text:
Product | accuLAG |
Developer | Juno Ju-X |
Price (MSRP) | No Longer Available |
Type / Tags |
Utility | Stand-alone utility / application |
Operating System |
Latest Version |
Download | Released |
1.5 | - | ||
System Requirements Mac OS X 10.6 or higher |
Copy Protection | Other |
accuLAG is Master MIDI Beat Clock Generator and Micro-Timing Controller that equips highest preciseness, and unique "Lag Slider" let's you dig your own Groove, designed accurately by Juno Ju-X.
Rebuilt all: Same look, rebuilt inside. Brushed up here and there, plus, comes with new MIDI Control Change assignment feature let's you control Lag Sliders by MIDI controllers manually, and also automatically by MIDI sequencers such as Sequera.
What accuLAG does?: Sends MIDI Beat Clock and lags each 1/16th position backward or even forward.
Even more: Lag Position Memory brings a new style of music performance. Also you can control Lag Sliders via MIDI CC.
Typical Setup: Use accuLAG with a Sequencer that receives and syncs to MIDI Beat Clock.
Launch accuLAG. Select a MIDI-Out Port from the popup below the tempo slider. Launch your favorite Sequencer and set same MIDI Port to receive the Clock.
Start accuLAG then once you see them in sync, move Lag Sliders to make it lagged. The positions can be memorized in 3 buttons. And you can quickly load and switch them even while playing. Press "H" for hints and Shortcuts.
accuLAG is ideal: for professionals who aim to manipulate "Timing" accurately. Also ideal for Live performances. accuLAG is well designed for real time control as well as accuracy. Have fun with switching Groove rhythmically.
Please log in to join the discussion


text:
Policy Circular No. 28 (RE-2010)/2009-14 Dated: 15 April, 2011
Subject:- Clarification about requirement of "Declaration of Intent" for
EOU shipping bills for claiming Chapter 3 scheme benefits.
1. Para 3.11.8 of HBPv1
2009-14 (earlier
2. Earlier, DGFT had clarified on 4.3.2010 that EOU shipments fall under the "free shipping bills" category. The trade and industry has, however, contended that the Department of Revenue does not treat EOU shipping bills as "free shipping bills". On this issue, consultations have been held with Department of Revenue who have confirmed that EOU shipping bills are examined as per stipulated norms. Thus, the EOU shipping bills are not treated as "free shipping bills". Hence, DGFT clarification dated 4.3.2010 is withdrawn.
3. Be advised that shipments made by EOUs for the period 1.4.2008 till 31.12.2010 would not require "Declaration of Intent" for claiming Chapter 3 benefit. Be further advised that Policy Circular No. 40/2009-14 dated 16.7.2010 would continue to be in force for exports made on or after 1.1.2011 in terms of Para 3.11.8 of HBPv1 as amended by Public Notice No.82/2009-14 dated 16.7.2010.
4. All RAs are advised to finalize rejected claims of EOUs for the period 1.4.2008 till 31.12.2010 in terms of clarification under para 3 above. A grace period of one month is given from the date of this Policy Circular, for filing claims with RA, to EOUs who have not filed claims on time.
5. This issues with approval of DGFT.
Effect of this Policy Circular:
EOUs are eligible for Chapter 3 benefits without "Declaration of Intent" on shipping bills for the period 1.4.2008 till 31.12.2010.
(Hardeep Singh)
Joint Director General of Foreign Trade
(Issued from F. No.01/91/180/1582/AM10/PC3)

subset: commoncrawl


text:
Follow Glastonbury here on Virtual Festivals
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24 June 2009
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with reviews, features, comment and much more to get your teeth into when it's all over.
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manage to get a ticket or you did and you're down at Pilton this weekend, keep in the loop right here or join us on
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The order in which schools appear is random and changes regularly.
The Saatchi Gallery has launched a new art prize that creates a platform for the recognition of sculptural innovation - The Saatchi Gallery Sculpture at School Prize. Schools from the UK are now invited to submit sculpture entries separately for 2010.
Initiated in February 2003, Michele Bowman created Sculpture4Kids with the vision that sculpture should play a greater role in the school curriculum by encouraging art departments to participate in a nationwide sculpture competition.
The Saatchi Gallery took Sculpture4Kids under its umbrella in October 2009 to open the competition to a wider range of schools. Entrants for The Saatchi Gallery Sculpture at School Prize will now gain the opportunity to be shown at the Saatchi Gallery as part of the Saatchi Gallery/Sunday Telegraph annual competition.
The new Sculpture competition will focus on a theme or topic which all entries should be inspired by. For 2010 entrants, the theme is Everyday Materials Through the Looking Glass. Images of entries should be submitted online here.
Michele Bowman will be chairing the panel of judges from the Saatchi Gallery/Sunday Telegraph Schools Online Competition to select an overall winning school from the Sculpture Section at the end of next year. The school of the overall winner will receive £1000 prize money to spend on their art department. The winning pupil will receive £250 and 2 runner ups will be awarded £100 each
Next Page


text:
Sponsored links |
References used:The following information sources were used to prepare and update the above essay. The hyperlinks are not necessarily still active today.
Richard Packham
states on his web site: This material is not copyrighted in the hope that it will
receive wide distribution in any form. 2
Page Translator:This page translator works on Firefox,


text:
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HED p.e. lyrics
Album: Broke [2000]
Killing Time
Waiting to Die
Feel Good
Crazy Legs
Pac Bell
I Got You
Boom (How You Like That)
Swan Dive
Jesus (Of Nazareth)
The Meadow/The Phone Call
all HED p.e. lyrics
Killing Time
(hed) P.E. - Killing Time
Baby, I am a survivor
Baby, I'm on fire
Baby, I'm bout to creep up inside ya
Getting high all day, drinking whiskey all night
Flipping of the police when them tricks pass by
I'm that fool next door, always late with his rent
I'm that loser on the couch, watching Springer and getting head
Dreaming about a better time, better place, better life
Looking for that quick fix, and tweeking all night
Just killing time
Kiss that world goodbye
Its all over now
Nothing is over now
God knows I tried
But no one understands me
The black sheep of the family
My enemies - they try to over take me
Burning and looting till Babylon break me
Look me in the eyes baby, ride with me
I can take it there, ride with me
I know what you want, where you live, what you need
I can make it real, hold it down for you, feel you bleed
I keep my eyes on the stars
That's where I come from
Belt of Orion
Son of the Sun God
You know my name, I'm The Conqueror
The Lion
King, Ka Maya Maya& come
Twenty Twelve, come twelve tribes, come twelve strands, come twelve lives
Twelve steps, twelve months, twelve drug dealers
All make bail, kicked cause of the crowded jails
Sex and violence sells
Twelve serial killers, twelve dead without a trail or a trace&
It's prime time, the fight night, pay per view, suicide, the bee sting
Waiting to Die
(hed) P.E. - Waiting to Die
I don't give a fuck!
I'm a hitman, I'm a stalker, I'm a solider, I'm a street walker
Fuck you!
You don't know me , I'm a freak
Never slow down, never sleep
I get so high!
Don't play with me, see me, stay away from me
Just let me ride!
No you can't fade me,
I ain't trying to hear shit that you saying to me
Everybody dies
Just let me
There is nothing wrong with me
I'm not trying to see things your way
I'm not lost, I'm not drowning, I'm not lost
I'm just waiting, waiting to die
I drink too much!
See me fall down, see me laugh, see me fuck up, see me laugh
I'll bust yo lip!
Keep talking shit, guard your grill
A Killer will fire at will
I fuck the system
That first fucked me
I question the authority to kill a minority
Fuck you!
No, Fuck you, I'm a freak,
I ain't trying to hear shit that you saying to me
Everybody dies
Feel Good
(hed) P.E. - Feel Good
Ain't no more sunshine, just rain and cold suffering
Generation born to die with their eyes wide open
The clock strikes
The wrong rights
The mob rules
The second Armageddon, igniting the lit fuse
No turning back& every soldier is on point
Ready to die, the confrontation coming, ready of not
It's on again, It's time to say your prayers again
It's not the end, just the beginning of the end
Is it hard?
Yea, I can hold it down like that
Is it real?
Yea, You know I break it down like that
Is it rough?
Don't even try to front like that
I'm on fire baby, a big dog will hunt like that
Another day, another buster wanna battle me
Another mamma crying, now her baby is a casualty
I'm ready nigga, slice like a machete nigga, got fetty nigga,
never spend it on Betty nigga
I hit and run, never stressing to look back
When I look back, I think about the love I never had
Then I wake up, I get fucked up and I get even
Approach you from the front
While in your back a knife I'm leaving
The sky is falling, I don't care
I just want to feel good
Her train's leaving, she don't care
She just wants to feel good
The World is dying, we don't care
We just want to feel good
It's all over, we don't care
We just want to feel good
No- we can't compromise like that
No- we can't conform like that
I'm saying fuck you and fuck the norm like that
Revolt and transform like that
Make a difference
Have an impact
It won't stop raining, its flooding, Revelation was all true
You drew first blood, Jesus is coming to take you
Coming to break you, make you just like new
Satan laughing, spreads his wings and gets a new tattoo
A new platinum chain, a new pinky ring, the rolex, the benz,
The huggy bear pimp thing
Nigga it's midnight, never forget where you come from
Keep your mouth shut
Back the fuck up
Watch what you doing
(hed) P.E - Bartender
Ain't nothing working
Ain't nothing right
There's a hole in me
That I can't fill
No matter how hard I try
Hey, hey
Hey, Bartender
Hit me with a double
An' introduce me to that girl with the bubble
Huh, I'm looking for trouble tonight
No mama don't trust me tonight
You be the Center, baby
I'll be the Quarterback
Hike hit the tailback
Watch it on the playback
Jah smashed that hitting that redbone
Up in the N-Zone
Biting on the collarbone
I just want your company
I just want you to comfort me
Just come with me
Hey, Bartender
Hit me with another
I just about had to kill this brother
Shit, I'm looking for trouble tonight
No mama don't trust me tonight
You be the beauty baby
I'll be the beast
Who gives a fuck?
Take it to the bedroom
Take it to the streets
Take it like a man, motherfucker/Take it like man, player what?
Yo bitch chose me, motherfucker/Yo girl chose me, player what?
Take me there
Take me with you
I can't be alone tonight
I can't trust myself tonight
I can't trust myself tonight
Baby, please don't trust me tonight
No you can't trust me tonight
Ain't nothing working
Ain't nothing right
There's a hole in me
That I can't fill
No matter how hard I try
Ain't nothing sweeter
There ain't nothing wrong
All the pain that I recieve keeps me strong
It keeps me moving on
(I just want your company)
(I want you to comfort me)
(Just come with me)
Moving on
and on
Comfort me just come with mex2
Crazy Legs
(hed) P.E. - Crazy Legs
Yeah Yeah
Come into your house make love to your spouse
Fuck her in the mouth then I'm out what
These type of things happens all the time
You trying to get yours but I'm a kill for mine
Nigga Nigga Nigga A nigga please
I strap on a jimmy
Cuz I don't want a disease
Baby likes it when I come inside
I come into your house and take your daughter for a ride
Now how you gonna slow me down
Show me how you heard about my theory now
Feel me now busta you dealing with the microphone crusher
Amateurs fold under pressure
Yeah roll up that blunt now
Lay yo guns down who be the one now
Out of town before sun down O.K. Corral
You gonna slow me down bitch show me how
You gonna slow me down show me how
You gonna slow me down show me how
You gonna slow me down show me how
You gonna slow me down bitch show me how
Where my dogs at
Where my girls at
Where da whiskey at me let me hit some of that
I'm a drink my wine and smoke my weed
I'm a fuck that honey from behind
This is until she screams
Oh yeah Hell yeah
There's a party over here party over there
Rebels throw you fist in the air
Bitches throw your tits in the air
[chorus 2x]
Hed p.e. can't you see
Sometimes your shit just hypnotize me
And I just love your freaky ways
M.C. my love is here to stay
M.C.O.D. oh can't you see
Sometimes you shit just hypnotize me
And I just love your freaky ways
Hed p.e. my love is here to stay
[2nd Verse]
You heard about that shit that we do
You heard about the sex and the drugs and the violence
It's all true
I heard about your puss ass crew
Cross over corporate take down take two
Huh you running out of time now
You all mine now lights out
You fat muthafucker Watch me shine now
You fat ass
You wanna show me down show me how
You heard about my theory now fear me now
Cuz ain't no way that the shit can miss
See all my dogs fuck it up in the pits
See all my ladies shake they hips and wiggle they tits
Shit my niggas might bounce to this
Cuz everybody talking about that new sound crazy
But it's still hip hop to me
What What
[3rd Verse]
Let me have your muthafucking undivided attention
It's about time I set the muthafuckin record straight
Now it's obvious who smokes the most and the best weed
And it's obvious who got the most and the finest hoes
And it's obvious who's gonna get the props in 2000 One!
2012 come watch me
Shine in the new Millenium yeah
I think your fine baby
Nah you ain't my baby
You think I'm crazy Nah Nah no
Muthafucking way Fuck tomorrow fuck today
Fuck yo scandalous ass and yo scandalous ways
Fuck you momma and the ho she raised - What!
Pac Bell
(hed) P.E. - Pac Bell
We used to drive all night
We'd get hi all the time
She used to call me all the time
Now she don't
She used to call me all the time
We'd go out all the time
You little angel, you look so fine
Why the fuck you fucking with me
Why the fuck you playing with me
Why the fuck you wasting my time
Why the fuck you hiding my sunshine
With friends like you who really needs it
Your smiling face is misplaced, you're so deceiving
I can feel my spirit leaving
I cut my wrists you see them bleeding
Just like a parasite you creeping
See me psychotic, see me jumping of the deep end
We used to drive all night
W'e'd get hi all the time
She used to call me all the time
Now she don't
She used to call me all the time
We'd go out all the time
But that's over and its done, and its all right, oh yeah
Why won't you just leave me alone
Why won't you take your funky ass on home
You got nothing to say that I want to hear
I see through you, you perfectly clear
With friends like you who really needs it
Your smiling face is misplaced, you're so deceiving
I can feel my spirit leaving
I cut my wrists you feel them bleeding
Just like a parasite you creeping
Suffer like the fucking crucifixion
Cover me with dirt, there won't be no resurrection
See me psychotic, see me jumping off the deep end
We used to drive all night
We'd get hi all the time
She used to call me all the time
Now she don't
She used to call me all the time
We'd go out all the time
You little angel, you look so fine
If I told you how I felt, you would throw it back at me
Your wicked mouth would laugh at me
I hear you laughing at me
Your eyes could never lie to me
Words are all lies to me, it's all lies to me
With friends like you who really needs it
Your smiling face is misplaced, your so deceiving
I can feel my spirit leaving
You cut my wrists, you feel them bleeding
Just like a parasite you creeping
Baby got me psychotic, got me jumping of the deep end
I Got You
(hed) P.E. - I Got You
Nobody's waiting for you
Nobody's home
Nobody's listening to you
Cause nobody cares
They will never change
They are slowly dying
They will never go away
They have nothing to lose
All my people come on
Choose your side
You're a long way from home, but not alone
They are afraid of you
Cause you know their secrets
I hear them praying for you
That you disappear
They are the enemy
We are the fallen
Now they have us on our knees
We have nothing to lose
All my people come on
Choose your side
You're a long way from home, but not alone
Keep your head up
Keep it real
Stay down
You're a long way from home
You're not alone
I got you
The sky was blood red on New Years Day
One thousand candles light the way
Ten thousand souls are restless
Ten million hungry
Eat the rich, but pay me!
In the next episode&
I load and reload
It's kill or be killed
Sell or be sold
In this life, in this time, in my mind
I gotta stay high, cause I got left behind
Now who wanna ride with me
Young rebel start a riot with me
Hear me, feel me
Now who wanna ride with me
Get buck, get wild with me
Who will jump into the fire with me
Hear me, feel me
Swan Dive
(hed) P.E. - Swan Dive
I climb, hand over hand, closing my eyes
Too scared to look down
I climb, hand over hand
Putting distance between I and I and the ground
I get to the top
I stand on the edge
I look to the sky, and say all my prayers
What could be better than a swan dive into the asphalt
I don't know, nothing can be better than a swan dive into the asphalt
You should ask somebody, 'Cause I've got nothing to lose tonight
I misplaced my life tonight, chased all my friends away tonight
I don't say the right things
I don't look the right way
That's just not me
I listen to my music too loud, a watch too much damn TV
Tell me, who can control the flood?
No one
Where are the angels?
Where's the compassion?
Who knows the truth?
No one
Who will believe in me?
No one
Who will stand by me?
No one
Who will fly with me?
No one
I climb, hand over hand, closing my eyes
Too scared to look down
I climb, hand over hand
Putting distance between I and I and the ground
I get to the top, stand on the edge, look to the sky
There's nothing left for me.
(hed) P.E. - Stevie
I know your fucking with me
Fucking my brain
Fucking my friends
I know that you're no good for me
No you ain't never been straight
I got nothing but hate for you
I know that your full of sshh...
I know you got a man, still you looking at me
You know I got a girl, but you still looking at me
I know just what you want, just why you looking at me
Baby I got just what you want
Baby I got just what you need
I know that your full of shit
Come on, I'm no deaf or dumb
I'm not Little Stevie Wonder whatever
No more lies!
I been watching your eyes
I tried to hide
Tried to keep it inside
But I could not get away, can not stay away
Some one must pay
You think its funny huh?
You think I'm playing huh?
You ain't heard a word I was saying huh?
You forgot every motherfucking dog will have its goddamn day huh?
Well go ahead keep on laughing
Go ahead, keep on acting scandalous,
And watch how a real man handles his shit
You like that ...feels good huh?
Feels real good don't it?
Who you think you fucking with?
You thought I was stupid huh?
You thought I was crazy
Jesus (Of Nazareth)
(hed) P.E. - Jesus (Of Nazareth)
I can't believe a single word that you're saying
I see your lips moving, but nothing's coming out
Who can believe a single word that you're saying
I see your lips moving& but I can't figure it out
I'm afraid of the crucifix hanging on my wall
You hear yourself screaming,but nothing's coming out
I'm afraid of the shadows dancing on my wall
I hear them laughing at me,but I can't figure it out
I know my limitations
I just don't know when to quit
I know when I'm addicted
But no, I can't get enough of that shit, what?
Jesus - Make everything all right
Where'd everybody go?
I know I'm losing, but I don't know what to do
Sweet Jesus make it go away
Mary, Joseph what I should I say?
What do I do?
When I was alone you just laughed at me
I held out my hand, you just closed your eyes
I only wanted to be good
All I wanted was a chance to make things right
Twenty thousand leagues deep on the mic
Mass murder, court convicted, terroristic creature of the night
No, don't let me get freaky tonight
No, don't feed me tonight
I been drinking way to much Jagermeister
Mommy pray for me, cause I'm not feeling right
I've been hearing these voices
They're telling me to take my own life
Breathe my last breath, eat my last meal
You got what you deserve
How's that feel?
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Facebook App
An interactive software application developed to utilize the core technologies of the Facebook platform to create an extensive social media framework for the app. Facebook Apps integrate Facebook's News Feed, Notifications, various social channels and other features to generate awareness and interest in the app by Facebook users.
While it hasn't been possible to exchange real currency directly within Facebook Apps and Facebook Games, apps can utilize Facebook's Facebook Credits, a virtual currency that can be purchased (with actual money) in order to acquire virtual goods and services within Facebook apps and games.
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text:
When: | March 28, 2014 10:00 AM to 05:00 PM |
Where: | Fort Yargo State Park |
Phone: | 770-867-4632 |
Address: | 210 S. Broad St.
Winder, GA 30680 |
URL: | http://fylhs.com/ |
Cost: | $5 (children under 12 free) Park admission $5 |
Description: | The 5th Annual 18th Century Colonial Market Faire at the 'old fort. An 18th Century Living History event, open to the public, held at the old fort in Fort Yargo State Park. Come interact with Living Historians demonstrating life in the 1790's Frontier Georgia when knee breeches and tri corn hats were still in fashion. Come to the old fort and see 18th Century craftsmen and women demonstrating their trades, frontier camps, Native American warriors, militia drills, children's activities, trading post, weapons, hear 18th Century music and other unique 18th Century demonstrations. |


text:
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Whether you stay in a luxurious oceanfront estate or one of our charming Oregon Coast yurts, your stay in this beautiful destination will certainly leave you feeling relaxed and rejuvenated!


text: Jomashop offers the Baume and Mercier Women's Linea Watch, model no. MOA10010, for $799. Coupon code "BMMSV300" cuts it to $499. With free shipping, that's the lowest total price we could find by $277. It features a stainless steel case, interchangeable stainless steel bracelet and leather band, Swiss quartz movement, and water resistance up to 165 feet.


text:
US 8180826 B2 Abstract Exemplary media browsing, searching and authoring tools allow for media interaction over a web. An exemplary method includes acquiring digital video data, coding the digital video data using scalable video coding to generate scalable coded digital video data, analyzing the scalable coded digital video data using one or more video filters to generate information pertaining to the scalable coded digital video data and providing web access to the information. Various other exemplary technologies are disclosed.
Claims(17) 1. One or more computer-readable storage devices storing computer-executable instructions that, when executed, cause one or more processors to perform acts comprising:
acquiring digital video data by a client computing device;
coding the digital video data using scalable video coding to generate scalable coded digital video data;
storing the scalable coded digital video data to a sharable personal media library of the client computing device;
receiving, by the client computing device, a request from a community web server for a lower-quality version of the scalable coded digital video data;
uploading, via an internet, the lower-quality version of the scalable coded digital video data to a sharable web-based media library of the community web server in response to the request;
generating, by the client computing device, information pertaining to the scalable coded digital video data, the generated information comprising metadata that includes video content information;
storing the generated information in a metadata library of the client computing device;
providing, by the client computing device, the generated information to a searchable, web-based metadata library of the community web server or another community web server to enable web access to the generated information, to enable web browsing of and web searching for the lower-quality version of the scalable coded digital video data in the sharable web-based media library;
enabling web access to the generated information in the metadata library of the client computing device and the scalable coded digital video data in the sharable personal media library of the client computing device based in part on web browsing of or web access to the lower-quality version of the scalable coded digital video data in the sharable web-based media library; and
setting permissions by the client computing device using a permission-based sharing control application executing at least in part on the client computing device, the permissions at least in part for:
controlling modification of the generated information in the web-based metadata library of the web server and the metadata library of the client computing device by one or more web-based communities;
sharing the lower-quality version of the scalable coded digital video data in the sharable web-based media library; and
sharing the scalable coded digital video data in the sharable personal media library of the client computing device.
2. The one or more computer-readable storage devices of
3. The one or more computer-readable storage devices of
4. The one or more computer-readable storage devices of
5. The one or more computer-readable storage devices of
6. The one or more computer-readable storage devices of
7. One or more computer-readable storage devices storing computer-executable instructions that, when executed by a client computing device, perform acts for sharing digital media data, the acts comprising:
acquiring the digital media data by the client computing device;
generating coded digital media data from the digital media data;
storing the coded digital media data to a sharable personal media library of the client computing device; and
receiving, by the client computing device via an internet, a request from a community web server for a lower-quality version of the scalable coded digital video data;
uploading, via the internet, the lower-quality version of the coded digital media data to a sharable web-based media library of the community web server in response to the request;
analyzing, by the client computing device, the coded digital media data using one or more filters to generate metadata in an extensible mark-up language, the metadata pertaining to content of the coded digital media data;
uploading, via the internet, the metadata to a sharable and searchable, web-based metadata library of the community web server or a different community web server; and
to enable web browsing of and web searching for the lower-quality version of the coded digital media data in the sharable web-based media library and the coded digital media data in the sharable personal media library, providing web access to the sharable and searchable, web-based metadata library via permissions set by the client computing device using a permission-based sharing control application, the permissions at least in part for:
controlling modification of the metadata by one or more web-based communities; and
sharing the coded digital media image data in a predetermined quality in the sharable personal media library of the client computing device based in part on web browsing of or web access to the lower-quality version of the scalable coded digital video data in the sharable web-based media library.
8. One or more computer-readable storage devices storing computer-executable instructions that, when executed, cause one or more processors to perform acts comprising:
retrieving, from a community web server via a web, a set of semantic field entries associated with semantics of media, a set of quality field entries associated with quality of media, a set of camera motion field entries associated at least with a camera motion type of a camera used to record media and a set of intention field entries associated at least with an intention of a creator of media;
displaying to a display device at least a semantic field entry, a quality field entry, a camera motion field entry and an intention field entry from the respective sets;
receiving a command signal to indicate that a user has selected a semantic field entry, a quality field entry, a camera motion field entry and an intention field entry from the respective sets; and
initiating a search for media on the web based in part on the semantic field entry, the quality field entry, the camera motion field entry and the intention field entry selected by the user, the media being stored in one or more personal media libraries of one or more client computing devices accessible via the web, wherein the search comprises searching a web-based metadata library of the community web server accessible according to permissions set by a permission-based sharing control application of at least one of the one or more client computing devices, the permissions at least in part for:
controlling modification of the media by one or more web-based communities; and
sharing of media in the one or more personal media libraries of the one or more client computing devices that corresponds to metadata stored in the web-based metadata library by at least one of the one or more client computing devices.
9. The one or more computer-readable storage devices of
10. The one or more computer-readable storage devices of
displaying a media authoring template for authoring media based on media retrieved from the web, for authoring media to be accessible via the web and/or for authoring media whereby metadata associated with the authored media being accessible via the web; and
representing media that is authored as virtual media in a description file, wherein a template player locates a position in the description file corresponding to the virtual media to play the virtual media.
11. The one or more computer-readable storage devices of
12. The one or more computer-readable storage devices of
13. The one or more computer-readable storage devices of
deriving, by analyzing the digital video data, a set of semantic field entries related to semantic classes;
deriving, by analyzing the digital video data, a set of quality field entries; and
deriving, by analyzing the digital video data, a set of intention field entries.
14. The one or more computer-readable storage devices of
15. The one or more computer-readable storage devices of
16. The one or more computer-readable storage devices of
17. The one or more computer-readable storage devices of
Description This application claims priority to a US Provisional application having Ser. No. 60/731,780, entitled �Media Sharing and Authoring on the Web�, filed Oct. 31, 2005, which is incorporated by reference herein. This application is related to US application having Ser. No. 10/286,348, entitled �Systems and Methods for Automatically Editing a Video�, filed Nov. 1, 2002; US application having Ser. No. 11/254,843, entitled �Architecture for Scalable Video Coding Applications�, filed Nov. 20, 2005; US application having Ser. No. 11/263,718, entitled �Template-Based Multimedia Authoring and Sharing�, filed Nov. 1, 2005; US application having Ser. No. 11/275,400, entitled �Dynamic Search with Implicit User Intention Mining�, filed Dec. 29, 2005; and US application having Ser. No. 11/263,081, entitled �Capture-intention Detection For Video Content Analysis�, filed Oct. 31, 2005. All of these related applications are incorporated by reference herein. Many consider search technology a key to navigating the Internet's growing media (video/audio/image) collections. Further, as media becomes available in different forms, types, quality, content, etc., a need arises for search capabilities to navigate and identify particular media. Yet further, to promote widespread distribution of content, technology should consider authoring capabilities that can facilitate such distribution as well as searching and browsing capabilities. Video presents, perhaps, the greatest challenge due to size/quality and codec concerns, not to mention video with accompanying audio. As described herein, various exemplary technologies address media (e.g., video, audio, image, etc.) authoring, sharing, searching and browsing needs and/or other needs. An exemplary system operates in conjunction with the Web, or other networked environment for media sharing and authoring. In an end-to-end implementation example, such a system includes various exemplary technologies for scalable video coding, multimedia content analysis, and template-based media authoring. A scalable video codec addresses data transmission concerns, multimedia content analysis features facilitate video editing and metadata generation (where desired), and template-based media authoring reduces workload of media sharing and authoring. Various examples are described herein as operating in conjunction with the Internet to demonstrate effectiveness of the exemplary system and various exemplary technologies. Exemplary search and related technologies described herein can help in navigating the Internet's growing media (e.g., video, audio, image, etc.) collections or resources. Various exemplary technologies provide for efficient and scalable video authoring, browsing, and sharing of media on the Web. Non-limiting and non-exhaustive examples are described with reference to the following figures: The description that follows includes the best mode currently contemplated. The technology described herein pertains generally to information interfaces and presentation of information, multimedia information systems (e.g., video, audio, etc.), artificial intelligence for vision and scene understanding (e.g., video analysis, etc.). Various exemplary technologies pertain to video editing, multimedia content analysis, multimedia sharing, multimedia management, and/or template-based video authoring. Various algorithms are disclosed that may be implemented through use of hardware and typically software. Various exemplary technologies may be implemented through use of components in a computing environment such as a system of computers connected by one or more networks. The recent introduction and rapid adoption of consumer digital photo cameras and video camcorders has redefined the landscape for media (photo and video) management, authoring/editing and sharing tools. Existing video editing tools can be roughly classified into two categories. One is high-end professional editing systems while he other is middle- or low-end editing tools. While some flexibility and editing power exists with the first category of editing tools, users often require complex editing skills and aesthetic sense. At the same time, to learn such tools can require great effort on behalf of a user. Further, in using such tools, the task of video editing remains time-consuming and tedious. With respect to the second category of editing tools, such tools can make the task of video editing much easier due to support for automatic video editing methods driven by intelligent multimedia content analysis technologies. Further, some automatic or semi-automatic editing methods are available. With respect to examples of tools, a �suitability� tool provides for detection of suitable video media clips according to numerical �unsuitability� scores. Such a tool allows for organization of suitable clips by the users in a storyboard and also allows for automatic concatenation to produce a final video. In another example, an automatic music video generation tool provides for content selection based on calculation of video unsuitability relating to camera motion and image contrast. An automated home video editing scheme provides tools for dynamic highlighting of home video content by selecting desirable high-quality clips and linking them with transition effects and incidental music. As an example of an automated video editing scheme, one or more tools allow for extraction of sub-shots from video and calculation of importance measures for at least a portion of the extracted sub-shots. A tool may then determine respective relative distributions for sub-shots having relatively higher importance measures as compared to importance measures of other sub-shots. In such an example, based on the determined relative distributions, sub-shots that do not exhibit a uniform distribution with respect to other sub-shots in the particular ones may be dropped while remaining sub-shots (e.g., connected by respective shot transitions) may be used to form a video summary. A tool may provide for addition of an independent music source (e.g., as incidental music), for example, by aligning the sub-shot boundaries with the music beats and matching sub-shot motion intensities with the music moods. The size of media data, typically quite large, can hinder sharing of personal media. Authoring based sharing, i.e., sharing the authored (summarized) media, can significantly reduce the burden of data transmission; however, it is still far from being fully realized due to lack of suitable media authoring tools and sharing platforms. Various exemplary technologies described herein can be arranged to create an exemplary web-based scheme or system for media authoring. Such an exemplary system can enable users to efficiently share and author personal media on the Web. As already mentioned, an exemplary system may include the following three component technologies scalable video coding, intelligent multimedia content analysis, and template-based media authoring. As discussed herein, scalable video codec addresses data transmission, multimedia content analysis facilitates automatic video editing, and template-based media authoring reduces workload of media sharing and authoring. Web-based media authoring can provide a wider space for average users to share their media experiences, as well as a broader channel for users to obtain raw media materials for further applications. With respect to scalable video coding, scalable codestreams allow for media content to be accessed using a number of different devices without separate codestreams having to be maintained or acquired for each type of device. An exemplary architecture allows a system to adaptively access scalable media codestreams both to promote efficient use of resources and to exploit scalable media codestreams to support a number of different applications. In such an example, minimum coding units from a codestream, such as macroblocks (e.g., to provide access to the content at a selected level) can be collected in packettes by a peer system or peer layer. Such packettes may be transmitted within conventional transport packets. Thus, the exemplary architecture allows for adaptive access to the scalable codestream that is transparent to both the application and transport layers on the systems exchanging the codestream. Such an architecture supports applications including allowing multiple devices to each receive content at a desired access level without exchanging the full codestream, content shifting between devices to facilitate device roaming, and access level shifting to accommodate changes in available storage or other capabilities. Various sections (2 through 7) appear below. Briefly, Section 2 introduces the architecture of an exemplary web-based editing system. Pre-processing operations applied at a client are presented in Section 3, followed by those able to be performed on a community server in Section 4. In Section 5, a demonstration example is presented of various techniques to accomplish authoring on the web as well as authoring templates. Section 6 presents various exemplary technologies and Section 7 pertains to an exemplary computing environment suitable for use in implementing various exemplary components and in forming an exemplary system. Section 2: An Exemplary System The library desktop layer 120 includes a personal media library 122 for media such as video media coded using scalable video coding and a metadata library 124, which can store metadata associated with media content, such as metadata from media content filters. The library web layer 130 includes a community media library 132 for media such as video media, optionally amenable to scalable video coding, and a community metadata library 134. The control module or interface 123 allows for communication or transfer of information between one or more libraries, for example, between desktop client libraries and community server libraries. A user or users may use a module (e.g., module 112) associated with a desktop client to import media data into a desktop client where the media data includes video data encoded by a scalable video codec. A content analysis module (e.g., module 114) that includes analysis algorithms may then be applied to the media data. A module may construct a personal media library (e.g., library 122) and a metadata library (e.g., library 124) on the desktop client or access one or more existing desktop client libraries to store the media data. A sharing control (e.g., control 123) associated with the desktop client can then allow a use or users to share all or part of the metadata, as well as all or part of the media data in a predetermined quality (e.g., low-quality in terms of low-resolution, low frame-rate, and/or high compression ratio) on the server. For example, the control 123 may upload such information to a community web layer 130 (e.g., including one or more servers). A sharing module may allow a user or users to control sharing permissions both on the desktop client and the web (e.g., community web) through a uniform administration interface. In the example of In the system 100 of Section 3: Exemplary Pre-Processing on a Client Various media data pre-processing techniques can occur on a client prior to authoring and sharing such data on a community server. In a particular example, scalable coding, content analysis and metadata sharing provide for pre-processing personal media data before authoring and sharing on the web. 3.1 Exemplary Scalable Media Coding SVC is one of the bases of the web-based media sharing and authoring system 100. A suitable scalable video coding mechanism provides for efficient, scalable and robust streaming video system, for example, over IP, wireless networks, etc., including the Internet. An exemplary SVC mechanism applies multiple-loop prediction and drifting reduction techniques at a macroblock level, which allows the mechanism to outperform MPEG-4 FGS up to 3.0 dB. The exemplary mechanism provides for network bandwidth and device adaptation via embedded enhancement bitstreams and the universal scalabilities. Such an exemplary mechanism, with a bandwidth estimation method, can rapidly and stably catch bandwidth variations. Further, an exemplary SVC mechanism provides a layered bitstream structure with a more important base layer and less important enhancement layers, which allows for a highly protected base layer bitstream through error resilience and unequal error protection techniques that can be implemented with little overhead. An exemplary SVC mechanism allows for presentation of video, to a user or users, with a smoother playback experience and better visual quality on the Internet. 3.2 Exemplary Preliminary Content Analysis An exemplary analysis module 114 can be a base component of the system 100. The analysis module 114 provides for analysis of media content 220 such as video, image and music content. As shown in Media content analysis algorithms are often regarded as content filters. The exemplary content processing 200 of With respect to such filters or algorithms, a shot detection filter may be used as a video filter for shot detection, a histogram extraction filter may be used as an image filter and applied for generation of a color histogram, etc. A content filter may be an online filter or an offline filter. Online filters require parsing the entire video or audio stream, or photo files, to extract the corresponding basic metadata from the stream. While offline filters extract higher level metadata directly from these basic metadata without parsing the original media data. Examples of online filters include shot detection, timestamp extraction, and histogram extraction filters. Offline filters include scene detection, quality assessment filters. As already mentioned, the analysis module 114 can apply one or more filters/algorithms 222 to media 220 to produce a result 224 (e.g., information), which may be metadata. The analysis module 114 may produce the result 224 in a particular format. For example, an exemplary analysis module component optionally uses a mark-up language such as an extensible mark-up language (e.g., XML, etc.) to store all extracted or generated metadata. In this example, if new metadata needs be extracted or generated, an exemplary component may be used to write a new filter, for example, based on a filter template (e.g., a base C++ class, etc.), and then plug it into the analysis module 114. An exemplary analysis module may allow advanced users to inherit a predefined online or offline base class, and then implement the real metadata extraction functions. With respect to video filters 202, a shot detection filter may include several feature extraction filters such as key-frame selection filter, quantized color histogram filter, ordinal measure based signature filter, correlegram filter, face detection filter, attention detection filter, camera/object motion filter, intention detector, semantic classification/annotation filter, and text/keywords description which may be added by the content creators or viewers. With respect to �intent� filters, often, a user may have to try multiple search keywords related to a searching target, and/or multiple search iterations, to get a reasonably relevant result�especially when searching for multimedia content such as images. An exemplary scheme may use an intention mining module which collects formation from a user's reactions to search results and/or from other data regarding the user which can be mined from a computer, to refine a search. For example, an intention mining module may refine searches via execution of instructions that examine how a user interacts with search terms. In this example, results may be presented and a second revised search performed based on user interaction with the results. In general, intention based searching aims to perform or refine a search based on mining user's interests and behaviors. Another approach uses a model that can segment home videos into temporal scenes, shots, and sub-shots. By deriving visual features from the sub-shots, the model can automatically categorize the intention of the person filming. Thus, in such a manner, home videos can be indexed by whether the person was trying to shoot beautiful scenery, a close up, an action shot, etc. With respect to image filters 204 (e.g., photos filters, etc.), various video filters can often be used, with exception of video specific filters like shot detection, key-frame extraction and motion detection filters. With respect to music or audio filters, filters such as onset/beat, tempo detection and repetitive pattern detection filters may be supported. As described herein, content filters (e.g., and data, including metadata, extracted by these filters) can be applied by various content-based automatic editing methods. In addition, such data can also facilitate a user's ability to find appropriate raw media segments when doing authoring (see Section 4). 3.3 Exemplary Metadata and Media Data Sharing An exemplary system component allows for extraction of metadata on a desktop client to be uploaded to a server (e.g., a community server) and shared to other users (e.g., users in the community). Such an arrangement allows for searching on the web based at least in part on such metadata. Such metadata are optionally linked to the original media data on an individual's PC through a P2P network, as well as the quality-constrained version of the media data that may be shared on a community server. In an exemplary system, users are not only able to control which part of the video or photo collection are shared to which user or which group of users, but also able to control the quality (compression ratio, resolution, and frame rate) that a particular user or user group may obtained from the server or P2P network. The resulting information 230 may be provided to a desktop layer 120 for storage in one or more libraries 122, 124 or for association with such a layer. A control module 123 includes various modules, such as, but not limited to, a permissions module 125 for setting user and/or group permissions (e.g., access, use, types of use, modifications, etc.) and a quality module 127 that controls quality parameters, optionally based in part on bandwidth, user capabilities, client machine capabilities, permissions, etc. In this example, the control module 123 operates as an interface between the library desktop layer 120 and the library web layer 130 (e.g., a community server layer) and optionally one or more other layers, users or groups 129. Service features associated with a server such as a community server are discussed below. Section 4: Service on a Server (e.g., a Community Server) As already mentioned, an exemplary system may operate in conjunction with one or more servers. Such a server may be a community server that serves one or more communities (e.g., data sharing communities, etc.). Functionalities provided on a community web server can include metadata (and part of raw media data) storing, indexing and searching and providing a user interface (UI) for community users to accomplish authoring and sharing on a web (e.g., the Web, the Internet). 4.1: Searching Browsing and Rating On the server side (e.g., media sharing community side), metadata can be stored in a well-structured database which enables fast searching and browsing by, for example, a browsing module (e.g., the module 142 of By keywords (e.g., input by the content owners and/or comments from other viewers in the community); By semantic classes (e.g., such as indoor, outdoor, cityscape, landscape, beach, sea, mountain and people); By intention categories (e.g., such as beautiful scenery, dynamic event, static capturing, and close-up view); By camera motion type and object motion quality (e.g., such as �zooming in�, �high motion�, and �mild motion�); By dominant colors (e.g., such as blue, green, and red); By perceived quality measures (e.g., such as visual quality, motion quality, compression ratio, frame-rate and resolution); By rating (e.g., as constructed by the users in the community who viewed this data); and By similar or related media data (video clips/photos) of the focused or selected media data can also be provided when doing searching and browsing. When doing browsing, an interface typically provided to the user to do rating and commenting. 4.2: Web Authoring UI An exemplary Web authoring UI is designed as a form like a wizard, which can allow for execution of various steps that a user can easily follow. The exemplary system 100 of In an exemplary method, a first step includes selecting an authoring template. The template candidates may be designed by common users or commercial organizations. A server may provide a set of predefined templates, while the users may also design, modify or upload their own templates. These templates significantly simplify the process of media authoring on the web. With respect to authoring templates, template-based multimedia authoring may provide for analysis of media content analysis and allow for selective application of content-aware two-layer authoring templates (e.g., content description templates and content representation templates) to extract media content. Such a two layer authoring template approach can allow for separation of video authoring operations from video representation. For example, once multimedia content such as video has been authored (i.e., generated), the authored content may be simply and flexibly represented in one or more other forms (e.g., according to a user preference). An open and extensible multimedia authoring and sharing framework may support features such as dynamic updating of core components such as content analysis algorithms, editing methods, and the two-layer authoring templates. Such aspects can significantly reduce user efforts in video editing while preserving flexibility and personalization. In this exemplary method, a second step includes finding appropriate content to feed into the slots of the selected template. Users may use the media data on their local machine, and may also use �search and browse� functionality on a web server (e.g., the browsing and searching module 142) to find shared media data on the server and then drag them into a particular slot on a UI. For the shared media data, the users may only see a thumbnail with metadata, and possibly a low-quality version whereby the viewing option may be implemented as to not affect the authoring process and result. A third step of this exemplary method includes playing or previewing media (see, e.g., the block 146 of Accordingly, users may want to export or save the authored content into local machine or disc, etc. Thus, a rendering engine may request a higher quality version of the media data and compose a higher quality final result for the user. Users may also skip generation of the real video and decide to only save the description file and create the real content at a later time. The exported video or description file may also be shared on a server within or outside one or more communities. In addition, a description file may be output in a variety of other forms, such as a website, blog, streaming video file, DVD disc and so on. Section 5: Demonstration Example An example of an exemplary web-based media authoring framework follows. Of course, other arrangements and demonstrations are possible using various exemplary components described herein. The exemplary UI 400 includes various task/tool bars 402, 404, 406. A file organization feature 408 provides for navigation of files (e.g., media, objects, etc.). Once a file, or data, is selected, a display region 414 displays the media content. Properties associated with the content in region 414 are displayed in a property display region 416, and optionally in other regions such as a size/resolution/quality region 418 and a timer region 420. Operational status may be displayed in an appropriate region such as the region 412. To demonstrate this particular sub-system or component, importation occurs for a one-hour home video clip from a typical digital video camera (see, e.g., tool bar 404 �Import�). The exemplary system can do online content analysis when doing importing, and apply offline filters thereafter (see, e.g., the analysis module 114 of A user can then make a decision as to sharing using an exemplary sharing control (see, e.g., the control 123 of The searching and browsing UI 500 may run independently, and also may run within an authoring process (e.g., as part of an authoring module). Consider searching one of the aforementioned shared clips by typing in a keyword specified to the clip before uploading, i.e., �Daughter Birthday� (see, e.g., keyword field 510). In response, the UI 500 may display a thumbnail of the clip along with various clip information (see, e.g., the region 508). Such an exemplary searching facility may also use vaguer words to search desired content, for example, a user may choose �outdoor/beautiful scenery/dominant color: blue� (see, e.g., fields 511, 512). Upon selection of a particular file (e.g., thumbnail), the UI 500 may optionally display additional details or a details link may be selected to provide additional details (see, e.g., �Detail>>� of region 508). To demonstrate how to author a video on the web using an exemplary system, consider According to an exemplary method, a check occurs to see if one or more suitable templates exist in a library. Next, in this example, a template �CDT� is chosen called �Wild Christmas Party� (see field 602). Rendering may then occur on the UI, which can be a webpage. Next, a user may right click (or initiate other action) on a lattice representing a tail chapter and on a popup window and then change duration of the tail chapter from 1 minute into 2 minutes, and the editing style from �Default� into �Slow Motion�. The modified template can be saved (or saved as a separate one) in the template library. A user or users may browse/search and drag related source video clips and photo collections from a library view area into one or more slots. For example, photos of Christmas parties over the world from other community users are put into the leader slot, and clips about preparation of Christmas Eve are dragged into chapter one. A user or users may also drag certain music pieces from music library into the music track of the timeline, for example, to replace default music specified by the original template. An exporting or saving step may be used for exporting or saving an edited result. For example, consider export of the aforementioned description file into an actual video file in MPEG2 format. A user may select another form such as website type, and then export the result as a website. In general, such a process does not create video but rather, when a certain thumbnail on the webpage is clicked, the template player will locate the corresponding position in the description file, instantly compose the timeline, and then play the virtual video. Section 6: Various Exemplary Technologies As described herein, an exemplary system enables authoring and sharing personal media on the web. In various examples, an exemplary system includes the following exemplary components: scalable video coding, media content analysis and template-based media authoring. Such an exemplary media authoring component for authoring media on the web provides users a novel personal media sharing and authoring experience. While various user interfaces are shown, others are possible. Further, an exemplary system may embed more intelligent media content analysis techniques, as well as provide more compelling authoring templates may further improve the efficiency of handling media data. Various modules may be integrated with other web application features, such as those found in commercially available web applications. With respect to commercially available web applications, such applications include the MSN� network of Internet services (Microsoft Corp., Redmond, Wash.), GOOGLE� search engine application (Google Inc., Mountain View, Calif.), YAHOO� search engine (Yahoo! Inc., Sunnyvale, Calif.). Exemplary techniques disclosed herein may be implemented in conjunction with such applications to extend or replace features and/or services. For example, a home page displayed at www.msn.com offers access to a variety of features (e.g., searches, web communities, email, etc.). A category or sub-category may be added to this page which would make available (e.g., launch, etc.) an exemplary authoring template, an exemplary browsing or searching module, etc. A category or sub-category may make available a searching module that provides results (e.g., media-related metadata) in a mark-up language (e.g., XML, etc.). Various exemplary modules may be optionally accessed through use of an Internet linked toolbar (e.g., a web application toolbar such as a toolbar associated with the MSN� network of Internet services). In general, various exemplary methods may be implemented through use of hardware. For example, processor executable instructions in the form of software may be stored on one or more computer-readable media and implemented using a processor. An exemplary method may rely on hardware alone or a combination of hardware and software and/or firmware. Various exemplary components rely on algorithms to implement control logic (e.g., logical functions that operate alone, in conjunction with input information such as data or user inputs, etc.). An exemplary computing device (see below) optionally includes control logic for performing an exemplary method or a part thereof. Section 7: Exemplary Computing Environment In a very basic configuration, computing device 800 typically includes at least one processing unit 802 and system memory 804. Depending on the exact configuration and type of computing device, system memory 804 may be volatile (such as RAM), non-volatile (such as ROM, flash memory, etc.) or some combination of the two. System memory 804 typically includes an operating system 805, one or more program modules 806, and may include program data 807. The operating system 806 include a component-based framework 820 that supports components (including properties and events), objects, inheritance, polymorphism, reflection, and provides an object-oriented component-based application programming interface (API), such as that of the .NET� Framework manufactured by Microsoft Corporation, Redmond, Wash. The operating system 805 also includes an exemplary host framework 900, such as, but not limited to, the exemplary media framework. This very basic configuration is demarcated by a dashed line 808. Again, a terminal may have fewer components but will interact with a computing device that may have such a basic configuration. Computing device 800 may have additional features or functionality. For example, computing device 800 may also include additional data storage devices (removable and/or non-removable) such as, for example, magnetic disks, optical disks, or tape. Such additional storage is illustrated in Computing device 800 may also contain communication connections 816 that allow the device to communicate with other computing devices 818, such as over a network (e.g., consider the aforementioned web or Internet networks that may include one or more communities). Communication connections 816 are one example of communication media. Communication media may typically be embodied by computer readable instructions, data structures, program modules, or other data in a modulated data signal, such as a carrier wave or other transport mechanism, and includes any information delivery media. The term �modulated data signal� means a signal that has one or more of its characteristics set or changed in such a manner as to encode information in the signal. By way of example, and not limitation, communication media includes wired media such as a wired network or direct-wired connection, and wireless media such as acoustic, RF, infrared and other wireless media. The term computer readable media as used herein includes both storage media and communication media. Although the subject matter has been described in language specific to structural features and/or methodological acts, it is to be understood that the subject matter defined in the appended claims is not necessarily limited to the specific features or acts described above. Rather, the specific features and acts described above are disclosed as example forms of implementing the claims. Patent Citations
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Fighting for Environmental Justice Takes Long-Lasting CoalitionsHelen H. KangGolden Gate University School of Law - Environmental Law and Justice Clinic July 2011 Abstract: Collaboration between grassroots groups, environmental groups, city politicians, and GGU law professors and students resulted in closure of two dirty power plants in the City of San Francisco. The collaboration also prevented other projects using fossil fuel. This success is attributable to the community's ability to gather critical health information and educate the city politicians on the unjust health impacts of the plants on the City's African Americans. Long-term stability of the community's advocates, including our clinic also contributed to the success as the struggle lasted more than a decade. Moreover, the community had to build coalitions with regional clean air and water groups to ensure closure. Number of Pages in PDF File: 6 Keywords: power plants, community organizing, community centered legal services, environmental justice Date posted: December 8, 2011Suggested CitationContact Information
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wispPronunciation: /wɪsp/
Definition of wisp in English:
1A small thin or twisted bunch, piece, or amount of something: wisps of smoke rose into the air
More example sentences
- She suggests the goggles' straps with abbreviated wisps of graphite that twist and whip about the page.
- Her hair was up in a French twist with a few wisps of hair framing her face.
- Other pieces offer the barest wisps of melody, relying on the group's ability to generate structure spontaneously.
1.2A small, thin person, typically a child: a fourteen-year-old wisp of a girl
More example sentences
- It was hilarious to see how hard the boy was trying to intimidate a small wisp of a girl and failing miserably.
- Turning, she saw the voice's owner, a thin wisp of a man in strange white clothing.
- Ash Beck, a thin wisp of a person, pushed through the crowd and ran to where Ian lay.
Middle English: origin uncertain; perhaps related to whisk.
Words that rhyme with wisp
crisp, lisp, will-o'-the-wispDefinition of wisp in:
- US English dictionary
- English synonyms
- US English synonyms
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Heidi Klum Amazing Butterfly Halloween Costume Might Be Her Best Yet (VIDEO)
November 1st, 2014
PHOTOSHeidi Klum is still the Halloween queen. The supermodel and "Project Runway" host typically shows off some truly incredible costumes, and this year was no different. On Friday, at her annual Halloween bash in New York, Klum debuted an elaborate butterfly costume that has to be seen to be believed.
Read more...


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Start your search today!
This award is available for current high school seniors who have a parent or guardian that is a member of a union affiliated with the International Union of Police Associations, AFL-CIO. Applicants must have a grade point average of 3.0 or higher and be accepted in a course of study in law enforcement, labor relations or a related field at an accredited university or college.
Please note: Although the application deadline for this award has passed, we wanted you to know about this award as a possibility for next year. Often, scholarship providers offer similar scholarships each year. This award is scheduled to be updated within the next few months. Please check back for more information at a later date.
Wait, There's More!
- Awarded by:
- International Union of Police Associations (IUPA)
Award Amount:
$2,500 annually, non-renewable.
- Recipients:
- Ten awards offered annually.
Deadline Info:
Applications are available on the International Union of Police Associations, AFL-CIO (IUPA) website under the 'Member Benefits' heading. In addition to a completed application, the student must sub... Sign up for full scholarship deadline information.


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Gallery B2 is located within the Bertha V.B. Lederer Gallery. It's purpose is to exhibit objects and artifacts held in other collections
on the campus of SUNY Geneseo. Gallery B2 broadens the scope of exhibitions and at the same seeks to encourage faculty and students across disciplines to view and access Gallery B2 as a site of experimentation allowing for the development of interdisciplinarity between art, the humanities and the sciences.
Anna Richards Brewster: The Painter's Daughter
October 24 through December 6, 2014
Opening Reception: Friday, Oct. 24, 5 - 7 p.m.
The Gallery B2 opening exhibit consists of paintings and reproductions by Anna Richards Brewster, daughter of William Trost Richards. Brewster followed in her father's footsteps becoming a painter of landscapes and cityscapes in American, Europe and North Africa.
Remnants by Peter B. Jones
Curated by Kristina Laun
September 5 through October 9, 2014
Artist Talk: Friday, Sept. 5 at 5:30 p.m. in the Gallery
Curator's Talk: Thursday, Sept. 18 at 12 p.m. in the Gallery
Yellow Man, stoneware, 2011
Remnants looks at that which remains from an Iroquois culture after a past full of loss. The surviving traces, passed from generation to generation, preserve an image of what once was and what is no more. These vestiges of culture also reveal transitions and adaptations by the Iroquois peoples as their reality changed as a result of European contact. But while much has been preserved, much has vanished. The first major casualties were pottery-making and ceramics.
Recent research and trial-and-error have helped Iroquois artists, like Mr. Jones, in the struggle to recover this medium so crucial to Pre-Contact life. Throughout his career, he has used cultural remnants to recreate and update a lost tradition. His art is inspired by that which has been stubbornly preserved through time, repurposing that which remains to create a modern art inspired by the past, respectful of its nature and origins but fully residing within the Present Age.
Fri., Sept. 5 at 5:30 p.m: Artist Talk with Peter B. Jones
Thurs., Sept. 18 at 12 p.m.: Curator's Talk with Guest Curator Kristina Laun and Russell Judkins
The opening reception is Friday, September 6 at 5 p.m. There will be light refreshments. The gallery is always free and open to the public.
Material Culture in Livingston County
January 26 through February 28, 2012
This exhibit is the result of research conducted by members of Cathy Adams seminar history students: Ronald Jacobsen, Mathew McNeill, Gemma Martinelli and Rachel Shellman. The student will present their research papers on Wednesday, February 22, 2012 in the gallery during the all college hour .
Ronald Jacobson
The Use of the Grain Cradle
Matthew McNeill
Analysis of theTopsey Turvy Doll from a Material Culture Perspective
Gemma Martinelli
Porcelain Dishware in American Middle Class Home Decor
Rachel Shellman
Hair Today: Memory Tomorrow
Wednesday, February 22, 2012, 2:30-3:30 p.m. during All College hours
M. McNeill discussing the significance of the Topsy Turvy doll | R. Jacobson demonstratingthe use of a grain cradle |
G. Martinelli discussing 19th cent. home decor | R. Shellman discussing 19th cent. hair weaths |


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What will go down this Sunday on Keeping Up with the Kardashians Season 9?
That's what Khloe and Kendall want to know!
In the following sneak peek at the upcoming episode, we're on a private plane with various family members as they fly to San Francisco because Kanye West has some birthday surprise in mind for Kim.
What could it be?!? We all know the answer at this point, of course.
But check out the clip to see the siblings wonder about it and then watch Keeping Up with the Kardashians Season 9 online to catch up on anything you've missed:


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Picks of the Week for December 18th-31st
Sorry about the lateness on these. Holiday time gets especially hectic. Here are our latest submissions for Picks of the Week! Batman and Two-Face #26: Peter J. Tomasi is unrivaled in his characterization of the Batman universe of characters and [...]
January 8, 2014


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Prosodic constructions are recurring temporal patterns of prosodic activity that express specific meanings and functions. These typically involve not only pitch contours but also energy, rate, timing and articulation properties, and may involve synchronized contributions by two participants. |
Accepted AbstractsInterpersonal Functions of Prosodic Greeting Constructions: Evidence from Experiments with Robots. Maria Ibh Crone Aarestrup, Kerstin Fischer. Some notes on prosody, processing, and turn-taking. Jan De Ruiter A Multimodal Analysis of the Mm Token in Chilean Spanish Interaction. Veronica Gonzalez Temer, Richard Ogden Prosodic Matching and Turn Competition in Multi-Party Conversations Jan Gorisch, Emina Kurtic, Ella Page, Bill Wells, Guy Brown, Laurent Prevot Larger Prosodic Constructions in Dialogue. Nancy Hedberg Repetition, prosody and sequential organisation in French talk-in-interaction. Rasmus Persson Study of the prosody-gesture interface in the acquisition of "preterito perfeito simples" tense in Brazilian Portuguese. Marcia Cristina Romero Lopes, Christelle Dodane, Alessandra Del Re Pitch matching - absolute or relative? On prosodic orientation across speaker changes. Melisa Stevanovic, Mietta Lennes The prosodic deletion of action boundaries in German interaction. Beatrice Szczepek Reed Intonational meaning in Spanish conversation: low-rising vs. circumflex questions. Francisco Torreira, Simeon Floyd Prosodic Constructions for Contrast, Complaint, and Contradiction; and their Common Elements (abstract). Nigel Ward Computational decomposition and reassembly of rich global prosody (abstract). Yi Xu, Fang Liu, Santitham Prom-on Parallels between hand gestures and acoustic prosodic features in turn-taking. Margaret Zellers, David House Motivation and Scope In the 1970s, specific intonation contours were identified and linked to specific meanings and functions. Critically, meanings in such models are not tied to a single prosodic parameter nor to a single prosodic event in time, rather they are pattern-based. This line of work was variously criticized as insufficiently reductionist, too abstract, difficult to apply to naturally occurring talk, monolog-oriented, hard to formalize, neglectful of prosodic features other than pitch, and lacking experimental support. More recent work has overcome many of these problems, elucidating, for example, the prosodic behaviors involved in complaining (O01), giving in (N13), inviting back-channels (W14), producing upgraded assessments (O12, W14), questioning and using questions for various purposes (H03, H04, H10, L12, CK12, S12), calling (DO13), contradicting (H03), topic transitions (CK04), summing up (P13) and turn-taking (G12). The panel will discuss these constructions and others, compare approaches and models, and situate this work within the larger enterprise of describing dialog practices. This panel will include empirical, methodological, and theoretical contributions from diverse approaches: conversation analysis, experimental, statistical, modeling, and others. It will address the form and function of specific prosodic constructions; multi-modal investigations; work on the nature, utility, and limitations of construction-based approaches to dialog prosody; and work on how the realizations of prosodic constructions vary, for example, with other factors affecting prosodic form, with temporal and cognitive limitations that constrain speakers, with individual speakers, and with multiple simultaneous goals, whether coherent or misaligned. |       |
Nigel Ward |
CK04: Couper-Kuhlen, Elizabeth. 2004. Prosody and Sequence Organization in English Conversation. in Sound Patterns in Interaction, Couper-Kuhlen and Ford, eds., Benjamins, pp 335-376.
CK12: Couper-Kuhlen, Elizabeth. 2012. Some Truths and Untruths about Final Intonation in Conversational Questions. in Questions: Formal, Functional, and Interactional Perspectives. Jan P. de Ruiter, ed. Cambridge pp 123-145
DO13: Day-O'Connell, Jeremy. 2013. Speech, Song, and the Minor Third: An Acoustic Study of the Stylized Interjection. Music Perception, 30, pp 441--462. (see also the video on this prosodic construction)
G12: Gorisch, J., B. Wells, and G. J. Brown. 2012. Pitch Contour Matching and Interactional Alignment across Turns: An Acoustic Investigation. Language and Speech 55, pp 57-76.
H03: Hedberg, Nancy, Sosa, Juan M., Pitch Contours in Negative Sentences. 15th International Congress of Phonetic Sciences, 2003.
H04: Hedberg, Nancy, Sosa, Juan M. and Fadden, Lorna. Meanings and configurations of questions in English. Speech Prosody 2004.
H10: Hedberg, Nancy, Juan M. Sosa, Emrah Gorgulu and Morgan Mameni. 2010. The Prosody and Meaning of Wh-Questions in American English. Speech Prosody.
L12: Lai, Catherine. Response Types and the Prosody of Declaratives. Speech Prosody 2012.
N13: Niebuhr, Oliver. 2013. Resistance is futile: The intonation between continuation rise and calling contour in German. Interspeech, pp 132-136.
O01: Ogden, Richard. 2001. Turn Transition, Creak and Glottal Stop in Finnish Talk-in-Interaction. Journal of the International Phonetic Association 31.
O06: Ogden, Richard. 2006. Phonetics and Social Action in Agreements and Disagreements. Journal of Pragmatics 38: 1752-1775.
O10: Ogden, Richard (2010). Prosodic constructions in making complaints. In Dagmar Barth-Weingarten, Elisabeth Reber and Margret Selting (Eds.). Prosody in interaction. Amsterdam, Benjamins, 81-103.
O12: Ogden, Richard. 2012. Prosodies in Conversation. in Prosodies: Context, Function and Communication, edited by Oliver Niebuhr, 201-208. Berlin/New York: Mouton de Gruyter.
P13: Persson, Rasmus. 2013. Intonation and Sequential Organization: Formulations in French Talk-in-interaction. Journal of Pragmatics, 57, pp 19-38.
S12: Strömbergsson, Sofia, Jens Edlund and David House. 2012. Prosodic measurements and question types in the Spontal corpus of Swedish dialogues. Interspeech 2012, pp. 839-842.
SR11: Szczepek Reed, Beatrice. 2011. Beyond the Particular: Prosody and the Coordination of Actions. Language and Speech, 11, pp 13-34.
W14: Ward, Nigel G. 2014. Automatic Discovery of Simply-Composable Prosodic Elements. Speech Prosody 2014, pp 915-919.


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NurfHurdur Acres of land between the dormitory buildings and the cliffs overlooking the Hudson River. Where equestrian excercise and drill take place. Also where Cadets can go when out of class. 7/12/2009 #1 |
Uldaren Bardaniel George led them over to a rather large storage shed. Opening the door, which had somehow been left unlocked, he pointed them towards a large crate with a sheet over it. He whipped it off with a flourish. 7/31/2009 #2 |
Star the Foxhound "Are there fireworks in there then?" Lo asked, crossing his arms over his chest as he watched George. 7/31/2009 #3 |
NurfHurdur He read the crates, a smile spreading across his face. "George, you are amazing." 7/31/2009 #4 |
Uldaren Bardaniel George tossed the sheet nonchalantly aside. "That's not all." He moved to another crate, this one also covered by a sheet, which he whipped off with the same elaborate motions. 7/31/2009 #5 |
NurfHurdur There was a loud snapping sound as the cloth whipped around, "Ouch!" Win grabbed his arm, a red line already forming across his wrist, "George!" 7/31/2009 #6 |
Star the Foxhound Lo smirked slightly, leaning against a wall with his arms still across his chest. "Looks like someone's standing too close to the fireworks master." 7/31/2009 #7 |
Uldaren Bardaniel "Oh! My apologies, Win," George answered. He looked around quickly through the endless supplies filling the shed. "Aha!" He bent over, coming up with a large crowbar. "This should do it..." he murmured. 7/31/2009 #8 |
NurfHurdur He took a few hasty steps back, rubbing his wrist with the other hand. Watching the crowbar hesitantly, "It's not that bad. No sense in putting me out of my misery yet." 7/31/2009 #9 |
Uldaren Bardaniel George raised an eyebrow, lifted the crowbar, then plunged it into the end of the crate, as opposed to Win's skull. There was a splintering sound as he heaved and the wooden top lifted off. Lowering his tool, he grinned in satisfaction. 7/31/2009 #10 |
Star the Foxhound Raising one eyebrow, Lo didn't say anything from his place at the wall. 7/31/2009 #11 |
NurfHurdur He looked at the crowbar on the floor, "You're lucky that didn't hit my foot." 7/31/2009 #12 |
Star the Foxhound "What would you have done if it did?" Lo asked, still grinning. 7/31/2009 #13 |
Uldaren Bardaniel George shook his head and gestured to the now-open crate. "After you..." 7/31/2009 #14 |
NurfHurdur He looked at Lo, "I would have thought of something." He stepped forward, "Wounded goes first." He looked into the crate, still rubbing his hand. Stacks of colorful projectiles stared back at him. 7/31/2009 #15 |
Star the Foxhound "Says you." Lo decided to step away from the wall and he stepped up to the side of Win, looking at the projectiles. He really didn't have one clue what to do with them but he reached out to take a random one. 7/31/2009 #16 |
Uldaren Bardaniel George reached into his pocket, producing a pack of lucifer matches, then put them back. "Best do this outside, wouldn't you agree?" 7/31/2009 #17 |
NurfHurdur Win put his arm out, stopping his friend from grabbing one. "Ya can't just grab 'em Lo." 7/31/2009 #18 |
Star the Foxhound Lo glanced at him. "Why not?" 7/31/2009 #19 |
NurfHurdur "Pick it up wrong and you've got a shell going off in your hand." He stated matter of factly, picking up a cylinder tube and holding it carefully. 7/31/2009 . Edited 7/31/2009 #20 |
Star the Foxhound "Alright." Lo carefully picked one up, holding it carefully on the palm of his hand as he stared at it. 7/31/2009 #21 |
Uldaren Bardaniel George held the door open, gesturing to them to go outside. 7/31/2009 #22 |
Star the Foxhound Realizing that going outside was a good idea, Lo stepped out of the shed, still holding the firework he'd picked up. 7/31/2009 #23 |
NurfHurdur He looked at the crate, thinking it would be good to take the whole thing outside, he knelt to heft it up. "Don't worry, the wounded can handle the fireworks." 7/31/2009 #24 |
Uldaren Bardaniel George nodded, stepping aside slightly. "Now then..." 7/31/2009 #25 |
Star the Foxhound "What do we lit them with?" Lo asked, studying his firework. 7/31/2009 #26 |
Uldaren Bardaniel George produced the packet of lucifer matches that he'd taken out earlier, handing one to Lo. "Here you are." 7/31/2009 #27 |
NurfHurdur He set the crate down as carefully as he could. Motioning sarcasticly with his hand, "Don't worry, I got this all covered guys, don't need help." He stood and heard his back crack a few places. 7/31/2009 . Edited 7/31/2009 #28 |
Star the Foxhound "Thank you," Lo said, litting the match and touching it to the fuse on the firework. He watched it for a moment but although it lit, it didn't go off so he just tossed it to one side. 7/31/2009 #29 |
NurfHurdur He stood there, staring at the other two, didn't notice Lo toss the firework aside. "No really, thanks for asking but I'm ok." 7/31/2009 #30 |
Forum Moderators: NurfHurdur Star the Foxhound |
Membership Length: 2+ years 1 year 6+ months 1 month 2+ weeks new member |


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Strauss-Kahn faces new sexual assault suit Jul 4, 10:23 AM (ET) By MICHAEL WEISSENSTEIN and SYLVIE CORBET
PARIS (AP) - A French novelist will file a criminal complaint on Tuesday accusing Dominique Strauss-Kahn of attempted rape, her lawyer said, throwing fresh uncertainty into a fierce national debate about whether the former International Monetary Fund chief can return to his country's presidential race. A sexual assault case against Strauss-Kahn in New York has been badly weakened by questions about his accuser's credibility. As a result, France was consumed Monday by the question of whether the longtime Socialist Party politician would revive his dream of running against unpopular conservative President Nicolas Sarkozy. The political world was hit by a new shock when the lawyer for writer Tristane Banon announced she planned to file the complaint in Paris within a day. Banon came forward after Strauss-Kahn's May 14 arrest in New York to accuse him of wrenching open her bra and trying to unbutton her jeans in 2002. Lawyer David Koubbi said Banon had been dissuaded at the time from filing charges by her mother, a regional councilor in Strauss-Kahn's Socialist party. Messages of support for the complaint quickly appeared on Banon's Facebook page. Before Koubbi's announcement, the country was split on whether it wanted Strauss-Kahn back in public life: two polls showed an almost even division between those who thought he should return, and those who believed his political career was over. The former IMF chief's re-entry to politics would be a tectonic shift in a campaign already shaken by his arrest on charges of attacking a New York hotel maid. The Socialist had been widely seen as the leading contender in the 2012 election, leading polls in the months before his arrest. With the alleged victim's credibility undercut and Strauss-Kahn free on bail, French politicians and pundits appear to almost uniformly assume that the charges against him will be dropped in coming weeks.
"DSK Back?" the left-leaning daily Liberation asked on its front page Monday, describing Strauss-Kahn's release from house arrest as having turned the Socialist primary race upside down for the second time in as many months. "Dominique Strauss-Kahn will express his intentions when he wants to," Socialist Party leader Martine Aubry told France-2 television. The charges still stand against Strauss-Kahn, who has relinquished his passport to authorities in New York. Another court hearing would be needed for him to get it back. His next appearance is scheduled for July 18, five days after the deadline for candidates to register in the Socialist Party primary. As a result, much of the debate about Strauss-Kahn's political future centers on whether the Socialists would push back the primary deadline. "Let's acknowledge that if Strauss-Kahn decides to come back as a candidate on our side, no one will try to oppose him using some calendar," said Aubry, who declared her candidacy only after Strauss-Kahn's arrest. The Socialist Party's spokesman appeared to disagree, an indication of the confusion and disagreement within the party about betting the opposition's chances of defeating Sarkozy on a man seen by some as a martyr of American injustice and by others as an out-of-touch jet-setter with a history of crude behavior toward women. "We can't base the (political) calendar, which involves millions of French people, on the American judicial calendar," party spokesman Benoit Hamon said Monday. Hamon left open the possibility, however, that Strauss-Kahn could become a candidate even after the official deadline, an act that would presumably require an extraordinary effort by Strauss-Kahn to get his divided party to bend its own rules. "If ever Dominique Strauss-Kahn, beyond July 13th, says that he would like to enroll in this calendar, which doesn't seem the most likely, we are reasonable people, we will discuss with him under what conditions he could do so," Hamon said. A poll released Monday found that 51 percent of French people found that Strauss-Kahn no longer had a political future, versus 42 percent who thought he did. The telephone poll of 956 adults selected as a demographically representative sample was conducted July 1 and 2 by the Ipsos Public Affairs institute for the magazine Le Point. No margin of error was provided. Another poll out Sunday conducted by Harris Interactive poll for the newspaper Le Parisien showed 49 percent of those surveyed saying 'yes' to the question "Without prejudging his innocence or guilt, do you want DSK to come back to the French political scene one day?" At least some were won over by what they perceived as his mistreatment in the U.S. "I had no intention of supporting him in the first round, but if he returns to French political life I will certainly vote for him," Jean-Rene Gendre, 63, said as he went shopping in central Paris. "What happened to him I think was a terrible manipulation." Forty-five percent of respondents to the Harris poll said they didn't want Strauss-Kahn back in politics and six percent didn't answer the question. The agency asked a demographically representative group of 1,000 people 18 years old and older to fill out the July 1-2 online survey. No margin of error was provided. Sarkozy's conservative allies have maintained virtually complete silence on Strauss-Kahn's arrest. But on Monday, some appeared to be returning to the normal tenor of a political campaign. Sarkozy has been assailed from the left for what some call his bling-bling image and tax policies that critics say favor the rich, in a country proud of its social welfare system and revolutionary past. Strauss-Kahn had come under some criticism before his arrest for appearing in a friend's Porsche and for reports he wore highly expensive tailored suits. After his arrest, he lived under house arrest in a $50,000 (euro34,500)-a-month town house in Manhattan's trendy TriBeCa neighborhood. "Between his luxury tastes and other subjects, Dominique Strauss-Kahn has not offered a very positive image recently," Sports Minister Chantal Jouanno, a Sarkozy ally, said on Europe-1 radio. ---
Angela Charlton contributed to this report.
Copyright 2011 Associated Press. All right reserved. This material may not be published, broadcast, rewritten, or redistributed. |


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(This article was first published on JAGS News » R, and kindly contributed to R-bloggers)
Statistical Practice in Epidemiology with R is a one week course aimed at promoting the use of R among epidemiologists. This annual course has been running almost every year since 2004. Last year it took place in Lyon, France, but is now returning to its spiritual home in Estonia. The course will take place from 25 to 30 May 2012 at the Strand Hotel in the seaside resort town of Pärnu.
For more details about the course, including how to apply, see the SPE home page. The deadline for applications is April 1 2012.
To leave a comment for the author, please follow the link and comment on his blog: JAGS News » R.
R-bloggers.com offers daily e-mail updates about R news and tutorials on topics such as: visualization (ggplot2, Boxplots, maps, animation), programming (RStudio, Sweave, LaTeX, SQL, Eclipse, git, hadoop, Web Scraping) statistics (regression, PCA, time series, trading) and more...


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Browsing Department of Biology by Title
Now showing items 45-47 of 47
Variation in fluctuating asymmetry among nine damselfly species.
(, 2012-08-08)Fluctuating asymmetry (FA), measured as random deviations from bilateral symmetry, likely results from developmental disturbances by internal or environmental stresses. However, comparisons of FA in single damselfly species ... -
Winter ecology of migratory Brazilian free-tailed bats (Tadarida brasiliensis) in bridges of the southwestern United States.
(2012-11-29)Bats are diverse and ubiquitous mammals with a worldwide distribution. In the U.S., especially the southwest, Brazilian free-tails (Tadarida brasiliensis: I. Geoffroy Saint-Hilaire, 1824) are arguably the most abundant bat ... -
Woodland patch mosaic structure and microclimate response to contemporary and historical disturbances.
(, 2013-09-16)In this study, changes in area and structure of Ashes's juniper (Juniperus ashei)-dominated woody vegetation patches, growth response of an oak species codominant, and changes in interior patch microclimate in response to ...