle Of Tiles Ex question for Playstation 3 and get answers from real gamers or answer questions and share your insights and experience with the rest of the gaming community.
- Developer: Bimboosoft
- Publisher: Bimboosoft
- Genre: Role-Playing General
- Release Date: Oct 8, 2013
- ESRB: Everyone
Stuck on this game? Set a specific, clearly defined question and let others answer your question or view answers to previously asked questions. If you think you are an Battle Of Tiles Ex expert then please try to help others with their questions.
Ask a Question
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text:
Now What Am I Supposed To Do?
Oh dear.
Did she just say "awful" when I asked "how are you?"
Now what am I supposed to do?
What happened to the script we've memorized when we ask the spare-me-the-details question of someone's well-being and the person refuses to go along with the script and blurts out the truth? Yes, what are we supposed to do with the truth…
Did she say "awful" when I asked her how she was doing?
Copyright © 2014 All Rights Reserved


text:
Added Apr 25, 2013
by carmencitab
Brittany, France
I made a lace dress for my friend Isabelle. I modified the Lace Collar top and used my Christmas dress for the skirt.
May 5, 2013, 09.03 PMby freehold
Wonderful professional quality….. beautiful
Apr 26, 2013, 10.56 AMby Srdenko
Beautiful done!
Apr 26, 2013, 09.12 AMby carmencitab
Thank you so much! I actually did the matching on the cutting table as the lace had a border. You can see more of it here : http://www.carmencitab.com/2013/04/the-capital-sins-of-pressed-seamstress.html
Apr 25, 2013, 10.54 AMby liliv-1
delicate and sofisticated…very nice!
Apr 25, 2013, 08.38 AMby Mary Athey
its gorgeous, the lace is so pretty x
Apr 25, 2013, 08.37 AMby michelleborstel
This is beautiful and flawlessly made, how long did it take you to match the repeat pattern on all the pieces? Well done x
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Vice President of Marketing,
Chris manages all marketing activities for JackBe, including public relations, press activities, events, partner marketing, and web presence. Chris also co-manages JackBe's Developer Community. Chris has more than 18 years of experience in all types of enterprise software environments, private and public, big and small. Prior to joining JackBe, Chr... more
Marketing is all about forging relationships, both with a brand and among users. See how one company engaged potential customers -- without breaking the bank.
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1 9 Facebook hacks that will blow your mind
2 6 brand spokespeople who need to die
3 The best social media campaigns of 2014 (so far)
4 5 predictions for the future of social media
5 The most meaningless (and hilarious) job titles on LinkedIn


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Home » NewHampshire.com » Life & Culture
Yard sale to raise money for Nashua animal shelter
Admission is free during the regular hours of 8 a.m. to 2 p.m. Saturday and 8 a.m. to noon Sunday, however, for a $20 fee, early birds may start shopping at 7 a.m. Saturday.The sale will offer household items, furniture, electronics, crafts, holiday decor, DVDs, kids toys and games, as well as a collectibles area with antiques, new items and jewelry. All proceeds will help the shelter provide food, vaccines and medical care for the more than 2,000 pets it helps each year. Donations for the sale are being accepted, and tax donation receipts will be provided. Those interested in donating can download a flier with the dates and times for donating as well as a list of accepted items at www.hsfn.org/news-events/annual-yard-sale.
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If your electronics don't stream content directly to your living room, they're just plain lazy.
TV, Blu-ray player, receiver and media server manufacturers are pairing up with content providers to cut out the middleman — that being the consumer who actually has to go to a store to get movies or music.
Manufacturers at CEDIA Expo 2009 announced partnerships with Netflix and Vudu, showing off the fruits of their collaborations.
Vudu had a huge presence in LG's booth. LG kicked off the show by announcing that it's BD390 Wireless Network Blu-ray Player now has Vudu access.
Vudu, along with Netflix, YouTube and Yahoo Widgets, can also be streamed via LG's line of Broadband TVs. The following components represent just a sample of the digital streaming products at CEDIA Expo 2009.
Click here for 11 Networked Components at CEDIA Expo 2009.Follow Electronic House on Facebook and Twitter.
Home automation system helps wounded war veteran live more comfortably.
Home automation system helps wounded war veteran live more comfortably.
Spread a little cheer and peace of mind with these 9 great gift ideas.


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UAE | Crime
Speeding car mows down elderly man in Dubai
Another 5 people injured in an accident on Monday morning, police official says
People speed in Dubai? Really I haven't noticed! I thought I saw a car speeding through the back streets of Marina last night. But I was mistaken, it was a low flying fighter jet disguised as a Porsche. Too many people here think all roads are a race course. I would suggest more speed cameras be placed on the side streets as well and not just on the main roads.
John Stevens, Dubai, United Arab Emirates
Most of the accidents happen due to wreckless driving, especially with big SUVs. When they are inside such vehicles, they think that they can do anything, speeding or line changing without indicators. Rules are not for them, and the whole road belong to them they think!!
Navas, Dubai, United Arab Emirates
i personally dont drive BUT i have noticed that it is VERY, VERY unsafe for pedestrians on these roads. There are no safe crossings and cars are speeding over Zebra crossings as well.The situation is quite pathetic.
zaid, sharjah, India
Dubai: An elderly man is fighting for his life after being hit while crossing the road on Saturday night, a senior police official said.
The man was hit by a speeding vehicle in Al Garhoud at 10.30 pm, said Major General Mohammad Saif Al Zafein, Director of Dubai Police Traffic Department.
The man was forced to cross the busy road as there was no zebra crossing, he said.
He said the man sustained serious injuries.
Major General Al Zafein said another five people were hurt in a traffic accident that took place on Shaikh Mohammad Bin Zayed Road in the early hours of Monday morning.
He said the accident took place at 3 am when a car collided with a van.
Four Asians sustained moderate injures while another Asian was seriously injured.
Comments (3)
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North Central College ranks among the best colleges in the nation to work for, according to The Chronicle of Higher Education.
North Central College is recognized for excellence in the 2014-2015 Colleges of Distinction directory.
Colleges of Distinction is a guide that considers the views of guidance counselors, educators and admission professionals to honor colleges that excel in four areas of undergraduate education: engaged students, great teaching, vibrant communities and successful outcomes.
The 15th annual edition praises North Central College and its commitment to those four core values.
General Electric (GE) has promoted North Central College alumnus Munesh Makhija to managing director of its India Technology Center and named him chief technology officer (CTO) of GE India.
Makhija will be based at the John F. Welch Technology Center in Bangalore, where he will oversee GE's India technology team of more than 5,000 engineers and scientists. The facility is GE's first and largest integrated multidisciplinary research and development center.
Three North Central College students presented at the Academy of International Business Midwest chapter conference, held March 26-28 in Chicago. They presented along with their North Central faculty supervisor Robert Moussetis, professor of international business, chair of management and marketing and coordinator of graduate business programs.
Julianna Stevenson of Oswego is one of 12 North Central College graduate students who learned about coffee businesses, imports and exports, and other trades during a weeklong study experience in Costa Rica.
The group visited two different coffee operations during the field experience Dec. 7-15. Stevenson, who is pursuing a master's of international business administration (MIBA) degree, recounts how the group learned about the different business challenges faced by a smaller operation like Doka Estates versus a larger business like Cafe Britt.
Hundreds of North Central College students will study abroad, participate in service trips, enroll in Verandah courses and take advantage of other distinctive opportunities during D-Term.
D-Term is a three-week period between Thanksgiving and Christmas that offers students possibilities to engage in life-enriching experiences.
This year's study abroad destinations include France, China, London, Argentina and Uruguay, the Netherlands and Luxembourg, Italy and Greece, Germany and Costa Rica.
Robert Moussetis—North Central College professor of international business, chair of the management and marketing department, and coordinator of graduate business programs—published a chapter in the 2013 book titled "Strategic Management in the 21st Century, Volume I: The Operational Environment" by editor Timothy J. Wilkinson.
North Central College began the 2013-2014 academic year Sept. 16 with a record number of students.
Total enrollment stands at 3,048 undergraduate and graduate students, eclipsing the 3,000 mark for the second straight year. The College welcomed 852 new full-time undergraduate students. Enrollment this fall includes a record number of international students and increased representation of out-of-state students and veterans.
Robert Moussetis, North Central College professor of international programs, chair of the management and marketing department and coordinator of graduate business programs, was invited to contribute an essay to Volume One of the 2013 "Encyclopedia of Management Theory," edited by Eric H. Kessller.
U.S. News & World Report magazine ranks North Central College among America's Best Colleges for 2014.
North Central College prepares students to be informed,
involved, principled and productive citizens and leaders over their lifetime.


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Save to My Recipes
Spiced Cranberry Bread Puddings
Published: July 2008 Servings: makes 6
- 1 cup sugar, divided
- 1/2 cup organic frozen cranberry juice cocktail concentrate, thawed
- 1/2 cup orange juice
- 2 teaspoons finely grated orange peel
- 3 cups cranberries (about 12 ounces), unthawed if frozen
- Nonstick vegetable oil spray
- 12 slices white sandwich bread
- 1/4 cup apricot preserves
- Ground cinnamon
- Freshly grated nutmeg
- 4 large eggs
- 1 tablespoon Grand Marnier or other orange liqueur
- 1 teaspoon vanilla extract
- 1/4 teaspoon coarse kosher salt
- 2 cups heavy whipping cream
PREPARATIONView Step-by-Step Directions
Bring 1/2 cup sugar, cranberry juice concentrate, orange juice, and grated orange peel to boil in heavy large saucepan, stirring until sugar dissolves. Mix in cranberries; return to simmer. Reduce heat to medium-low; gently simmer 3 minutes (cranberries should not break). Pour cranberry mixture into strainer set over bowl and drain. Return syrup to same pan. Boil until very thick and reduced to generous 1/2 cup, about 7 minutes. Fold berries into syrup. Cool to room temperature. DO AHEAD Can be made 4 days ahead. Cover and chill. Bring to room temperature before using.
Spray six 1- to 1 1/4-cup ramekins with nonstick spray. Line bottom of each with round of parchment paper. Cut round from each bread slice to fit bottom of ramekin. Spread each bread round with 1 teaspoon preserves, then sprinkle with cinnamon and grating of nutmeg.
Spoon 1 tablespoon cranberries (with as little syrup as possible) into each ramekin. Top with 1 bread round, preserves side down. Repeat 1 time with berries and bread rounds. Reserve berry syrup.
Whisk eggs, liqueur, vanilla, salt, and remaining 1/2 cup sugar in medium bowl until well blended. Add cream and stir until sugar dissolves. Pour custard, 1/4 cup at a time, over bread in each ramekin (generous 1/2 cup in each). Let stand at least 15 minutes and up to 1 hour, occasionally pressing bread to submerge.
Preheat oven to 350°F. Place puddings in 13x9x2-inch metal baking pan. Add enough lukewarm water to pan to come halfway up sides of ramekins. Bake until puffed and firm to touch, about 45 minutes. Remove from water. Let cool 10 minutes. Using small sharp knife, cut around each. Turn out onto plate; peel off paper. Spoon some reserved syrup over. Serve warm.
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- Daily 2nd Place August 8, 2011
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Author Comments
Rated 5 / 5 stars
Just finished Assassin's Creed 4: Black Flag. Needed to watch this video again. It was all I could do to keep from shedding a tear. The struggle is real.
A tradition for you, too, huh? :D Thanks!
Rated 5 / 5 stars
This reminds me of Pokémon X and Y because you saved the Pokémon world and a man from their ultimate demise. The man that had a belief. The man that made that belief come to life... Lysandre.
And the world is saved!
Rated 5 / 5 stars
Dear Mr EKublai:
I've got this stuck in my head for ten days. Well done you complete bastard.
The song and animation is great and very relatable indeed.
Haha, thanks man!
Rated 5 / 5 stars
I'd not long just finished another playthrough of Kingdom Hearts 2 and this song perfectly captures my feelings right now. Truely a flash for the ages.
Rated 5 / 5 stars
Wow. That was very well made and the sprite animation was really nice. Star ocean and tales of, will definitely keep you leveling up like that guy XD. I started dying laughing when the gamers lack of excerise and strained eyes starting getting to him. T'AI CHI CH'UAN TRAINING FOR THE WIN!


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Jim Hummel, an ABC6 news reporter for the past 13 years who is known for the "You Paid for It" investigative segments, resigned yesterday morning, saying he was disturbed by the sensational direction the station has been taking.
Hummel said there was pressure to sensationalize news and use slang –– such as "lowlife" and "thug" to describe defendants –– in an effort to increase ratings for the third-place local news station.Â
I love the craziness of the news," Hummel said yesterday, before going on The Dan Yorke Show on WPRO (630-AM). "But I think there comes a point where you have to take a stand."
TVNL Comment: Bravo, Mr. Hummel!


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Competition: Tickets to Churchill's birthday party
21 November 2014
Churchill War Rooms is celebrating the former prime minister's 140th birthday with an after hours event featuring music, cocktails and – of course – cake.
21 November 2014
Churchill War Rooms is celebrating the former prime minister's 140th birthday with an after hours event featuring music, cocktails and – of course – cake.
21 November 2014
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Subscribe to our email newsletter and find out what exhibitions are on, get tips for great days out, interesting video and all the latest news on our initiatives.
14 November 2014
Intimate photos of Lucian Freud, kaleidoscopic dolls' houses and Grayson Perry's art manifesto – if you're seeking a compelling winter read, look no further.
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We're giving you the chance to win an afternoon tea for two plus tickets to the Germany exhibition and a signed copy of Neil MacGregor's accompanying book.
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Get into the right frame of mind before heading to Tate Liverpool's Transmitting Andy Warhol exhibition with our free playlist.
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Author and academic Eddie Chambers explores why so many black British artists have been neglected in the art history.
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Carly Rae Jepsen Performs Telephone Booth Mashup at 2012 American Music Awards
Carly Rae Jepsen performed a mashup of 'This Kiss' and 'Call Me Maybe' at the 2012 American Music Awards tonight (Nov. 18).
Carly Rae Jepsen performed a mashup of 'This Kiss' and 'Call Me Maybe' at the 2012 American Music Awards tonight (Nov. 18).
Music awards shows are always known for mash-ups of different musicians and this year's American Music Awards was no exception with an instantly memorable pairing of MC Hammer with k-Pop star PSY.
Taylor Swift won her 10th American Music Award in the form of the 2011 AMA for Artist of the Year, beating out some stiff competition from the likes of Adele, Lady Gaga, Lil Wayne and Katy Perry. Weezy was surrounded by a lot of beautiful and talented women in this category, wasn't he? Nevertheless, Swift expressed a mixture of shock, awe and joy when her name was announced. They like you, Taylor. They really like you. What's not to like about T. Swift?
Tonight at the 2011 American Music Awards, the red carpet was overflowing with star power. In these red carpet pictures from the event, fans can catch up with their favorite pop stars prior to the award show at the Nokia Theatre in Los Angeles. Selena Gomez, Justin Bieber, David Guetta, Taylor Swift, Katy Perry and Jennifer Hudson are just a few of the people who posed for the paps at the 2011 American Music Awards.
Separated spouses Marc Anthony and Jennifer Lopez are to perform at the 2011 American Music Awards this weekend. But don't expect them to take the stage together — unless there's a dramatic surprise in the works.
Nominations for the American Music Awards were announced today, and British singer Adele leads the pack with four nominations, including Artist of the Year and Favorite Female Artist.
Katy Perry, Lady Gaga, Rihanna, Taylor Swift, Lil Wayne and country group The Band Perry were right behind Adele with three nods apiece. Perry will perform on the show, as will Pitbull.


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Results 1-10 of 10
User Review - Flag as inappropriate
Fifty Shades Darker is the second novel that follows the all popular Fifty Shades of Grey. From my raw encounter I would agree that FSD is set at a different level.
Horrible book! Please don't waste your money.User Review - jt - Flipkart
...ok so after the first one, which, in retrospect is horrible too, I figured there would be SOME story line. Well I was wrong. Nothing. No story. Zero. Don't waste your money. I'll give you the gist ... Read full review
Story does moveUser Review - Kaumudi - Flipkart
It definitely takes the story forward. Glad to see the character Ana move ahead. Its movement from the first book Should read - if you enjoyed the first book Like the subtle suspense in the relationships Read full review
Racy but predictableUser Review - Aruna Iyer - Flipkart
Darker, which is the sequel to 50 shades of Grey turns out to be rather predictable. After an exciting first book, EL James fails to recreate the impact with the second book. What put me off was the ... Read full review
Well if you are thinking. . .User Review - Deana Devadhasan - Flipkart
If you are reading the review for the second time i bet you are in self-doubt should you invest in this book ! well i dont blame you, and you know what the people who have written reviews below me ... Read full review
A mushy, mysterious taleUser Review - Runa - Flipkart
The Ana - Christian romance finally developing into a sensible, sincere relationship. This book is more normal, more mushy but definitely not the run of mill kinds. Ana's brush with Christians dark ... Read full review
a must readUser Review - puja - Flipkart
Right from the beginning it keeps u occupied, u just cant resist reading the next page.It really is liberating. It unleashes the real inner u. Am looking forward to buying the next two. After reading the first one I just cant wait to get my hands on GREY'S darker side. Read full review
Review: Fifty Shades Darker (Fifty Shades, #2) (Fifty Shades #2)User Review - Kelly - Goodreads
Edit: Not gonna lie, but I sort of enjoyed reading this one. The characters were a bit more bearable. And gasp, I'm looking forward to seeing how the third book goes. Continuing on with this series because there's three book all together and not one. Read full review
Part II of the Fifty Shades TrilogyUser Review - Tannaaz Irani - Flipkart
this book was a bit of a let down after the first one. it was completely mushy and its rather difficult to believe that a man who was so into control and BDSM is willing to give that up for an almost ... Read full review
Review: Fifty Shades Darker (Fifty Shades, #2) (Fifty Shades #2)User Review - Godiva Rachel - Goodreads
I hate to admit it but Fifty Shades got me so hooked that I find myself falling in love with Christian. Fifty Shades Darker is as good as the first book. Read full review
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