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Description: Certified organic, these are the best nuts we've ever had. They are freshly roasted to order and have the perfect crunch. Plus, ALLGOOD Provisions is a great company to support; they carefully source all of their raw ingredients from small, independent organic farms across the US, package everything in biodegradable pouches and donate a portion of all sales to 1% For The Planet, an alliance of small businesses committed to creating a healthier world.
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Sorry, this entry is only available in Français.
(Français) Saison 2013
Rosemarie Anton
Graduated social education worker with main emphasis on "Social education work with children and young person displaying behavioral problems"
1989-1992 training as a Dansexpressie instructor with Zwaantje de Vries and R´douan Baroud, in cooperation with Hooge School voor de Kunsten/Amsterdam
Dansexpressie instructor (freelance) since 1990, Dansexpressie teaching for children, young person and adults, a large number of dance projects at primary and middle school.
Numerous preparations and presentations of dance productions for children and adults.
Teaching assignment for Dansexpressie for the education to a remedial teacher at Birkenhof ( 1999-2004),
Teaching assignment for Dansexpressie at HAWK Hildesheim 1998-2009, participation as choreograph and consultant for international productions of HAWK ( "Les Bleu et les Jaunes" ("The Blues and the Yellows") a German-Moroccan theatre project, and "Frauen 007- Migrantinnen auf der Reise" ("Women 007 – Migrants on a yourney"), an international dance theatre project for women)
Assistant director, Choreograph and dancer in various productions of Theaterwerkstatt Hannover (a.o. "Vaginamonologe", "Ithaka - oder nach Hause kommen" ("Ithaka – or coming home"), as well as own productions and productions in cooperation with artists from Hannover.
Regular workshops and further training offers in Germany and abroad, at different institutes: Akademie Loccum, Landesjugendamt Dresden, Kargah Hannover Lotsenprojekt, in France at Roy Hart Theatre, in Greece on the island Aigina.
Dansexpressie is a dance method developpedin the Netherlands, that has the idea that everybody can dance.The aim of Dansexpressie is to discover anew the own personal dance and above all the joy in it and to share it with others.
Dansexpressie is dancing without exercise stress and predetermined step combinations. It is an offer to rediscover possibilities of expression, that have often been forgotten, to move body and soul and to connect with our inner.
Roland Ibanez
Sorry, this entry is only available in Français.
Caroline Boersma
Caroline Boersma
After her studies at the Conservatory of Amsterdam (A.Bijlsma) she moved to Italy, where she worked at S.Cecilia Symphonic Orchestra (Rome). Further on she collaborated with various baroque and classical chamberorchestras (Italy, Austria), concerting throughout Europe and Japan.
She has worked with musicians like Fabio Biondi, Alfredo Bernardini, Kees Boeke, G.Letzbor (Ars Antiqua Austria) in both concerts and recordings.
She was invited as a guest teacher at various baroquemusic seminars (Italy).
Since 1988 she is member of Tripla Concordia, playing the baroquecello both as soloist and as continuoplayer. With this ensemble she appeared on radio and television in several countries of the European Union and performed at major music festivals both in Italy and abroad, such as Musica e Poesia a S. Maurizio in Milan, the Schlosskonzerte in Salzburg (Austria), the Festival Internacional de Musica Antigua de Daroca (Spain), the Music Weeks at the Cité de la Musique de Paris (France), Haendel Festival in Halle (Germany). With Tripla Concordia she made a number of recordings, which have earned international recognition (Stradivarius, Dynamic, Nuova Era, Philharmonia, Cantus (Spain), Brilliant (Belgium).
From 1990 till 1999 she participated regularly in music-theatre productions (solo-cello and performing-arts).
In 2002 she founded the ensemble AlmaTéssara (PianoTrio and Voice), dedicated to chambermusic of the 19th and 20th century, with special attention to woman composers and the creation of multidimensional performances (Widmer-Switserland/Brasil).
In 2011 she founded String Trio Mizar, together with Renata Lacko (violin) and Carmelo Giallombardo (viola). This same year she recorded a cycle of Vivaldi Sonatas with Tripla Concordia.
Currently she is training as a Choir Conducter at the Fondazione Guido d'Arezzo School of Choir Conducting.
Since 2006 she has been a coordinator and teacher for the Music Program at the Accademia dell'Arte in collaboration with Furman University (South Carolina, US).
More recently her responsibilities include assisting in the administrative direction of the Master of Fine Arts
8 - 20 Septembre 2015The Creative Voice International SeminarKaya ANDERSON, Albino BIGNAMINI*, Anne HEEG et Saso VOLLMAIER *register
Directed by Kaya ANDERSON, Albino BIGNAMINI*, Anne HEEG & Saso VOLLMAIER* (pianist)
Price : 1200 € (teaching and lodging but no food)
This laboratory will introduce you to the extended register and the extraordinary expressive power of your voice in song, speech, recitation and storytelling.
The lessons include exercises and explorations of the voice, body, and breathing. These are based on the experience of many years of research, teaching, performing and directing in the Roy Hart Theatre and on techniques found in Yoga, Tai Chi, Chi Gong and other vocal and physical disciplines that aim to increase your capacity to achieve relaxation and tonicity, which are vital elements in singing, speaking, and reciting. The work includes individual and group lessons, improvisations with encouragement to develop these towards interpretation or to simply continue exploring.
In addition there will be evenings of singing and presentation of work in progress, listening to audio/visual recordings and discussion of relevant experiences. This workshop is for you if you wish to improve and discover a wider range and more expressive voice in speaking and singing which you can use to enhance your all-round capacity to communicate and enjoy transforming and regenerating your voice, mind, and body.
Please send a C.V. and a photo with your application to: Workshop creative voice international, CAIRH, Château de Malerargues, 30140 Thoiras.
Anne Hartkamp
Jazz singer Anne Hartkamp has been in close touch with the Roy Hart Theatre work ever since participating in her first seminars with Paul and Clara Silber in 1997 and, later on, with Jonathan Hart-Makwaia. One of the better known singers on the German jazz scene, she can be heard on numerous CDs, including some as a composer and band leader. Apart from her intense song interpretations, her trademark is a playful, instrumental and improvisational approach to the voice. Anne Hartkamp teaches jazz singing at the University for Applied Sciences in Osnabrueck, Germany.
For more infos, listening samples and videos, please visit www.annehartkamp.de (in German and English language)
27 au 31 Octobre 2015Voix – Conte & ClownAgnès DUMOUCHEL & Marie GALLOT*register
Dirigé par Agnès DUMOUCHEL et Marie GALLOT
Nbre de participants : 12
Durée : 30 h (10h – 13h et 14h30 – 17h30) et une soirée de de 18 h à 21 h
Prix : 405 €
Niveau : Intermédiaire et avancé
Stage exclusivement en français
Ce stage s'adresse à des conteurs ou des clowns qui ont déjà de l'expérience dans leur domaine. Il est préférable d'avoir déjà travaillé la voix. En partenariat avec le Centre Méditerranéen des Littératures Orales à Alès pour une conférence sur la Nuit de Samain.
Travail voix/narration et clown en demi-groupes le matin. Jeu corporel et vocal, impros et mise en situation en grand groupe l'après midi. Expérimenter l'enrichissement réciproque des spécificités des trois matières. La voix apporte souffle, liberté, et expression. Le conte apporte imaginaire, merveilleux et fil narratif. Le clown apporte fantaisie, surprises et émotions. Voix, Conte ou Clown, il s'agit d'être soi, de libérer sa parole, d'être en jeu de manière authentique et créative.
Plus d'infos sur www.agnes-dumouchel.com (rubrique "stages")
30 June - 5 July 2015Ways to the Voice (Cancel)Ralf PETERSregister
Directed by Ralf Peters
Hours: 24 (9h30 – 13h30)
Price: €360
Participants: 10
Open to all
There are always different ways leading to "my" voice. In this workshop we will explore some of them to find out which ones are the most promising for the current situation of yourself and your voice.
There will be a focus on the way of "training" the voice that is not necessarily evident within the idea of voice that follows the tradition of Alfred Wolfsohn and Roy Hart. How can a regular training help to free the voice to itself – without following a theoretic idea how the voice has to be, but following the directions the voice wants to go?
1er - 6 Novembre 2015Voice in Artistic Expression (Year Group 2015/2016) (Full)Edda HEEG & Walli HOEFINGERregister
Directed by Edda Heeg & Walli Hoefinger
(Dates : 14–19 June 2015 / 1–06 November2015 / 13–18 March 2016 /5–10 June 2016).
Level : intermediary
Hours : 10h- 13h & 15h – 17h30
Participants : 12
Price : 1782 € (for the 4 sessions – 132 h)
In this group we will focus on the possibilities/availabilities of the voice in artistic expression and explore the connections between body/movement, voice, emotion and music.
This workshop is created for people who would like to work on a continuous base for one year. We will meet for 4 sessions of 6 days. There could be a performance at the end of the 4th session.
There will be body awareness work, group singing lessons and ateliers, as well as individual sessions with both teachers.
Our focus will be to discover and dive into your own space and your own emotional depth so that you can bring them both into your artistic expression and your life.
"Make the unheard audible."
Participants will be invited to bring and develop their own artistic material as part of the progression in the group.
Other working elements:
body and voice awareness
polyphonic singing
song interpretation
vocal composition/your own music/your own text
performance issues
Preference will be given to candidates who have already worked with Roy Hart Theatre teachers.
Please send with your enrolment form a short letter of motivation.
27 Octobre - 1 Nov 2015Voice ResearchKaya ANDERSON & Maryline GUITTONregister
1 - 12 July 2015Voice Performance : Workshop FestivalEnrique PARDO & Linda WISEregister
Directed by Enrique Pardo & Linda WISE with Daniela Molina*, Pierre-François Blanchard*, Laura Fuentes*, Anna Griève*, Xavier Papaïs*.
84 hours
Participants: 25
Open to all with brief CV and motivation.
Workshop Festival: workshops mornings and afternoons. Performances, lectures and debates in the evenings.
Voice Performance. Accent on personality, on the pertinence (or impertinence) of what we want to give voice to, through singing, broken sounds, words, gestures, images, and their synthesis in a Choreographic Theatre.
Philosophies of the Voice – including a homage to Roy Hart on the fortieth anniversary of his death. Evening with guest lecturers Xavier Papaïs and Anna Griève – at Malérargues and at the Galerie du Petit Temple, in Lasalle, including an exhibition of Enrique Pardo's recent paintings and performances on "Figures of a contemporary shamanism."
Complete information and registration on: www.pantheatre.com/gb/2-MT15-gb.html
23 - 26 April 2015Songs of the Heart, Songs of the Body (Full)David GOLDSWORTHY & Marianne LE TRONregister
Directed by David Goldsworthy & Marianne Le Tron
Hours : 20 – Price : €270 – Participants : 10 maximum
10 h – 13 h / 15 h – 17 h
An open workshop to develop the singing voice and give life to "your" song.
Daily voice and body warm up, voice lessons in small groups, individual work on interpretation of songs of various styles (blues, jazz, popular, traditional, gospel…)
Learning a polyphonic song.
An evening of presentation is possible.
The work is adapted to the level of each participant.
You must come with two songs, learned by heart, and the music score.
Agnes Pollner
After graduating from Mozarteum, Salzburg 1983, I worked as actress and singer for more than 10 years in german theatres. During that time I also extensively trained in "Method-Acting" , Lee Strasberg's explorative body-mind training for performers. In 1993 the Roy-Hart-Voice-Work found me through Clara and Paul Silber and I have been working and living with this vision for voice and human beings ever since. I am teaching voice and acting since the early nineties aiming at supporting people to unfold their creative powers. Happily married to Ralf Peters we co founded "KörperschafftKlang", a voice-theatre-company with its seat in Köln, where we live. In my capacity as a buddhist meditation teacher I am using voice and bodywork as a medium on that path of liberation as well.
1 - 3 May 2015Do You Want to Sing ? With Your Own Voice ? (Full)Ian MAGILTONregister
Directed by Ian Magilton
Hours: 15 (10h – 13 h & 15h – 17h)
Price: 200 €
Participants: 8
Open to all.
Workshop for those, who believe they cannot sing, but want to, and for those who can and are looking for their own, genuine voice.
Mornings : fundamental work of Roy Hart Theatre
Afternoons : leading this work towards music. Chorale and solo songs.
14 - 17 May 2015Voice and Cello (Cancel)Kevin CRAWFORD & Caroline BOERSMAregister
Directed by Kevin Crawford & Caroline Boersma
Hours: 22 ( 9h30 – 13h & 14h – 17h; 17 May : 9h – 13h)
Price: €297
Participants: 12
Level: Intermediary & advanced
A workshop of discovery and playfulness : as we listen , words take flight.
The voice is an amazing tool, capable of diving to the depths or driving us to ever dizzying heights. The Cello is an instrument that sings, that vibrates nerves and bones, that , by its mix of wood and strings, pierces and radiates through us. Bringing these two elements together in a workshop is not just an idle challenge, but is a real encouragement, an invitation, to dive deeper into the subtle alchemy of sound, word and musical gesture.
Moments of collective work alternate with small group classes, that heighten our listening powers and bring into play voice and cello, essential and eloquent partners.
26 - 31 May 2015Voice ChaosIan MAGILTON & Saso VOLLMAIER *register
Directed by Ian Magilton & Saso Vollmaier *
Hours : 30 (10h-13h/15h-17h)
Price : €405
Participants : 12
Level : intermediary & advanced
In order there is beauty and repetition, but not invention. To find something new we first have to get lost and then there is the great and noble task to bring invention back out of the chaos to create beauty. That is a task that fascinates Saso and I. If it fascinates you, and you have the possibility, join us.
2 - 6 June 2015Opening Voices with Brazilian Rhythms and Songs (Cancel)Paula MOLINARI & Pamela Cristina de Almeida *register
Directed by Paula Molinari with Pamela Cristina de Almeida * (percussionist)
26 hours (8 h 30 – 13 h & 15 h – 17 h)
Participants: 20
Level: intermediary
Price: €350
This workshop aims to develop the voice in the perspective of Roy Hart Theatre using Brazilians rhythms and songs. The student will experience singing with music and percussion, integrating movement, text and songs. They will also experience body and Brazilian's percussion.
Please send a letter of motivation to e-mail including the name of one Brazilian song that you would like use in the work. You will receive teacher's comments and additional information to enrich your participation and development at the workshop.
It will be possible to speak in French, English, Portuguese and Spanish.
9 - 14 June 2015Painting & Voice (Cancel)Zwaansje De VRIES & Ian MAGILTON register
Directed by Zwaansje De Vries & Ian Magilton
Hours: 30 (10h-13h / 15h-17h)
Price: €405
Participants: 12
Open to all
A key element in the history of Roy Hart Theatre is the celebrated body of paintings by Charlotte Salomon that she entitled "Life or Theatre", inspired Alfred Wolfsohn, the originator of our work and a central figure in her paintings. There is a common feeling between painting and singing that has drawn many painters like Zwaansje and myself to Roy Hart Theatre.
Mornings : painting classes inspired by the light, the heat and the nature of 'le Midi', as so many great artists have been, including Charlotte. And voice classes inspired by colour, line and human feeling.
Afternoons : personal art work and tuition.
14-19 June 2015Voice in Artistic Expression (Year Group 2015/2016) (Full)Edda HEEG & Walli HOEFINGERregister
Directed by Edda Heeg & Walli Hoefinger
(Dates : 14–19 June 2015 / 1–06 November2015 / 13–18 March 2016 /5–10 June 2016).
Level : intermediary
Hours : 10h- 13h & 15h – 17h30
Participants : 12
Price : 1782 € (for the 4 workshops/ 132 h)
In this group we will focus on the possibilities/availabilities of the voice in artistic expression and explore the connections between body/movement, voice, emotion and music.
This workshop is created for people who would like to work on a continuous base for one year. We will meet for 4 sessions of 6 days. There could be a performance at the end of the 4th session.
There will be body awareness work, group singing lessons and ateliers, as well as individual sessions with both teachers.
Our focus will be to discover and dive into your own space and your own emotional depth so that you can bring them both into your artistic expression and your life.
"Make the unheard audible."
Participants will be invited to bring and develop their own artistic material as part of the progression in the group.
Other working elements:
body and voice awareness
polyphonic singing
song interpretation
vocal composition/your own music/your own text
performance issues
Preference will be given to candidates who have already worked with Roy Hart Theatre teachers.
Please send with your enrolment form a short letter of motivation.
23 - 27 June 2015To Sing a SongIan MAGILTONregister
Directed by Ian Magilton
Hours : 25 (10h-13h & 15h-17h)
Participants: 8
Price: €340
To sing a simple song is much more demanding and rewarding than is normally acknowledged, even for those, who are highly trained.
We will work on those demands and go in search of those rewards at whatever your level is, but some previous experience of singing and music is desirable.
23 - 28 June 2015River of Life – Signature Story – Telling for Business ProfessionalsIvan MIDDERIGHregister
Directed by Ivan Midderigh
Price: €490
Hours: 36 (9h30 – 13h & 14h30 – 17h)
Participants: 12
Open to all
"The choice for leaders in business and organisations is not whether to be involved in storytelling – they can hardly do otherwise – but whether to use storytelling unwittingly and clumsily – or intelligently and skilfully. Management fads may come and go, but storytelling is fundamental to all nations, societies, and cultures and has been since time immemorial " Stephen Denning 'The Leader's guide to Storytelling'.
Telling the Compelling Story teaches the art of inspirational presentation through storytelling. Effective leaders need to be able to inspire and motivate. There are times when storytelling is the most effective and efficient way of making a point or of confronting a difficult situation. Participants learn how to construct a succinct and powerful story and master the skills necessary for delivering appropriate and compelling messages. In this workshop the participant will draw a River of their life marking out the key moments, events and people that have influenced the direction of their lives. From this 'life river', three personal stories will be worked on and rehearsed, which can subsequently be used in a presentation context.
The Skills
The actor has to be clear on the meaning of the text, so that it will come across to the audience. They have to use their voices with enough volume and colour to ensure the audience will listen and also behave in a way that supports their words, as well as having the self-confidence to face the audience and be able to improvise – to think and act quickly under pressure – if something unexpected happens.
All these 'actor' skills are also required by business people, and, indeed, anyone who is required to address an audience. The audience may be one person, a group meeting, or a large corporate gathering
Storytelling is an essential aspect of the work. Everyone has stories which are gathered from their life experiences. The connection between one person and another, between a presenter and the audience, is firmly established by the telling of a personal story. Once the connection is made, people will listen to the information the speaker wishes to give.
The activities in a workshop range from active, high energy group exercises, to calm dialogues and reflective listening. The work is a mix of group work, partner work and individual work.
Ivan Midderigh:
A founder member of the Roy Hart Theatre and senior facilitator for Corporate Scenes since 1992, Ivan has led seminars with wit and style for major international companies including AT&T, Pacific Bell, Nortel Networks, The Gap, Sandia National Lab, Levi Strauss, MacKinsey and Co, is a guest lecturer at The Olin School of Business at Washington University, St Louis, and is senior faculty with the annual Executive Coaching Institute at the Center for Executive Education, University California Berkeley Haas School of Business.
He also spent 5 years (2004 – 2009) in South Africa as a master facilitator of the Brand Ambassador programme for Avis Corporation of Southern Africa and the Brand Champion programme for the Kelly Group and Transnet.
Ivan creates a fusion of humour, honesty, compassion and energy in his work, helping business professionals expand their 'presence', and communicate more effectively while developing their interpersonal relationship building skills.
Michèle Laforest
21 - 26 July 2015Intensive Voice SeminarUlrik ROMER BARFOD, Walli HOEFINGER & Saule RYANregister
Directed by Ulrik Romer Barfod, Walli Hoefinger & Saule Ryan
Hours: 36 (9h30 – 12h30 & 14h30 – 16h30)
Price: €540
Participants: 14
Open to all
The themes of "Human voice" (singing, improvising, speaking) will be explored and deepened. Special emphasis on individual work and voice-movement interactions; the body becoming a dynamic source of sounds and movement expression.
Each participant will experience individual work with 3 teachers. Please bring a text and/or a song learnt by heart.
21 - 26 July 2015Voice, Writing & Body Painting (Cancel)Maryline GUITTON & Claudia MORAND*register
Directed by Maryline Guitton with Claudia Morand*
Hours: 36 (10h – 13h & 15h – 18h)
Price: €555
Participants: 12
Open to all
Workshop 'HORS LES MURS' (La Filature – LASALLE)
No lodging at Malérargues but it's possible to stay at Lasalle in the gite 'La Cure'. For more information, please contact directly Régie de Coordination Lasalle e-mail
Maryline and Claudia share a passion for Roy Hart voice work, body-painting and writing
poetry. Thus, they are willing to share these joys in this experimental and experiential
During the workshop, we will improvise with our voices, with our bodies and with pens and colours that we will make ourselves. We will prepare different "materials" that will blend in laboratories where we will experience crosses between mediums.
Among these "materials" we will prepare and cook, there will be:
– singing voice improvisation
– moments of writing workshops
– exploring spoken voice using the participant's own written texts.
– making homemade paints from natural pigments and binders such as beer, yogurt, egg yolk …
– body painting, using personal texts.
28 July - 2 August 2015Voice Dance SpaceEdda HEEG & Rosemarie ANTON*register
Directed by Edda Heeg & Rosemarie Anton*
Hours: 33 (10h-13h & 17h30-20h) Sunday: 10h – 13h & 14h30 – 17h
Price: €495
Participants: 12
Open to all
In this workshop we aim to explore each individual's creative space through voice and dance, following the thread of emotions and images and giving them expression.
We will work in studios, with time for individual work, and also outside, using inspiration from the countryside around. How are voice and movement affected by nature and the elements – for example down by the river, by the light of the sunset or in an ancient chapel? And how can we best integrate these influences in our own creativity?
When we work outdoors, we may have different working hours.
4 - 9 August 2015Voice – Movement – SongAgnes DUMOUCHEL & Esther KNAPPEregister
Directed by Agnès Dumouchel & Esther Knappe
Hours: 36 (9h-13h & 15h-17h)
Price: €540
Participants: 12
Moving between spoken voice, body movement and singing voice to serve the interpretation of a text or song. You will connect to the intuition of your voice and movements to deepen expressive potential.
Agnes' artistic practice of storytelling allows you to feel how each song tells a story and how each story comes from an emotion.
Esthers artistic dance experience gives new ways to use the body. As a singer-musician she will support you to get in touch with collective and individual voice imagery.
We offer Qi Gong and Feldenkrais exercises to warm up the body and feel the deep and fine vocal musculature act. And we will use polyphonic world songs to be both listening to oneself and the others and to take pleasure in sharing a common musical experience.
Each participant should come with his project (dear to his heart!); a song or a text learned by heart, which he or she wants to go toward a subjective and authentic personal interpretation.
Open to all.
11 - 16 August 2015Human VoiceCarol MENDELSOHN & Zwaansje DE VRIESregister
11 - 16 August 2015The Voice – The SongPascale BEN & Renata ROAGNA & Olivier PHILIPPSON*register
Directed by Pascale Ben & Renata Roagna with Olivier Philippson * (musician accompagnist – accordéon chromatique and guitare)
Hours: 36 (9h – 13h & 15 h – 17h)
Price: €540
Participants: 12
Open to all
Body to breath, breath in the voice, the voice singing through space and silence, through the imagination and emotion.
Mornings: work on the fundamentals of 'Human voice'.
Afternoons: ateliers, research, improvisations from the imaginary voice, interpretation of songs (work on the text, the vocal line, space, emotion).
Participants are invited to bring a song memorised and if possible, the score. Teachers will also propose songs in one or more parts.
11 - 16 August 2015Voice & MassageLaurent STEPHAN & Domininique HERMAN*register
Directed by Laurent Stephan & Dominique Herman * (formatrice en massage sensitif)
Hours: 36 (9h-13h & 15h-17h)
Price: €540
Participants: 12
Open to all
18 - 23 August 2015Acting SingingIan MAGILTON , Orly ASODY & Nuria INGLADAregister
Directed by Ian Magilton, Orly Asody & Nuria Inglada
Hours: 36 (10h -13h & 14h30 -17h30)
Price: €540
Participants: 14
Level: intermediary & advanced
Work on bringing the emotional engagement of acting to singing, and the structural beauty of music to acting. A first step on the path to find the emotions connected to a song, playing with the lyrics and the music. Discovering what the song brings to us and what we bring to the song. Is it possible to be totally in an emotion yet know that it is not controlling you? We will alternate between free improvisation and strictly following the structure of the song. We will play with different interpretations and meanings in order to find a deep personal connection to it. We also work on how to deliver a song to an audience. We will learn three songs with an emphasis on one of them which will be "your song". The workshop will include: Warm-ups of the body, voice and imagination, individual singing lessons and group ateliers of music and theater.
18 - 23 August 2015Your Own Voice on the Threshold of MusicWalli HOEFINGER & Christiane HOMMELSHEIMregister
Directed by Walli Hoefinger & Christiane Hommelsheim
Hours: 36 (10h – 13h & 15h – 18h)
Price: €540
Participants: 12
Open to all
In this workshop we will focus on recapturing "music", out of the hands of the specialists of form and culture, trusting your intuitive competence in music, making it your own, finding your own sense of music, beyond virtuosity and style. You will have the opportunity to explore what "music" means within your voice, and how to allow your own music to emerge.
The workshop will include deep physical and vocal preparation, individual lessons and group improvisation, where we will play with the connection of voice and body, voice and perception. We will move into new territory of our voices beyond the areas that we habitually use, and enjoy the pleasure of singing together!
25 - 30 August 2015Your Own Voice – Your Own MusicChristiane HOMMELSHEIM & Ian MAGILTONregister
Directed by Christianne Hommelsheim and Ian Magilton
Hours: 30 (10h-13h & 15h-17h)
Price: €450
Participants: 12
Level: intermediary & advanced
Let your voice lead you to your music!
In this workshop we will focus on connecting to who we are, through the voice, and also on the creation of our own music. Beginning in the rich inner world, that everybody has within themselves, we will explore and experiment with different ways of expression and musical form, trusting our intuitive competence, beyond virtuosity and style. You will have the opportunity to explore what "music" means within your voice, and how to allow your own music to emerge. Prior musical training is not required!
The workshop will include physical and vocal preparation, individual lessons and group improvisation. We will move into new territory of our voices beyond the areas that we habitually use, and enjoy the pleasure of singing ourselves and singing together.
25 - 30 August 2015Singing with Body & SoulPascale BEN & Laurent STEPHAN & Olivier PHILIPPSON*register
Directed by Pascale Ben et Laurent Stephan with Olivier Philippson*(musician)
Hours: 36 (9h – 13h & 15h – 17h)
Price: €540 level: Level: Beginner & Intermediary Participants: 12
How body gives birth to breath, to sound, to words and singing, with many different shades. Breath is also spirit. It is also the spring that we will invite, with the power of imagination. Breath is the spiral which gives us energy in order to sing with all our being. By taking a stroll in our garden or in the gardens of other people present (visiting the clearings as well as the shady areas) we will enrich our vocal range and our possibilities of expression.
Mornings: physical and vocal warm up, followed by individual work in two groups.
Afternoons: atelier work; improvisations and learning of songs, with one or several voices. A group where we will listen to one another over six days, in kindness and respect, guided by a genuine spirit of research.
Participants are invited to learn by heart a song or a text (if you have the music-score, please bring it).
25 - 30 August 2015Songs of the MediterraneanEsther KNAPPE & Renata ROAGNA & Philippe MARTIN*register
Directed by Esther Knappe, Renata Roagna & Philippe Martin*(musician)
Hours: 30 (9h30 – 12h45 & 14h30 – 16h30) Sunday : 9h30 – 13h15
Price: €450
Participants: 12
Open to all
Connect your voice with your body resources, your imagination, your intuition. In the small groups the emphasis will be on exploring different colors of the singing voice, its flexibility and your listening. In the bigger group classes you will be taken on a journey through songs (one or more parts) from different regions of the Mediterranean. They will be taught with precision and structure, but also serve as inspiration for playful, spontaneous creations via free vocal improvisation. Accompagnement and dialogue with various musical instruments (strings, percussion) will help you to go deeper into individual and collective expression.
1 - 6 Sept 2015Giving Body to Voice & Voice to BodyLaurent STEPHAN, Walli HOEFINGER & Emanuela LAZZERINIregister
Directed by Laurent Stéphan, Walli Hoefinger & Emanuela Lazzerini
Hours: 36 (9h30 – 12h30 & 14h30 – 17h30)
Price : €540
Participants : 14
Open to all
An intensive experimental workshop: 36 hours in 6 days of group and individual work, with emphasis on the relationship of body, movement and voice. Exploring what moves us, our voices and our bodies with teachers from the « new generation » Roy Hart Teachers. This workshop will include bodywork, improvisations, text and singing work.
8 - 18 Sept 2015Teacher Training GroupEdda HEEG, Carol MENDELSOHN et Saule RYANregister
Directed by Edda HEEG, Carol MENDELSON & Saule RYAN
By selection only.
For more information, please contact e-mail

subset: commoncrawl


text:
Last edited by davedecosta705; 02-21-2013 at 07:30 PM.
Would you entertain 18k
Nice looking R....Glws
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still for sale???
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Black Beret
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Pm sent
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Any work done on the internals?
has anyone received a response from the seller?
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Last edited by boki-san; 02-22-2013 at 05:11 PM.
ぼき 母気 boki-san
the original summit to plummet to summit tripper
world R32 record holder for high altitude, low altitude, maximum trip altitude delta
member of usfra bonneville 130mph mile club
... for David
last day representing SFD
(i carefully removed your badge, because you earn it, not me.
the badge will be archived with this car's documentation)
now, with colorado plates
ぼき 母気 boki-san
the original summit to plummet to summit tripper
world R32 record holder for high altitude, low altitude, maximum trip altitude delta
member of usfra bonneville 130mph mile club


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Adrienne Landau
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This article takes a comparative look at how the world's two largest economies are diverging in their approaches to regulating hazardous products and packaging, with major ramifications for manufacturing, waste management and trade. The European Union is implementing product oriented environmental regulation based on the principle of Extended Producer Responsiblity (EPR), which assigns responsibility to manufacturers to take back their products after consumers discard them. In theory, EPR could dramatically alter production practices by internalizing product externalities and providing incentives for environmentally friendly design. However, practical problems of implementing raise questions about the effectiveness of EPR as a policy tool.
This article examines the European experience with EPR, the reasons for apparent resistance to EPR in the United States, and the implications of a move toward product-oriented environmental law. It concludes that the transaction costs of EPR may outweight its environmental benefits and that EPR may not provide the expected design incentives. It therefore recommends that the United States consider alternative policy instruments to address environmental externalities from products.
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Developer DICE has released details for Spectator Mode in its upcoming first-person shooter, Battlefield 4.
Posting on the official Battlefield blog, assistant producer Daniel Matros and junior gameplay designer Dennis Brännvall detailed the options Spectator Mode will offer.
Battlefield 4's Spectator Mode will feature four different views; first-person, third-person, tabletop and freecam view. Servers with Spectator Mode enabled will be able to accommodate up to four spectators in addition to the number of players allowed in the game.
First- and third-person views will allow the spectator to follow a specific player. In freecam view, players can switch between five cameras laid out on the map and move them to cover larger areas quickly.
Spectators will be able to switch freely between each type of view. The display will allow spectators to see every player on the squad they have switched to and view relevant game details, including score, remaining time, and objectives. Squad bars on each side of the screen will show each squad member's health and class.
Additionally, spectators will be able to see each participant's Player Card, which details current weapons, attachments, gadgets and relevant vehicle customizations. Viewers will also be able to toggle off and on the layers of display.
Battlefield 4 launches on October 29 for the Xbox 360, PlayStation 3, and PC. The PlayStation 4 version will be released November 15, while the Xbox One iteration hits November 22. A beta for the game began last week and runs until October 15.


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|Marriott Hotels And Resorts Sunny Isles Beach hotels are provided below. Search for cheap and discount Marriott Hotels And Resorts hotel prices in Sunny Isles Beach, FL for your family, individual or group travels. We list the best Marriott Hotels And Resorts Sunny Isles Beach lodging properties so you can review the Sunny Isles Beach Marriott Hotels And Resorts hotel list below to find the perfect place.
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Generating revenue from digital content requires seeing consumers as moving targets, experts say. Karen McGrane, a consultant and the author of "Content Strategy for Mobile," says the industry needs to adopt standardized APIs that reflect consumer behavior, including how content is accessed, consumed and shared.
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NBI agent found dead in airport car park
More News from Jhunnex Napallacan
More News from Inquirer Visayas
CEBU CITY—An agent of the National Bureau of Investigation (NBI) was found dead with a gunshot wound in the head on the car park of the Mactan Cebu International Airport in Barangay Buaya, Lapu-Lapu City, on Wednesday afternoon.
Police, however, have yet to determine if NBI agent Jeffrey Jude Yap was a victim of accidental shooting or murder, said PO3 Lydo Pinos, investigator of the Lapu-Lapu City police.
Yap, 35, a native of Digos City, Davao del Sur, was assigned to the National Task Force Against Trafficking in Persons at the Mactan Cebu International Airport just three weeks ago.
A police investigation showed that Yap had a drinking session with Richard Manto, staff house maintenance worker, at the car park hours before Yap's body was found.
After consuming two bottles of brandy, Yap asked Manto to buy another bottle and a loaf of bread at a store located outside the compound.
The police report said Yap called a security guard, Romeo Malubay, to ask the guard to test Yap's gun that the NBI agent had said hadn't been used for quite some time.
Malubay told police that he turned down Yap's request because firing the gun inside the compound would cause alarm.
Malubay said he later heard a burst of gunfire. When he went to check, the guard said he found Yap's body on the car park.
Single bullet
The security guard said he saw a .40 cal. Glock pistol near Yap's feet, PO3 Pinos said.
Yap was brought to the Mactan Doctors' Hospital where he was declared dead on arrival.
A hospital report said a single bullet entered Yap's left temple and exited in the right temple.
Pinos said no suicide note was found in the staff house where Yap had stayed.
Aside from the Glock pistol, police also found fragments from a single bullet on the car park.
Pinos said police would ask Yap's family to allow an autopsy and a paraffin test on Yap.
Pinos said Manto and Malubay were also subjected to paraffin tests while the gun would be subjected to a ballistic test.
According to Edward Villarta, NBI director for Central Visayas, said Yap paid a visit to the NBI office in Cebu City shortly after he arrived in Cebu on Nov. 16.
But he added NBI agents in Cebu didn't know Yap personally because Yap belonged to another unit.
Villarta said based on initial findings of police, he believed that Yap didn't kill himself but was a victim of accidental firing. With a report from Ador Mayol, Inquirer Visayas
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Created in this Craftsy class
Pickup Stick & Finger Control Techniques taught by Stephanie Flynn Sokolov
Enliven your weaving with bold techniques and impressive texture! Watch one lesson or enjoy them all as you add more than 50 textures to your weaving repertoire.
Other projects made as part of this class:
WeavingMohair Study


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Joe A. Ridge, 56, of Carrington, ND, died Sunday, March 1, 2015, at Sanford palliative care, Fargo, ND.
Delmer B. Howes, 85, of Grand Forks, ND, passed away on Saturday, February 28, 2015 at Altru in Grand Forks.
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After his rambling speech introducing some of the Best...
The parents of Sons of Anarchyactor
Khloe Kardashian is throwing her name in the ring to replace
The New York Times reported last night that Hillary Clinton used a personal email account when she was secretary of state, a move that may have broken the rules. Clinton never had a State Department email address, and her email account wasn't...
Ukrainians are seeing signs the economy is cracking under the weight of war and the risk of default.
�American Crime� bills itself as an exploration of the complex social issues that surface when a home invasion leads to the murder of a war veteran and the brutal assault of his wife. Despite a collection of solid actors including Felicity...
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Best-selling Author John Ratey to Speak at National Convention
Harvard Medical School psychiatrist and best-selling author John Ratey will speak about "The Revolutionary New Science of Exercise and the Brain" at the AAHPERD National Convention and Exposition on March 31, 2011.
Reston, VA (PRWEB) December 10, 2010
Harvard Medical School psychiatrist and best-selling author John Ratey will speak about "The Revolutionary New Science of Exercise and the Brain" at the AAHPERD National Convention and Exposition on March 31, 2011. The convention, offered by the American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD,) will be held in San Diego, California.
Dr. Ratey's latest book, Spark: The Revolutionary New Science of Exercise and the Brain, shows why exercise is crucial for the brain and body to operate at peak performance. His speech will address: How exactly does physical activity change the brain's ability to absorb and retain information? How does exercise protect against Alzheimer's, ADHD, and mood disorders? Is physical education really improving academic performance?
"Spark is one of the most fascinating and exciting books I've read in a long time," said Mariah Burton Nelson, Executive Director of the American Association for Physical Activity and Recreation (AAPAR). "I'm thrilled that Dr. Ratey has agreed to speak to us, because our convention attendees share my enthusiasm for his pioneering work on exercise and cognitive functioning." Dr. Ratey's presentation will be AAPAR's keynote speech.
Dr. Ratey has written or co-written eight books and more than 60 articles on the topics of aggression, autism, ADHD, and other issues in neuropsychiatry. He is an Associate Clinical Professor of Psychiatry at Harvard Medical School, as well as a clinical psychiatrist in private practice in Cambridge, Massachusetts. For more on Dr. Ratey, go to http://www.johnratey.com.
More than 5,000 physical education teachers, coaches, and physical activity professionals are expected to attend AAHPERD's 126th National Convention and Exposition, which runs from March 29 to April 2, 2011. The latest issues, trends and concerns in the physical education and physical activity professions will be addressed by more than 400 program sessions and special events, as well as an expo of nearly 300 exhibitors. To learn more about the convention, go to http://www.aahperd.org/convention.
About AAPAR & AAHPERD
The American Association for Physical Activity and Recreation (AAPAR) serves more than 8,000 professors, teachers, trainers, and community leaders who promote meaningful physical activity and recreation across the lifespan. AAPAR is one of five national associations that make up the American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD), which was founded in 1885 and is the largest organization of professionals committed to achieving a healthy lifestyle. For more information, visit http://www.aapar.org.
Media Contact: Mariah Burton Nelson, Executive Director
MNelson(at)aahperd(dot)org; 703.476.3430
# # #
For the original version on PRWeb visit: http://www.prweb.com/releases/prweb2010/12/prweb4878894.htm


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OCR for page 63
63 � Exchange information that will facilitate shared under- Railroad Incentives standing and lead to establishing and meeting common expectations. Cooperation between highway agencies and railroads in devel- � Discuss issues and resolutions about current and previous oping project agreements occurs continuously, as was docu- year's projects. mented by the discussions, surveys, and interviews summarized � Discuss legal issues faced and any that are expected in the elsewhere in this report. All the Class I railroads devote con- coming year, along with resolutions. siderable staff resources to accommodating reviews and to � Discuss processes and resolve any issues related to insurance, responding to state highway agency requests. Any discussion billing, or reimbursements. of incentives to increase cooperation should not be construed � Discuss lessons learned and best practices from within the to indicate that little cooperation already exists. agency and the railroad. Despite the institutional efforts to cooperate with public � Discuss lessons learned and practices from other states or projects, delays do commonly occur and disagreements arise other railroads that are applicable and could be beneficial. over project costs, scopes, and schedules. The delays that occur Examples include the following: with project agreements indicate that some types of projects Simple agreement and lump sum payment for rehabilita- and some types of agreement processes are more successful tion projects as used by Iowa DOT; than others. The best practices to reduce such delays were dis- Conducting preconstruction meetings and inviting sur- cussed earlier as were the federal regulations that can hamper rounding businesses and community for briefing on proj- the agreement process. ect and impacts, if any; In this section of the report, the issue of incentives for rail- Processes for collaboration on rehabilitation projects; and road companies to collaborate with highway renewal projects Simple two-page standard agreement for rebuilding and is examined. In summary, many of the incentives for collabo- rehabilitation of at-grade crossings. ration are very closely related to the best practices and process � Discuss and make revisions to escalation procedures as nec- innovations cited earlier. The incentives for cooperation tend essary. If an escalation procedure is not in place, this could be to be very similar to the practices, agreement provisions, atti- a forum to start the discussion about an escalation process. tudes, and communication strategies that already have been � Review and refine any dispute resolution process that is identified as streamlining the review process. currently in use. If none exists, then share information and Providing incentives for the railroads to collaborate requires brainstorm about such processes used in other states and approaching the agreement process from the railroads' per- start the conversation for adoption in the state. spective. Projects and processes that complement the rail- � Share information about major initiatives and major projects road's operations, reduce their risk, preserve their assets, and that either party will be involved with in the coming year. enhance their capacity are most often cited by the railroads as � Share information about any expected legislation, ordi- inducing their collaboration. nances, or regulations that will have an impact on projects Railroads are privately held companies that survive only if or operations. shareholders are rewarded financially through increased stock � Provide an opportunity to discuss any issues or questions value or dividends, providing customer service that is reliable about master agreements currently being used by the agency and cost competitive, reducing their operating expenses, and railroad. increasing profit while reducing the operating ratio, and oper- � Share master agreements from other states, the adoption of ating in a safe manner. Any incentives would have a positive which will improve the project and processes for both effect in these areas. sides. If possible, have someone from the state and railroad Attractive incentives for collaboration generally lie in three using the agreement either attend or, using video or phone, areas: safety and liability, capacity, and reduced operating costs. participate in the meeting to share their perspectives and answer questions. Safety and Liability � Discuss issues with existing project management processes. Update and refine the process based on feedback and Safety and liability are of overriding importance to a railroad. discussion. The railroad is interested in the safety of their trains, their � Discuss any impacts to funding of projects. This could be employees, their cargo, anyone who ventures on to their prop- increases or decreases in funding, along with changes to any erty, and the surrounding communities through which they processes related to funding. pass. The exposure to current and future liability is a major risk for the industry. As noted, railroads are required to provide Legal, financial, institutional, or other constraints to imple- transportation for hazardous materials. Whenever a contrac- menting this process: None, except for the staff and travel time tor is working on or near the tracks, the possibility of a cata- involved. strophic hazardous material release that could cause deaths,
OCR for page 63
64 debilitating injuries, and even mass evacuations increases. zones, which the railroads may support in cases where the Some of the materials the railroads are required to transport zones provide greater protection than what currently exists. include airborne and flammable toxic chemicals whose release The Federal Railroad Administration has established new could create significant loss of life and property, as well as dis- rules for quiet zones, and not in all cases will railroads sup- ruptions to homes and businesses. port the implementation of them. The railroads generally do The Class I railroads provide a greater institutional focus on not want to increase their liability by eliminating horns, nor safety than is typical within the average state highway agency. do they want the additional costs associated with gating all Safety is not simply a slogan, but a way of operation practiced crossings to eliminate the need for horns. intensely throughout the industry. Old track-circuit technology still exists at many grade cross- From a project-approval perspective, projects that improve ings whereby the circuit does not have the ability to sense the rail safety or reduce railroad liability are more likely to be well- movement or speed of the train and, consequently, the lights received and more quickly approved, according to the rail offi- and gates at grade crossings may be activated long before the cials interviewed for this study. The following are examples of train reaches the grade crossing. New technology that mea- these projects: sures train speed to activate the lights and gates within approx- imately 30 seconds of the train passing over the crossing is � Closing of highway grade crossings; more effective and results in fewer accidents at grade cross- � Consolidating grade crossings; ings. With such "active warning," the liability to the railroad � Constructing grade separations, particularly overhead; is reduced. This is because many crashes are caused by im- � Safety improvements to highway grade crossings; patient drivers driving around closed crossing gates. � Sealed grade crossing improvements, such as four-quadrant Renewal projects that secure the railroad's right-of-way, gates; such as adding fencing along a limited-access freeway, can � Installation or upgrades for automatic flashing light signals increase benefits to the railroad. The benefits are limited, but and gates; and they reduce exposure to the railroad and the highway agency. � Securing pedestrian access on rights-of-way through fenc- Safety is not limited to projects, but to the implementa- ing or other means. tion of the projects themselves. Before a project commences, some railroads insist that the contractor's employees go A major goal of every railroad and the Federal Railroad through safety training specifically designed by the railroad Administration is to reduce the number of highway�railroad company. Preconstruction meetings are held before anyone grade crossings. The liability that exists with motorists trav- has access to the freight corridor. The railroad wants to min- eling across freight or passenger rail grade crossings is signif- imize any exposure to accidents and liability that could be icant, and the only way to reduce the railroads' full exposure caused by the contractor on the site. While this alone never is by eliminating the crossing itself. Projects that are initiated ensures that an accident will not occur, it reduces the chances with grade crossing reduction will be supported by the indus- of one. Highway agencies that support the safety programs try and may lead to financial contribution from the railroad. of the railroad will have greater success working with the Corridor projects whereby a host of contiguous at-grade cross- railroad industry. ings are evaluated with the target of closing grade crossings and As mentioned, the current federal limits for insurance are improving the safety at the remaining crossings are well sup- $2 million for an individual event and $6 million cumulative ported by the railroad industry. annually. The railroads frequently insist on much higher lim- Grade separation projects that eliminate at-grade crossings its, because the current ones were set in 1982. The railroads are also well received. The rail industry prefers overhead to note that their liability has increased substantially since 1982 undergrade structures because the maintenance of the over- because of increased rail traffic, greater populations near rail head structure is almost always the responsibility of the state lines, and an increase in hazardous materials shipped. FHWA or local government, not of the railroad. will allow federal funds to be used to pay for higher limits, but Safety improvement initiatives at existing grade crossings it generally requires individual, project-by-project approval. where either the technology of the grade crossing protection Some states, such as Illinois, Ohio, and Florida, routinely is increased or additional protection such as the implementa- incorporate higher liability limits as a standard provision in tion of four-quadrant gates is provided are good candidates their agreements with railroads and in their specifications for for gaining the railroads' cooperation. Four-quadrant gates contractors bidding on such projects. These and other states seal off a vehicle's ability to cross over the tracks. In design- have reached accommodations with the local FHWA division ing four-quadrant gates, the highway agency should ensure office to routinely approve the higher limits, thereby provid- that the potential for trapping vehicles between the gates is ing the railroads the higher insurance protections their attor- eliminated. Four-quadrant gates are associated with quiet neys require. These steps increase the railroad's likelihood of
OCR for page 63
65 more quickly accepting the insurance provisions within the agency counterparts to accept the documentation directly project agreements. from Amtrak's payroll and material purchases in order to Both Kansas City Southern Railway and BNSF offer "riders" reduce staff time. Although Amtrak still will be able to bill only on their insurance coverage to contractors. The contractors for actual costs, it should reduce the railroad's administrative can buy short-term coverage for projects that interact with expenses. these two railroads. This allows contractors to quickly iden- As cited earlier, the Iowa Department of Transportation has tify an insurance carrier and to work with a carrier who is an expedited agreement process and force account reimburse- familiar with and acceptable to the railroads. ment process for highway�railroad resurfacing projects. Although the process was developed to expedite projects, it also provides an incentive for the railroads to cooperate on Capacity Constraints and Efficiencies re-surfacing projects. The railroads' administrative costs are One example where a railroad has a vested interest to cooper- reduced because the reimbursement is based on preapproved ate with a highway agency would be when the agency seeks to unit prices based on the number of feet of track affected. A repair or replace a bridge structure that limits both highway simple, routine agreement is used to promptly reimburse the and rail traffic. If the project allows the railroad to expand railroad for its costs. its tracks, it may be attractive for the railroad to participate in The Ohio Department of Transportation in 2000 sought funding the project. prompt reviews on approximately 30 grade-separation proj- A significant disincentive for a railroad is the creation of ects it wanted to build following the breakup of Conrail. As new highway�railroad at-grade crossings. While this clearly the NS and CSX railroads absorbed the Conrail tracks, train increases safety and liability exposure to the railroad, it may volumes increased significantly on some Ohio lines as the also diminish the capacity of the rail corridor. For instance, if railroads consolidated their operations. To ensure progress a new grade crossing divides a segment of track that previ- on the large program, the Ohio DOT worked closely with CSX's ously was used to stage train movements, it diminishes the and NS's subcontracted engineering firms. The Ohio DOT railroad's capacity. Such constraints are not widely recog- received price proposals from the firms through the railroads nized by the agencies that may pursue new crossing projects. within 30 days of notice for preliminary engineering needs. In contrast, eliminating a highway�railroad grade crossing The former ODOT rail-grade separation program manager and thereby allowing trains to be staged on the track would reported satisfaction with the timeliness of the reviews once give an operating benefit to the railroad. Grade-crossing elim- the DOT made it clear what its review needs would be and ination is not always a result of a new grade separation, but it that it would pay for those reviews promptly. can be part of a rail corridor project where at-grade crossings Also as noted, the Florida DOT lowers CSX's administrative are closed and consolidated. costs by using a standard master agreement for each new proj- ect. Then, subsequent approvals for individual reviews or re- imbursements for the project can be approved with one-page Administrative Costs addenda. The long-established practice reduces administrative One cost that the railroads cited in the interviews was losses costs for both the railroad and the highway agency. The Florida associated with public-project reviews. CSX reported that DOT railroad-coordination officials attribute the process to these losses are in the hundreds of thousands of dollars annu- ensuring railroad cooperation on project agreements. ally. The major reason for the loss is that some state and local agencies will not enter into agreements soon enough for the Direct Payments to Railroads railroad to capture all its costs associated with project coor- dination. In addition, railroads are incurring the review costs, No direct monetary strategies were found to be in use by high- with reimbursement coming only months or even years later. way agencies to provide incentives to the railroads to cooper- Such slow payment reduces their cash flow and working cap- ate on projects. The most common practice is to reimburse the ital. Any early or up-front payment would be viewed posi- railroad for project expenses such a project reviews, flagging, tively by the railroads. and force account work conducted on behalf of highway proj- Amtrak and Massachusetts transportation officials have ects. The railroads all insisted that they only charge enough to discussed reducing the additional staff time for the railroad to cover their actual costs, so it is debatable whether cost reim- produce the necessary documentation for project cost reim- bursement is an actual benefit as opposed to simple cost recov- bursement. In the past, it was necessary to complete the doc- ery. Such work is often audited and the review of expenses umentation on a specific form for employees of the railroad creates additional administrative costs for highway agencies, and for the equipment and material used. This is typical of the railroads, and ultimately FHWA, which covers project most state agencies. Amtrak will be working with its highway expenses.


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Wireless browser standard: to realize the possibilities of iMode takes "persistence". (Storage Networking).
Since introducing the browser in 1999, DoCoMo, the arm of Japan's NTT that developed iMode, has attracted an impressive and fast growing number of devotees around the world. In less than two years, subscribers to iMode-enabled multimedia services soared to more than 30 million in Japan. Introduced just last spring in Europe, growth is expected to top a million users over the next 12 months.
Today there are more than 3,000 official DoCoMo iMode sites. The criteria for official status are stiff, but passing muster means a direct link from the browser to a directory of registered sites. Even so, given the wide acceptance of the iMode platform as the industry standard, and the lure of customer traffic anytime anywhere, another 50,000 sites have sprung up. And more are jumping in all the time.
But outfitting yourself with a wireless device sporting an iMode-style browser is not all you'll need in your pocket to surf the net and handle everything it can dish out. Providing the interactivity necessary to securely deliver robust web services and successfully complete complex transactions requires a massive infusion of intelligent, application traffic management technology into web architectures. To enable your site for the iMode platform, you'll need capabilities that go well beyond security, that surpass high availability, and exceed load balancing. While these characteristics are essential for basic website performance, the real key to enriched wireless content is wireless persistence.
The sticky Web application connection permitting a bi-directional, back-and-forth interaction is the most needed link in the application traffic management chain. That ability to keep a mobile device latched on for the full duration represents Seattle based F5 Networks' contribution to a solution allowing not just ecommerce and ebusiness transactions, but even such exotica as interactive gaming between mobile subscribers. Making this a reality, the company's BIG-IP Controller is the intelligent traffic director that serves up the vital ingredient of wireless persistence.
Consider the example of a Web shopper. Persistence is what keeps the shopping cart loaded, allowing your shopper to browse, make selections, check out, and complete the final credit card transaction. In combination with high availability, scalability, and numerous types of load balancing capabilities, F5 Networks has offered such functionality for several years. However, serving the mobile Web shopper with transactions that require continuous, persistent availability poses a much greater challenge. To support the same high level of functionality with 100% security and reliability in the wireless world requires a staggering increase in traffic management intelligence.
Stepping through a typical iMode-enabled transaction, when a mobile subscriber first enters a site, the BIG-IP Controller's load balancing features direct traffic flow down the most optimal path. In a nutshell, the most available Web server in the appropriate pool is selected, receives the HTTP request, and replies. Using intelligent rules, the information about that server is written into the HTTP response. The subscriber's cookie is applied by the BIG-IP Controller and joins the reply. To continue the transaction, when the subscriber returns for each subsequent step in the interaction, the BIG-IP Controller recognizes the header information and passes the request back to the same server that was initially selected.
Breaking down the components of this scenario for a closer examination shows how the BIG-IP Controller is able to establish and maintain a persistent, reliable connection over the course of the entire transaction.
First, every iMode-enabled device has a unique identifier that is transmitted in the header. The BIG-IP Controller is able to recognize this identifier through its inspection engine, and using its intelligent rules feature, directs the flow of traffic back to the same server that received the original HTTP request.
Several load-balancing algorithms were also used to seek out the fastest performing server by utilizing the transaction information as sessions pass through the BIG-IP Controller.
Using rules, BIG-IP segregated the web site into appropriate resources, sending the incoming iMode request to one set of servers or caches, while sending the request from other requesting mobile devices to a different set of servers or caches.
Server maintenance and shutdown are also possible without losing customer transactions. When a server needs to be shut down, the site administrator replaces one intelligent rule with another. By switching rules, BIG-IP can redirect any new traffic to other available servers. In the meantime, any activity previously initiated continues on and persists unabated until all transactions cease and customer business has been completed.
The server may then be taken offline for maintenance work without disrupting any of the site's Web services.
BIG-IP and iMode-enabled web services allow the delivery of any application to any type of mobile device at any given moment in time, granting the freedom of total mobility to the wireless client.
Chris Archey is manager of product strategy at F5 Networks (Seattle)
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