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My mom passed away in 2009. Recently I found out that I own 1/2 of a property that she and my step father own in Texas. He is now telling me that I owe my 1/2 of the costs for the property since the death of my mom if I want to maintain my 1/2 of the property. What are my rights legally if I wish to keep it or give it up
Copyright 2013 Nexstar Broadcasting, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

subset: commoncrawl


text:
Here's the page in question: http://cargocollective.com/amytdatta/Amyt-Datta
At the bottom of the page is the block of text in question. What i'd like to do is have an easter egg link which when clicked hides all the text which is false leaving only the truth. Any advice?
I'm sorry if this is painfully simple! I'm a complete n00b.
@thejive I would add a class to the text that is false and use jQuery to hide it with a click function of the bold text.
Digs disco
`Was born in the 70s`
Grew up in a vicious part of town
Reads mathematics textbooks to relax
Begins the day with a hundred push-ups
Was attacked by cockroaches after shooting a lizard
`Is a vegetarian`
`Was born in the 60s`
Didn't use a computer until 2012
Is a completely self-taught musician
Often sleeps with his guitar next to him
Has played on a freezing stage lit by a single naked bulb`
`Only some of the above is true.`
$('.showtrue').click(function() {
Wow thanks so much! I really appreciate it.
BTW, there seems to be some problem with the forums on my browser (Safari 5) I can only see the last comment (Christopher Burton's). The rest of the entry is a gray blank. Or is this a browser settings issue?
@thejive See here: http://jsfiddle.net/gVU9A/
@thejive I see the code messed up. Here is the new jQuery code that should stop the redirecting.
Thanks so much! Any idea why I can only see the last comment in this thread (and indeed every thread on the forum)?
@thejive Probably a browser issue. I'll notify @chriscoyier about this.
Cheers! Also, is there a way to script this so that the false statements merely become the background colour, or get a strikethrough, etc rather than collapsing completely? I'd like to keep the overall structure of my text the same rather than it becoming a smaller block.
@thejive Sure. Just tell me what exactly you want it to look like.
Well let's just say I want the false text to turn white.
@thejive Try this:
$(".showtrue").click(function() {
$('.false').css('color', 'white')
return false;
Very sick, man! Thank you.
My pleasure. If you need further help, I'll be around later or someone else might answer your questions. It's 1am here and I'm off to bed.
@thejive All right. Let's try this one more time.
Only some of the above is true.
Remember you need to wrap the text that is false with some sort of markup.
This is a false statement
You must be logged in to reply to this topic.


text:
The LabTech Software Executive team is a group of passionate IT minded professionals with vast experience in the services industry. We are committed to the vision of delivering a superior solution that helps improve our partners' businesses by developing state-of-the-art IT process automation and honest collaborative relationships. We are proud of what we do and happy to share our stories!
Matt Nachtrab is the Chief Executive Officer of LabTech Software. Responsible for overall strategic planning and business expansion, Matt is truly committed to the vision of developing and commercializing a unique remote monitoring and management (RMM) application that is designed from the perspective of today's IT services technicians and professionals. Read more.
Greg Buerk is the Chief Technology Officer of LabTech Software and the original architect and developer of the LabTech Remote Monitoring and Management (RMM) solution. Greg's passion for experimenting with programming began when he was young and over time he has become proficient in over 20 programming languages and developed hundreds of applications. Read more.
Brett Cheloff is Director of Development for LabTech Software, where he is responsible for the oversight of the Development and Quality Assurance teams. Read more.
John Walker is Vice President of Global Operations for LabTech Software, where he is responsible for support, consulting, documentation, support and internal operations. John brings to LabTech Software over 17 years of experience as an IT business owner serving both support and retail operations. Read more.
Adam Slutskin, Vice President of Worldwide Sales, joined the company in 2009 and was first asked to build out the Worldwide Business Development team. He currently leads the Business Development and Sales teams responsible for worldwide sales and has overseen rapid and record revenue growth. Read more.
John Timko is the Director of Marketing for LabTech Software where he is responsible for global marketing activities including strategy, branding and product marketing. Read more.
Amy Hodge is the Director of Community for LabTech. Amy is chartered with driving the most engaging and collaborative partner experience in the industry. Amy and her team are deeply passionate about partner success and dedicated to facilitating valuable, open exchanges with the LabTech leadership team. Read more.
Tony Thomas is Director of Product Management at LabTech Software and is responsible for organizing LabTech's product strategy and overseeing all product lifecycle functions. Tony joined LabTech Software in 2011 and is instrumental in working with the leadership team to drive customer adoption, penetrate emerging markets, help to set overall product vision, and grow revenue. Read more.
Josh Poe serves as General Counsel to LabTech Software and is responsible for all legal matters relating to business operations. Josh began his career as a litigation attorney specializing in commercial litigation and he brings more than 20 years of legal experience and expertise to LabTech Software. Read more.


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Previous Episode | Next Episode
Trading DayTrading Day (2009) Season 1 Episode 105- Fanboy & Chum Chum Cartoon Episode Guide by Dave Koch
This page has been viewed 18 times this month, and 519 times total.
- Fanboy & Chum Chum Cartoon Episode GuideEpisode GuideTelevisionSeriesCartoon
- Traditional Animation
- Frederator Studios
- Distributed by: Nickelodeon
- Cartoon Characters: Meta-Tech, Mr. Mufflin, TV Announcer, Fedora Man, Crabulus, Chum Chum, Fanboy, Boy, Girl.
- Voice Actors: Dee Bradley Baker, Jeff Bennett, Nika Futterman, David Hornsby, Annie Mumolo.
- Directed By Brian Sheesley.
- Produced By Shaun Cashman, Jason Meier Fred Seibert, Eric Robles, Steve Tompkins.
- Written By Scott Kreamer.
- Music: Danny Elfman.
- First Aired on November 06, 2009.
- Originally Aired on Nickelodeon.
- Running Time: 11 minutes.
- Season: 1
- Color
- U.S.A. / Canada
Cartoon Summary:
Fanboy trades Chum Chum for one of Yo's awesome toys.
Cartoon Production Information:
Premiered as the short film Fanboy from Frederator Studios Random! Cartoons series.
Additional Cartoon Pictures:
Watch Cartoon Video:
You can watch this episode today on your computer. Just click below to start viewing "Trading Day" online now.
Submit Additional Information:
Do you have anything to add to this page? Have we made any mistakes... or do you have any additional information about Trading Day? If so, we would love to hear from you. Please send us a quick note with your additions or corrections to this page, and we will make the corrections as soon as possible!
Cartoon Comments:
Do you love Trading Day, or do you think it is the worst cartoon ever? Let us know what you think! Surely you have an opinion... so share what you think. Take a minute and post your own comments about this cartoon here.


text:
Getting started with Google Web Toolkit
The Ingenious Google Web Toolkit builds optimized JavaScript applications in a hurry.
I have lost many days, weeks, possibly even months to JavaScript. The recent rise of JavaScript frameworks – and their increasing stability – has helped. The Google Web Toolkit (GWT) looks like the next evolutionary stage in JavaScript development: Instead of writing in JavaScript, you can write in Java.
the code to highly optimized JavaScript, HTML, and CSS.
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Read full article as PDF:072-075_GWT.pdf (409.06 kB)
NoScript Flaw
Mozilla's script blocker add-on could be putting malware sites on the whitelist.
RIP SSLv3
The Internet community officially banishes the notoriously unsafe Secure Sockets Layer protocol.
Mate 1.1 Arrives
Popular desktop environment continues the Gnome 2 legacy – with new support for the Gnome 3 toolkit.
US Government Requires HTTPS
The Obama White House has issued a memorandum telling all US government agencies they must use HTTPS for all websites and web communication.
Mozilla Signs Firefox Add-Ons
New program will dial up security for the Firefox browser.
Fedora 22 Arrives
Red Hat's community distro embraces the cloud.
Code.org and College Board Team Reach Out for Talented High School Coders
New partnership will bring more and better CS training to US schools
A Peek Inside TeslaCrypt Ransomware
Criminals offer online help over Tor network
Mumblehard Still Spams
Sophisticated malware is still present on Joomla and WordPress sites around the world.
Launchpad Gets Git
Future versions of Ubuntu's code service will support the popular Git version control system used with Linux and other open source projects.


text:
With college football season about to start in the States, here is an ingenious way to get your tailgating beer served in style.
The folks at Yelp have created the Kegbot, which integrates an iPad into a beer keg.
According to Gizmodo:
The iPad displays beer information—live, while it's flowing—and even tracks who's drinking from the keg, plus how much they've taken. You can rate the beer and even see a leaderboard.
No word on whether Yelp plans on marketing this to the masses. But if they do, sign me up!
Here's a video:


text:
The Ad Agency Is Dead—Or Is It?
The demise of the ad agency appears all set.
A tombstone prepared.
The obituaries written.
The lilies artfully arranged.
Which is a perfect time for the AdForum 2014 Summit.
The "Summit" is where a gathering, gaggle, school or pack (choose your own plural) of the world's leading pitch intermediaries (or search consultants, if you like) spend five days in NYC meeting with a mix of global advertising networks like Lowe, DDB, JWT and Publicis, (including an appearance by Chairman and CEO Maurice Levy), digital powerhouses like Huge and RG/A, media giants like OMD, international agencies like Saatchi & Saatchi, The Martin Agency and CP&B, smaller shops Story, Work & Co, Brooklyn Brothers, and experiential ones like Iris.
Also during the week we'd get presentations from the American Association of Advertising Agencies (4A's) and some perspective on newer industry developments such as production decoupling.
Basically, the week is a microcosm of what the agency world has to offer clients, brands and products; the state of their business, what clients are thinking, demanding and buying, and what's new in terms of agency talent, practices and capabilities.
What better way to get a swift temperature check on how agencies are feeling these days, and their predicted demise?
So what did I pick up?
Five things seemed to strike a chord and find a place in my memory banks.
Brands Require Culture and Talkability
Culture and talkability: two words that were a key phrase during the week.
We all know it's not just enough for a brand to prattle on about what it does and what formats it comes in. Now, each successful brand needs to have a POV about what's going on in the world and engage fully in it.
So I couldn't agree more with the sentiments of agencies who preached the "culture" initiative.
Brent Smart, CEO of Saatchi & Saatchi NY spoke enthusiastically about moving brands "beyond reason into culture."
Richard Pinder CEO, UK and International of CP&B spoke about working at the speed of culture and the desire to make CP&B work "the most written about, talked about and outrageously effective work in the world," highlighting the thought that "99% of all work is not talked about" and wanting to focus their work in that other 1% space.
The Brooklyn Brothers also "want to build brands a share of culture, not of category."
Marketers Love Makers
As I wrote in a previous post, http://tinyurl.com/lngfjza marketers want to get closer to people who make stuff. Being able to come up with ideas is the one thing agencies have traditionally been paid for. But now the ability to build the prototypes, write the code, create the content, produce the events, get them to market tomorrow, and all within the agencies four walls is becoming paramount.
The maker culture is a big one, and a huge opportunity for agencies to show off the variety of talents that lives inside the company.
Agencies Need To Be Business Transformers
Of course the best ones always have been. Or certainly have helped their clients in that objective, Ogilvy and IBM being the classic example.
But digital and social capability and thinking are transforming the way communications is used in business transformation. Saatchi NY is helping transform Walmart's tricky reputation as they invest $250 billion in American job creation over the next 10 years. CP&B transformed the reputation of how a Domino's pizza tastes with their handling of the "cardboard pizza" crisis, and transformed the fortunes of American Express small-business clients with the introduction of the remarkable Small Business Saturday initiative.
R/GA is transforming how we use McCormick's range of flavors and spices, introducing an idea called "FlavorPrint," a sort of Nike+ idea for food, and updated us on their Accelerator start-up program.
All remarkably smart, business-transforming ideas, creatively executed.
Don't Talk About Digital Advertising Anymore
Finally, we've moved beyond talking about digital this and digital that.
Any agency that spends time outlining its digital capabilities and how remarkably integrated they are, clearly isn't.
It's all price of entry now. Anyone talking about being "born digital" is standing on an empty platform staring at the back end of the train. Digital, social, mobile is embedded in everything a successful agency needs to do. It is not a separate skill that needs to be highlighted.
The Connected Age Is Upon Us
R/GA, with founder, chairman and CEO Bob Greenberg and EVP, Chief Growth Officer Barry Wacksman specifically, led us through their thinking on the next steps for R/GA by introducing the concept of functional integration and the connected age, why it's worked for brands like Nike, Google and Amazon, and why it's important for any brand to build a digital ecosystem.
All very important developments for agencies and brands.
But the thing that struck me above all these was that all the doom and gloom about agencies appears rather premature.
That the people we met with are not the lumbering agencies of the past. They are bright, modern, fully aware of the world brands live in and are offering marketers a huge variety of new talents, skills, knowledge, savvy and crafts, all delivered with an energy and passion that combine in ways no other offering can.
It said to me that for all the talk of the demise of the ad agency, it's certainly not a fait accompli. They're not going to go down without a fight. There's simply too much talent, passion, commitment and savvy for clients to ignore.
Where else are they going to get that—a management consultancy?
Agencies are re-inventing, re-working, re-engineering, re-emerging and not taking any talk of demise lying down.
The Summit presented me (and the gaggle) an opportunity to re-assess the ad agency of today, and I came out thinking that there's a huge amount of talent and energy that is ready to be a great ally for any brand in any fight, from purely survival to stunning success.
All a brand needs to do is to find the right ally.
General Mills Hires A Chief Creative Officer. Is This Crazy, Or The Future?
The appointment of a chief creative officer was announced the other day.
That's not big news if it's an ad agency appointment. But this was General Mills announcing the hiring of Michael Fanuele, former chief strategy officer of ad agency Fallon in Minneapolis, as its chief creative officer.
General Mills is a company more associated with getting America up and running in the mornings with Cheerios, Wheaties and Pillsbury dough boys. A no-nonsense food giant, whose brands we enjoy everyday. I can see why Apple, Google or Facebook would go out and hire a chief creative officer. But General Mills?
I worked with Michael Fanuele when he was chief strategy officer at Euro RSCG, (now Havas). He's one of the smartest, passionate, inspiring and infectious people I've ever met in the business, and also a brilliant presenter, (and one I would never recommend following in a presentation) so I called him to get some insight into this.
I started by asking the obvious question: What on earth does a chief creative officer do within a company like General Mills? Overall he sees the role as "sending a message. A commitment from General Mills to smart, innovative business thinking and great creative execution." Adding that General Mills had made "lots of smart creative and innovative moves in the business space. Now we need to match those moves in marketing."
Earlier this month, General Mills bought Annie's, one of the largest makers of organic foods in the country, and that sounds like one of those creative moves Michael was referring to.
Going further he sees the role in a few ways. Within General Mills he sees a role "working with the brand people, to inspire and influence them." I think he'll be a great talent to bring in to inspire the General Mills brands.
Beyond that he sees a role that starts with strong brand strategy leading directly to great work. "Agencies have always allied strategy and creative; that was my job inside the agency. Make sure that strategy allowed great work to flourish. But it's a new job inside clients." The important point here to me is that Michael will be focused not only on content creation, but production as well. That's an important and new role, getting marketers to focus on creating great stand-out ideas, and then making sure that they're flawlessly produced.
Within the agency partners he sees the role as one that signals the end of relationships "based on a toxic cynicism."
And undermining the myth, "Clients think agencies don't understand their business, agencies think clients don't understand creativity."
In terms of getting the work better, "I'm here to help our brand people evaluate work. To move out of the kill-it culture. To help people see the difference between judging an idea and nurturing one."
All good news to me.
So is this appointment madness or the future?
I'm leaning heavily to the latter.
Firstly, a big "Bravo!" to General Mills CMO Mark Addicks who made the hiring. It continues a trend of marketers bring in very creatively minded ad agency people like Jonathan Mildenhall at Airbnb, Dana Anderson at Mondelez, Ann Bologna at Trip Advisor—all senior, very creative people now having huge influences right at the center of brands.
I believe we will see more of this type of hiring, especially in companies like Kraft, Mondelez and General Mills, where their brands have been around for a while and likely in need a bit of a jump start.
Marketers understand that brand management is less and less about "managing" and more and more about creating brands that believe in something, that consumers want to engage with, enjoy and share. I've spoken many times about the end of the brand manager and the emergence of the brand creative director, who leads a brand like an editorial director leads a magazine, a conductor leads an orchestra, or a chief creative officer leads an ad agency.
I suppose the last question is the biggest one of all. And one that again questions the future of agencies. Have we reached a point where the most talented people in the ad business have recognized that they now, in truth, have very little influence on brands, that agencies are being moved more and more to the periphery, and that the only way they can get back to the center is by moving to the client side?
And is it the only real way for them to get back a little of the oldest aphrodisiac of all—power?.
This article first appeared in Forbes.
Take responsibility for new business
There are a few indicators to signal how a marketing firm is going to do in new business – pitches won and lost for example. But numbers can't tell the whole story. If your agency is winning new business, great – you're probably doing most things right. But if you're losing… well, check this short list and see if there is something you need to correct. And address any issues now, or you may end up wondering what happened and why you never won any new business.
Lead Right! Agency senior management often finds themselves working "in the agency" rather than "on the agency." At most agencies, senior management is trapped into the role of being the number one skill player. That's like a football coach trying to run with the ball. Get off the field and let your agency advance the play. Set expectations and train your staff.
Position Right! Agencies have been out positioned by the consultants and the brand specialists. Agencies are forced to deal with lower level functionaries on the client side in conference rooms while major decisions are made at the CEO level in the boardroom. Reposition your agency with a consulting side and an advertising side. Set your firm up for long-term growth. Run around client-side junior coordinators that don't have the brains or the talent to give your creative staff solid direction.
Grow Right! New business must be focused on lead generation. New business is the lifeblood of the business and leads are the heartbeat. Your new business effort needs to be split into winning the opportunity and winning the account. Find and identify hundreds of clients who are unhappy and want to change their marketing communication companies.
Remember the sun in Cannes
Cannes, June 2014 – You may have walked along the Croisette and wondered what those huge glass boxes with famous paintings on them and paper inside were… Well, we've got the answer for you! We had the chance to meet Jason Minyo (http://jasonminyo.com/) , one of the creatives involved in the development of this piece of art, who walked us through the installation and explained to us what the project consists of.
Cannes is a sad place for Italians 2
Now for the sequel to my previous article, about the dismal performance of Italy at the Cannes Lions Festival. So how did we do this year? The 61st Cannes Advertising Festival awarded 1143 Lions: Italy won 15 of them, even fewer than last year (19), putting it in18th place in the rankings.
As usual, the USA took first place, with 215 Lions, followed by Brazil (107 – at least some good news for Brazil!) and the UK (104). France rises to 4th place with 85 Lions (29 more than last year).
Cannes is a sad place for Italians
As you know, this year's edition of the Cannes Lions Festival is now well underway. The event is recognised as one of the best thermometers of creativity levels in each country. Last year, the Italian advertising community was very happy with the 19 Lions it won (out of 1,059 awarded).
In reality it was a pretty mediocre result – its only merit was to be in line with the previous year (18 Lions), as well as confirming an improvement over the shameful results of 2011 (only 4 awards). A better way of gauging how a country "weighs" creatively is to compare the number of Lions it wins with those of other countries. But that data is not easy to access, either at agency or advertiser associations. To our knowledge, it is not even collected by trade magazines. However, at Istituto Protagora, we have been monitoring this situation over a number of years.
To get a meaningful result, one needs to go back at least five years. We have analyzed the last 10. Here are some of the highlights:
The secrets of digital luxury
What strategies do luxury brands use to succeed online?
Until recently, the luxury industry tended to be a bit snooty about the internet. Luxury brands lure customers with craftsmanship, heritage and beauty: all things the digital world lacks. If you don't agree, just take a look at Google, Facebook and Twitter. They're very useful, even addictive. But beautiful? Not really. That's because the internet was built by technologists, not artists.
Yet luxury brands no longer have a choice. They have to go digital, or face flagging sales. The emerging younger market grew up with the internet. And in developing economies, luxury retailers often have a limited physical presence. One of the reasons luxury brands have been rather slow to establish themselves in India is a lack of premium real estate – and subsequently high rental costs. (more…)
Thoughts on "shockvertising"
While conducting research and gathering information for a university project, a colleague and myself became particularly interested in what has become commonly known as "shockvertising": advertisements with provocative content.
"Shockvertising" has been frequently adopted and discussed in recent years. However its effect on the audience has yet to be proven due to the double-sided nature of the phenomenon. Shockvertising works by attracting the attention of the audience. At the same time, it plays on highly emotive elements which in normal life might be considered negative. Embarrassment, fear, sadness and disgust are just some of the emotions often roused by shockvertising.
Flight 370 lost in social maze
I flew into Penang, Malaysia, almost exactly a week after Malaysia Airlines Flight 370 vanished. Although I'm a reporter by training, I was not there to write about the missing plane. In fact I was on the first leg of a lecture tour of Asia. My brief was to talk about branding in the digital era to assorted groups of students and marketers.
Still, I got sucked into the story anyway. My taxi driver was full of opinions, which ranged from government cover-ups to holes in the fabric of time and space, Lost style. The first thing I saw in the lobby of the G Hotel was an enormous board marked with the words "Hopes and prayers for MH370″. It was black with messages of condolence. Today we know that, tragically, the aircraft probably crashed into the sea. But back then the speculation in the Malaysian press was almost as wild as that of my driver. As jet-lag kicked in, I began to feel lost myself. (more…)


text: Ballistic Publishing - Call for Entries Posing for Leonardo da Vinci: Portrait and AllegoryInspired by a famous ink caricature sketch on paper [Venice, Accademia] by Leonardo da Vinci [you can see the original sketch on the mirror]. I have created this 3D character with ZBrush. The scene has been prepared, as if the character were posing for Leonardo himself. The scene has then a series of allegories about the character: the mountain with the same shape of the head, the ravens, the mirror, the pearl on the table, the window after an original one by Leonardo. The spherical mirror is an homage to van Eyck. 3D character inspired by Leonardo's caricature sketch modeled with ZBrush. Table, mirror, pearl all modeled with Cinema4D. Scene, Alpha Plane for the window, light and Multipass rendering with Vue 6 Infinite. Final Composite with Photoshop. Porticodoro/SmartCgArt Copyright (C) Leone M. Jennarelli 2007 All Rights Reserved No unauthorised duplication or distribution without explicit permission from the copyright holder. Artist Name: Leone M. Jennarelli Artist Country: IT Entered for: Company: Porticodoro/SmartCgArtSoftware used: Pixologic - ZBrushMAXON - CINEMA 4De-on software - Vue dEspritAdobe - Photoshop About us | Contact us | Privacy Policy Copyright © 2003 Ballistic Media Pty. Ltd.


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Kathy S. Payne
Kathy Payne joined the Suddenlink team in February 2014. She is responsible for managing all of Suddenlink's content relationships with media ownership groups, television stations and cable networks.
Ms. Payne has more than 25 years' experience in cable industry management and as an attorney. She has served as lead negotiator with media companies for carriage of their video content across existing and emerging platforms, including standard and high-definition linear channels, video on demand and mobile devices. She also has been responsible for managing post-contract relationships with major media companies, such as NBCU, Viacom, Fox, AMC, Scripps, and AETN, as well as all professional and regional sports networks.
Before joining the Suddenlink team, Ms. Payne was Vice President, Content Acquisition, for Cox Communications from 2001 until accepting her current position. Earlier she was Assistant General Counsel at Cox, serving from 1993 through December 2000 as lead counsel on contractual and legal issues related to cable agreements, advertising and regulatory compliance. Before joining Cox, Ms. Payne was Assistant General Counsel for USTravel Systems in Rockville, Md., and an associate at the Washington, D.C., law firm of Dow Lohnes PLLC.
Ms. Payne was honored as a cable industry Wonder Woman in 2009 by Multichannel News. She served as a national Board member for Women in Cable Telecommunications (WICT), a 10,000-member organization, for seven years. She served as national WICT Board Chair from 2010 to 2012. She was chosen to participate in WICT's Betsy Magness Leadership Institute in 2004 and has since served as an executive liaison and mentor for other participants.
Ms. Payne received her law degree, with honors, from the Duke University School of Law. She also has a Bachelor of Arts degree in Public Policy, Magna Cum Laude, from Duke.


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NAPPA Tracking Database
NAPPA Tracking System is a database system for tracking NAPPA slide production, experimental results, data analysis and visualization. The first version of the system tracks slide production, which is when a set of genes are printed on to the matrix along with various controls. Production occurs in two distinct phases: the design phase and the execution phase. In the design phase, the user designs the slide layout (number and arrangement of array features, i.e. genes and controls, defined by a set of robot programs used to transfer genes on 96-well plates to 384-well plates and to slide) and the slide template (the slide layout with the assignment of controls at user defined positions). Both slide layout and slide template are stored in the system for reuse later. The execution phase includes the following processes: grow the clones on the 96-well plate, store glycerol stocks on a 96-well plate (for re-growth later), prepare DNA, DNA quantification and result tracking, re-array to 384-well plate, and print onto slides. The first version is under development and expected to be released soon.


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|Print version
Related Links
|Human Performance at the Computer – Part 3: Perceived Performance
|What Matters Most?
|Your Doctor Says: Usable Applications Are Good for Your Health!
Background Links
|Highlight Topic about Human Performance at the Computer
By Gerd Waloszek, SAP User Experience, SAP AG – September 1, 2009
In October 2009, Dan Rosenberg, senior vice president, SAP User Experience, gave a keynote speech at the German Quality Engineering 2009 conference (FQS-Forschungstagung 2009) in Frankfurt, Germany, titled "The Human Factor as an Integral Component of Quality Measurement." For this reason, he asked the Perceived Performance (PeP) team at SAP User Experience for input. This incident started an unconscious process in my brain that tried to pull two buzzwords together that had not had any association for me previously: "perceived" and "quality." I asked myself whether there is such a thing as "perceived quality." How does it relate to objective quality? And what does it mean to users? In this editorial, I will look for some first answers.
I would like to start this editorial by loosely defining what I mean with perceived and objective quality. Objective quality refers to objective criteria that can be measured to define the quality of a product or, more generally, an object. You can easily see that for certain objects such as works of art, there are no "objective" criteria – often we rely on the judgment of domain experts, for example, art critics. However, if experts are unavailable, we have to resort to our own judgments. And this is more or less what "perceived quality" is about: It is a subjective judgment of the quality of an object, be it a consumer product or a piece of software. As with perceived and objective performance (see Human Performance at the Computer – Part 3: Perceived Performance), there can also be a difference between perceived and objective quality: People may judge the quality of a product to be higher or lower than it objectively is – and, as we will see, they may do so for a number of reasons.
As with perceived performance or any other subjective judgment, the perception of quality – in short, perceived quality – determines users' mental attitude toward a computer system or software application, not the objective data. This attitude has an impact on a number of psychological aspects, such as satisfaction, motivation, trust, and the feeling of being respected – and these eventually determine whether users are satisfied with a system and are willing to use it.
A "natural" follow-up question is of course: What factors determine objective and perceived quality in the computer and software application domain? I will now look at some factors that, based on my own experience, can have an impact on both objective and perceived quality.
At SAP, there is a product standard for performance, indicating that performance is regarded as an integral element of software quality. Personally, I regard poor performance as the "number one" usability issue, and as such also as a quality issue (see my editorial What Matters Most?). On the other hand, there is the somewhat fuzzy concept of "perceived performance," which has repeatedly been demonstrated as different from objective performance criteria and measures. We have also learned that UI designers and developers use approaches or even "tricks" that help improve perceived performance. Approaches to improving perceived performance are, for example: Provide feedback if performance goals cannot be met, return control to users as soon as possible, let users resume their work as soon as possible, and ensure that users can finish their tasks successfully (see the highlight topic Human Performance at the Computer on this site for details). Users definitely regard poor performance (or responsiveness) as a quality issue and good performance as a desirable goal.
In my editorial What Matters Most?, stability comes in as the "number two" usability and thus quality issue: System and application crashes have a number of adverse impacts on users. In particular, they lose time and may also loose valuable work. As a result, they often adopt inefficient strategies to circumvent losses. Even after the system has stabilized, they tend to keep these habits, thus not performing to the full. In addition, users do not trust the system, and depending on the severity of the stability issues, may even begin to hate and avoid using it. All this leads to very poor perceived quality. And objectively, the quality is, of course, also low if not disastrous.
Most people will probably first refer to an application's look, or as professionals would say its visual design, when they assess software quality. Repeatedly, I have found that the primary battles for an application concerned the visual design. The reason for this behavior is simple: The visual appearance of an application catches the eye first, and "look" is an area in which nearly everybody feels qualified to give an opinion. Thus, the professional quality of the visual design and the overall structure of screens and Web pages have a strong impact on perceived quality, particularly as long as users see only screens and do not use the system. While there are no objective measures for the quality of a visual design as there are for measuring the responsiveness of a system, we might concede that agreement among professional designers can be regarded as equivalent to an "objective" measure. However, I was often struck by the difference between what designers would call a good design and what users prefer (for example, the more animated icons are used, the better).
The quality of on-screen texts and messages is another area in which everybody can "join in." Technical language or computer jargon, incorrect grammar, and typos can be detected by anybody and are known to have an impact on perceived quality. Researchers and professionals have repeatedly found that these issues decrease many users' trust in a computer system. Users also tend to apply these deficiencies to the system as a whole: If a product is shipped with low quality texts, then they conclude that the whole system will probably also be of poor quality. However, not all users detect textual issues and not all of them are "picky" about them.
Ease of use ideally implies that users care little about a system: The system seems to be invisible to them and they are deeply immersed in their actual tasks. This may sometimes lead to the paradox that it will be difficult to elicit "high quality" judgments about the system from users because they are not even aware of it. On the other hand, cumbersome interaction and missing or hidden functionality – thus, the opposite of ease of use – means users immediately perceive the system's quality as poor.They are quick to blame developers, and user interface designers in particular, for not caring about their needs.
Security and privacy issues are much more subtle than the issues covered so far. Nevertheless they are highly relevant, particularly to Internet users. Users may ask themselves: Is this transaction safe? Can my credit card number or other secret code be intercepted by spy software? Are the e-mails and attachments that I receive safe? The list of security concerns is long and has been a permanent topic at recent UI design conferences. Compared with more visible issues, such as the quality of the visual design or texts, users feel much more insecure and on their own here. Therefore, it is the designers' obligation to establish a context that helps users build up trust in the system and perceive it as of high quality, in this case, as ensuring security and privacy.
The discussion above reveals that the objective as well as perceived quality of software products is determined by a variety of factors and not only by the system's "pure" usability. Some factors are typically given more attention; others, such as screen texts, are traditionally neglected. The latter is, however, a dangerous mistake because text issues, for example, can be detected easily by users and may severely undermine perceived quality. I already mentioned that users tend to apply such issues to the overall quality of a software application, even though this may not be justified.
As a first lesson from my "tour d'horizon" of software quality, I have come to the conclusion that it is a fatal error to assume that the development or design team can afford to neglect certain quality aspects. Professional visual design and texts, for example, are essential to achieving good perceived quality. Users feel respected, appreciate the care hat has been taken by the development team, and are motivated accordingly. Poor perceived quality, on the other hand, undermines users's trust in an application and may seriously reduce their satisfaction and motivation, which hampers user productivity – our ultimate design goal.
Finally, it will be interesting to observe whether development teams will learn to use tricks for improving perceived quality as they already do with perceived performance. Or are they already doing so, and I haven't noticed?


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STARmeterSEE RANK
Down 79,699 this week
Roy C. Bennett
Composer, author and hit songwriter ("The Naughty Lady of Shady Lane"), educated at City College of New York. In World War II he served in the 14th USAAF. He was a staff writer for Mills Music, and composed special music for Elvis Presley films. He joined ASCAP in 1947, and collaborated with Sid Tepper. His other popular-song compositions include ... See full bio »
Born:in Brooklyn, New York, USA
More at IMDbPro » Represent Roy C. Bennett? Add or change photos


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See more: Our gallery of Sussman's photographs
WHAT'S the oldest living thing you can think of? Your 96-year-old gran or that craggy tree at the bottom of the garden? Whatever springs readily to mind, it probably won't be nearly as old as the organisms Rachel Sussman photographs.
Sussman has travelled the world capturing images like this picture of a llareta plant in the Atacama desert in Chile. A relative of parsley, it looks like moss but actually consists of thousands of flowering buds on long stems which are so densely packed together they can withstand the weight of a human. Some parts of this particular specimen are thought to be more than 3000 years old, though we don't know enough about the plant to estimate its lifespan.
Sussman has only one criterion for her subjects - they must be older than 2000 years. Having found a ...
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Q & A Hotline
From the Chronical of Philanthropy
Q. A donor wants to donate a car to our foundation, and then have us conduct a raffle to give it away. Where can I find information about car donations, including the do's and don't about this type of gift?
A. Car donations became more complicated this year, when changes to the federal tax law governing such gifts went into effect on January 1, says Nancy J. Kellison, director of the Western service center of Cars for a Cure, in Long Beach, Calif. (Cars for a Cure is the vehicle donation program of the American Cancer Society.)
"In the past when a donor gifted a vehicle, that donor determined the fair market value for their donation utilizing such sources as the Kelley Blue Book," she says. Today, the new guidelines say that a donor may only deduct the actual sales price of the vehicle when it is resold by the charity.
It's not just the federal government that you'll need to worry about, though. To provide the donor with ownership-transfer documentation, you will need to notify your state department of motor vehicles, says Ms. Kellison. You will also need to check in with your state regarding the raffle, she says, as raffles are typically regulated by state law. Good places to start to learn about raffle regulations include your state's attorney general's office, and your state or regional nonprofit umbrella organization.
But try to avoid the raffle if possible, suggests Harvard E. Palmer Jr., cofounder of the Vehicle Donation Processing Center, in Monrovia, Calif. Mr. Palmer's company handles more than 1,000 vehicle donations a week for 300 charities, and he says that your donor's request is very unusual. If it's a run-of-the-mill car, he says, a raffle is probably going to cost you more than you'll gain from the donation.
"Vehicle donations are all about quantity -- there's darn little quality. Our gross average sales price for the vehicles we handled last year was $438. The big trick is get the vehicles in and get them sold in a hurry. The best and safest way is to do that by auction," he says. "For a donor to specify the manner of liquidation doesn't really make sense, unless the donor is putting on their own charity ball with their own rich friends, and they're raffling a 1961 Austin-Healey."
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The station's studios are located at the former site of the Vancouver Public Library, on Robson Street and Burrard Street. The station broadcasts a 2 MW terrestrial signal on UHF channel 32 from a transmitter on Mount Seymour, making it the only CTV network station to broadcast on UHF only.
It is the only CTV station in British Columbia, and in the Pacific Standard Time zone. However, the station's UHF terrestrial signal only reaches Vancouver and Victoria, as well as neighbouring Whatcom County, Washington. Accordingly the station relies exclusively on cable and satellite distribution to reach the rest of British Columbia, making it something of a "weak link" in the CTV network. In the mountain time zone, CIVT is not available or is on a higher channel number, while the zone receives CFCN or CFRN over-the-air as the main affiliates.
Although the Canadian Radio-television and Telecommunications Commission (CRTC) technically requires Canadian TV stations to identify themselves over the air by their call letters, this rule is rarely enforced, and most Canadian TV stations identify themselves by their brand name rather than their call letters. On-air, CIVT identifies itself simply as "CTV". Where a channel reference is warranted, it uses "Channel 9" - its primary cable channel number on most cable systems in southwestern British Columbia.
CIVT now generally conforms to the standard CTV network schedule, aside from timeslot differences in the daytime schedule in order to maximize simulcast opportunities. The only national program not currently aired on CIVT is The Oprah Winfrey Show, due to historical factors. In the 1990s, almost all CTV stations acquired local rights to Oprah, as well as Wheel of Fortune and Jeopardy! – however, the local rights were always held by individual stations, not the network. This meant that the B.C. rights, acquired by CHAN (BCTV), did not revert to the network when that station disaffiliated from CTV. CHAN has kept Oprah on its lineup throughout its tenure as a Global O&O. CIVT has used a number of stopgap measures over the years to fill this hole in its schedule, currently airing The Ellen DeGeneres Show in the 4:00 p.m. timeslot instead.
Similarly, Wheel of Fortune and Jeopardy! did not air on CIVT during the years that most other CTV O&Os carried the programs (the Vancouver-area rights to both series later passed from CHAN to CHEK, CHNM, CIVI, CKVU, and most recently CBUT). Ironically, this means that CIVT is now the only English-language, non-religious station in the market not to have carried the two game shows, long associated with CTV elsewhere.
The studios also house the CTV News Vancouver bureau, and are likely to be the broadcast headquarters for CTV's coverage of the 2010 Winter Olympics, held in Vancouver and Whistler.
After receiving applications from Rogers Communications and CanWest Global Communications for new stations in the Vancouver/Victoria market in August 1995 and January 1996 respectively, the CRTC issued a general call for applications in March 1996, with a public hearing that September. In all, five applications were considered:
The commission's decision, released January 31 1997, approved the Baton application and denied the others. The prospective Rogers station was denied largely because it would have replaced some of Talentvision's existing ethnic programming with U.S. syndicated fare. It also appeared that the application was purely speculative, as Talentvision's existing owners indicated they had no intention to vacate their licence. As for CanWest, the commission determined that the existing BCTV/CHEK twinstick did not justify licensing a new station to a company already serving the market.
The remaining applications were all determined to be high-calibre; however, the deciding factor in favour of Baton/Electrohome was a commitment to air new Vancouver-produced programming across Baton's and Electrohome's stations (eg. the Vicki Gabereau Show), a promise that the smaller CHUM and Craig station groups could not match.
Upon launch, VTV took over the BC rights to Baton Broadcast System (BBS) programming, some of which was previously aired on BCTV; however, with the Baton/CTV merger nearing completion by this point, the "BBS" brand was not implemented locally in Vancouver. By early 1998 the BBS series had in effect become part of CTV's national schedule; VTV would cover up the CTV bug at the lower-right corner of the screen with its own logo.
To fill in the gaps, and because CHUM did not have a station in the market at that point, VTV also carried some series and movies sourced from Toronto's CITY-TV through the end of the 1999-2000 season. As well, some CTV-owned series that did not air nationally due to low expectations and/or scheduling constraints aired instead on VTV (two notable examples were the first episodes of Ally McBeal and CSI: Crime Scene Investigation, both upgraded to national status by midseason). Previously-cancelled Canadian dramas that had already aired on the main network were sometimes aired to fulfill Canadian content obligations.
By the end of 1997, Baton Broadcasting had bought out Electrohome's broadcasting operations, and gained full control of both CIVT and the CTV network. It soon became an open secret that CIVT would become Vancouver's CTV station at the first opportunity. BCTV and CHEK had a long-term affiliation agreement with CTV, covering 40 hours of programming per week, which would not expire until September 2000; due to complications surrounding the breakup of WIC (including Canwest's acquisition of the BCTV/CHEK twinstick and the resulting sale of CKVU), this was later extended by an additional year.
On July 1, 2002, CIVT stopped using the BC CTV ID on-air, and began to identify itself only as CTV, following the lead of several other CTV-owned stations (such as CKCK and CFQC). The name CTV 9 is often used to refer to CIVT informally, but is hardly ever used on-air.
In March 2004, CIVT became the first station in Western Canada to operate a full-time news helicopter, nicknamed "Chopper 9".
In 2005, digital signal CIVT-DT, sometimes known as CTV HD West, became operational.
In January 2008, CTV began producing a Western Canada edition of Canada AM at the CIVT studios; however, the Western edition was cancelled in June of the same year.
*Also substitute anchor.
|1997 - 2001
|2001 - 2002


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Network disconnects during large file transfers - SEP 12.1.2
Hi all, I'm having the same issue as in the article linked below. Any PC in my organization, with SEP installed, get's blown off the network during high bandwidth utilization (usually when copying large files across the network.)
We've confirmed that it is SEP that's causing the problem, since we can duplicate the issue repeatedly when SEP is installed, however once we uninstall it, there is no longer an issue. We started seeing this once we upgraded to MP1, and just tested with 12.1 RU2 and the problem is still occuring. Has anyone found a solution to this yet? It's frusterating to a large number of my user base, and removing Antivirus isn't an option, unless I have another AV to install in it's place.
Any help would be GREATLY appreciated on this issue.
Thank you,
Comments 17 Comments • Jump to latest comment
i suggest to work with technical support team.
Help Link: http://www.symantec.com/business/support/overview.jsp?pid=54619
We've narrowed it down to strictly the Firewall component. If you uninstall that module from the client, the problem goes away. What appears to happen, is the client-side ARP table stops updating, the machine then starts calling out to the switch, asking for information, the switch returns it, however since the workstation doesn't add that info to it's ARP table, it just keeps calling out for the same information over and over again, and not allowing ANY other network traffic.
We are having the same issue. We have upgraded 900 users to 12.1 RU1 MP1. About 25 users so far get random network drop outs throughout the day.
We have rolled back some client versions and the problem goes away. We have also removed the NTP client component and the problem goes away.
Therefore, we know that the network disconnections are symantec related but do not know how to go about fixing it other than rolling back or disabling features.
Client PC's are running XP x86.
Any ideas?
I have seen this issue on certain laptops with SEP 12.1 or above on them, and I tracked the issue down to being a configuration issue on the network card.
The laptops we had with the problem with were Lenovo T410, X201 and T510 and they all have the same "Intel 82577LM" network card.
The root cause was found to be that the default "Recieve buffers" setting for the network card was 80, compared to all other intel chipset witch are set to 256. So by setting the Recieve buffers to 256 and also "Transmit buffers" to 256 the problem was solved.
We also discovered that uninstalling NTP seemed to solve the issue, but it seems lige NTP is not the cause of the problem but having it installed compounds the problem so it appears more frequent.
The problem was reproducable on our systems when you tried to laucnh a java applet from an internal website where it had to download the java application, then it would just die in the download process and the network stop working.
So check the setting of the "Send Buffers" & "Transmit Buffers" in the advanced settings for your network card.
Funny, we have exactly the same symptoms with SEP 12.1 RU2 but without NTP installed!
In our local network all the Server 2008 R2 SP1 fileservers have SEP 12.1 without NTP installed. They all provide shares with mapped drives to all our client computers; WinXP and Win7. During the client login, the login-script map all the drives to these servers, but after while the mapped drives have a red X in the Windows Explorer on the Win7 clients, WinXP clients never have any disconnected drives. On all computers is SEP 12.1 installed without Firewall, just basic AV components.
First we checked all the Windows settings and changed alot serverside...
disabled autodisconnect on the servers kb297684
set keepconn to 65535 on each Win7
disabled Chimney Offload State
completly disabled IPv6 on both sides
updated all NIC drivers
disabled power saving on all NIC
played with the Spanning-tree and portfast settings on Cisco switches
set the keep alive interval on 120 seconds
disabled Netbios over TCPIP on some test computers
We haven't any DNS problems, we can't see any disconnects or dropped packets on our Cisco switches and we have the same behaviour not just with one Windows 2008 R2 server.
After a Whireshark trace on both sides, we could see that after the login script mapped the drives, the Server 2008 sends the keep alive packets on TCP445 to the client and the client responds with ACK each 120 seconds. But after a while the server doesn't send any keep alive packet anymore, instead it sends out a TCP445 RST, ACK packet and resets the connection. Immediately the clients have a red X in the Explorer. Sometimes it takes longer when the client is keeping the Explorer open instead of closing the Explorer, but it happens as well. But it happens after different time periods, sometimes twice a day, somtimes more often.
So we changed the 2008 server to only use SMB1 and disabled SMB2 and the problem not occured anymore. So fact 1, it happend just with the SMB2 protocol, SMB1 isn't affected, that's why we have seen the problem only with Win7 and never with XP clients.
Then we activated again SMB2 and uninstalled SEP 12.1 on the Server 2008 R2 and boom, the problem was solved! No disconnects anymore after we uninstalled SEP 12.1.
So fact 2, SEP is responsible for the disconnects.
What we realized as well is, that when SEP was installed and running on the server, the nonpaged memory pool usage was in very high usage. 2.7GB of the total 8GB memory was nonpaged memory. After we uninstalled SEP the value went down to 60MB. So maybe SEP has just a memory leak and that's the way how it affects the OS with sending keepalive packets.
We opened a ticket now at Symantec.


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PINELLAS COMES OUT AGAINST THE WAR - Mitch Perry
U.S. Democratic Senate candidate Alex Pinellas, in a speech at a Tiger Bay Event in Tallahassee, today called for the withdrawal of U.S. Troops from Iraq.(roll tape#1 o.q."
To win the peace")
In his speech, Pinellas calls the American led invasion of Iraq as being one of worse miscalculations in American military and political history...WMNF asked Pinellas if his call for the withdrawal of troops would mean immediately - or under a certain time table....He said he hopes it happens as soon as possible (roll tape#2 o.q."that's just plain wrong")
Pinellas' comments about the war come as he is struggling in most polls in 3rd place for the Democratic nomination for U.S. Senate, trailing former Education Commissioner Betty Castor, and South Florida Congressman Peter Deutsch.
Amongst most Democrats - very few have gone as far as demanding an immediate withdrawal of U.S. Troops from Iraq......Some Democrats have argued the opposite - saying that MORE Troops are needed to bring security to Iraq.
But when asked if his stance was designed to bring him attention and kick start a struggling campaign, Pinellas said this is the most important issue in the country, and he would continue to hammer the message until the duration of the campaign (roll tape#3 o.q." and say that")
Also in his speech, Pinellas invoked the name of the man he is trying to replace, Senator Bob Graham.....Graham - was one off only 23 Senators NOT to vote for the resolution authorizing the President to go to war -..Pinellas said Graham's vote was ' a prophetic warning'.....we did not have sufficient information, nor sufficient reason to go to war and shift the focus from Al Queda.comments powered by Disqus


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Phone: (619) 660-4296
"What I found in the EHSM program was relevant course material taught by instructors who not only truly encouraged meaningful learning, but who also coached, encouraged, and provided a sense of community and of professionalism among those of us in the program. The course work, the sense of community, and the standards of professionalism encouraged in Cuyamaca's Environmental Health and Safety Management program contributed to the successful completion of an internship with Hensel Phelps Construction Company that ultimately resulted in my full time employment with a team of professionals that I not only respect, but feel at home with."
Erin Deryck,
Safety Engineer,
Hensel Phelps
Construction Company
This web site is supported by Carl D. Perkins VTEA IC funds through the System. Office, California Community Colleges,
Grant #08-C01-020


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Anyone can tell a story, I mean if we couldn't, every single social situation would be silent. However, just because someone tells you some story, this does not put them on the same level of JKR. This occurred to me while reading The Casual Vacancy because, unlike the Harry Potter series, this book is has a more grounded storyline, free of fantasy, wizards and things that were created in the recesses of Rowling's mind. So, since the story isn't the hugely unique experience that Harry Potter was for me, i was wondering, what keeps me turning pages? Then it hit me: it's the storytelling.
I'd like to demonstrate the difference by telling you a story of something that happened to me - first in a very straightforward way, and then showing you how my telling differs when I put my storyteller hat on.
Here's what happened:
A number of years ago, when I used to run in the morning for exercise and peace of mind, I had one amazing experience that will always stay with me. I got up extra early on that day, started my run just as usual, but, for some reason, everything felt right that day - the weather was right, the neighborhood was quiet and my pace was perfect. I felt like a superstar!
Anyway, I always run the same route - it's about three miles from my house and back - but on this day, since everything was going so well, I wanted to stretch it out. So, when I came up to the point where I normally run alongside the woods, I decided, this time, to go in. That's when it happened - not ten feet in front of me - I was face to face with a deer! It was majestic! It was magnificent! I was stopped in my tracks. Something about the experience was spiritual for me. The deer saw me, I saw it, and I knew I didn't belong.
I stepped out of the woods and walked home in quiet contemplation. The beauty of the moment was overwhelming.
The End
That's THE story. It's what happened. It's essentially how I tell the story to people if I were casually talking to them; it gets the point across.
|Read it on Figment.com
OK. In "Off My Trail" I was a storyteller. The facts are all there, nothing is changed or added to what happened to me on that day, but this is so much more than THE story I told above. I sat down in front of my keyboard as a more than someone who was relaying the details of some event that happened in my life; I also wished to entertain the brain of my readers.
When writing, the details are important, the mood is the writer's choice, the emotion must come through. I didn't just give you the facts I invited you to feel them! What does that look like? Here are just a few examples I can see:
- In the story above I told you "my pace was perfect", in Off My Trail I gave you the beat "one two one two" --- both of these are true, both discuss the same fact however in one I am telling you what happened, in the second I invite you to feel it.
- In the story above I said, "I always run the same route - it's about three miles from my house and back", in Off My Trail I explained that route, taking the reader on the trip with me, "It is three miles from my kitchen door, to the baseball field and back. It's my route."
- In the story above I said "the point where I normally run alongside the woods", in Off My Trail I said, "the block that borders the Greenbelt Natural Reserve" --- what I casually call "the woods" is the Greenbelt Natural Reserve, calling it by its name now adds life to it and a bit more depth, I think. (I didn't really think of that at the time I was writing, but I can feel a bit of the difference now upon reflection.)
There are definitely more examples, but I am not going to dissect the entire story. The point is Off My Trail , in my opinion, provides a more vivid snapshot of what took place that day and, in the end is a more "magical" telling if the story. This is what I see as the power of The Casual Vacancy. JK Rowling brings her magical storytelling to a story about ordinary people.
I think, this is the true challenge for all writers. We must ask ourselves at each step, Am I just telling the story, or am I storytelling?
With each passing page of my reading The Casual Vacancy it has become clearer and clearer to me that this is what my issue is with my current WIP. During all of my rereads, I couldn't help but feel as though *something* has been missing. Now I know what it is. I have a story; now I just have to put my storytelling hat on to truly tell it!
Do you have any tips for helping writers to wake the artful storyteller within?


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Overview of Oregon Testing Requirements
The Teacher Standards and Practices Commission (TSPC) has initiated redevelopment of the tests that are needed for P–12 educator endorsements. A number of the Praxis II® tests have been phased out beginning on 9/1/2010; however, the Praxis II tests listed below will continue to be administered in Oregon on the dates and sites listed on this website. For information about the new assessment requirements for endorsements, go to http://oregon.gov/TSPC/index.shtml and click on test information.
Overview of Oregon Testing Requirements for Licensure in the Following Areas:
- Agriculture
- Communications Disorders (Speech-Language Pathology)
- Early Intervention/Early Childhood
- Hearing Impaired
- Marketing
- Reading Specialist
- School Psychologist
- Speech Communication
- Technology Education
- Vision Impaired
Important Information
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The plunging price of organic LED screens combined with cunning use of depth-sensing Kinect cameras heralds a quantum leap in interactive advertising
THE writing's on the wall – and it's following you. Two new gesture-sensing innovations designed for large electronic screens in public places herald a future in which everything from street art to advertisements track your movements, are fully interactive, and nigh on impossible to ignore.
Giant flat-screen displays powered by organic LEDs (OLEDs) are plunging in price, so screens tens of metres long could soon line urban corridors. Rather than have them simply fire messages at a tuned-out public, researchers at the Technical University of Berlin (TUB) in Germany have built two applications that they hope will captivate passers-by and inspire a new wave of interactive displays.
OLED flat-screen technology is already finding its way into our private spaces: homeowners will soon be able to cover whole living-room walls with screens like wallpaper. While TV companies ponder what content is best displayed on such vast indoor vistas, the TUB team has been working out what can be achieved with vast outdoor displays.
"We believe that in the future all surfaces in urban areas could be interactive displays," says team member Robert Walter. "This presents great opportunities and challenges as it will need to be attractive and work in an intelligent way." The researchers will reveal their first two street-smart applications – StrikeAPose and Screenfinity – next month at the CHI conference in Paris, France. They believe that while advertising could provide the impetus for the adoption of the technology, non-commercial apps will also appear – courtesy of artists or poets, perhaps.
StrikeAPose, developed by Walter's team, lets a person in the street perform a unique gesture to take control of anything from a bus-shelter advert screen to a large, Times-Square-style video wall. Once you are registered as the screen controller, software fed by the depth cameras used in Microsoft's Kinect system lets you control, say, a gesture-driven game. In trials in a university cafeteria, the team settled on a registration gesture they call The Teapot: users put their hands on both hips, their arms describing the profile of two teapot handles. This was the most robust gesture, even when obfuscated by thick clothing.
Screenfinity, led by Jorg Muller, generates content for large, long screens that follows the viewer as they walk along beside it. The system monitors passers-by with 10 Kinect cameras placed along the length of a screen. As a person approaches, text or pictures pop up and slide along in sync with their walking. If someone moves further away, the text gets bigger; closer, and it gets smaller, so it is equally legible all the time. In a recent trial on the TUB campus, cafe menus were displayed in a bustling concourse. Not only were people able to read the menus at varying distances and without breaking stride, the display proved so attention-grabbing that it had users looking behind the screen to see if a person was tracking them.
Walter says these screens "should never know more about you than you are willing to share". But users could be allowed to use gestures to select from an on-screen menu to have it show them a type of information – sports scores, say – and have it follow them. It is a tantalising proposition for advertisers as it would knock spots off advertising on posters or static small screens.
"In London there is some great poetry posted up in the subways," says Walter. "Being able to read this while walking would make it even better."
Simon Parnall of News Digital Systems in Staines, UK, is developing floor-to-ceiling TV screens. StrikeAPose is user-friendly, he notes, since people only need simple gestures to interact with it. But he wonders how many people will want to "perform a potentially embarrassing gesture in a public space in order to interact". He foresees organisations like the London Underground making strong use of Screenfinity, however, as it will allow ads to move down the escalators, tethered to specific commuters.
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Wendy Wolfson's article on a new outdoor lighting technology rather got my back up (21/28 December 2002, p 58). A few years back I noticed that fancy Christmas lights were becoming popular on the outside of British houses and in gardens. My own family call me scrooge, but the fact is that light pollution is making serious amateur astronomy more and more difficult. Believe it or not, some people still want to see the real stars.
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Would You Eat Your Cat?: Key Ethical Conundrums, and What They Tell You About YourselfPaperback
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- Publisher: New Holland Publishers Ltd
- Format: Paperback | 144 pages
- Dimensions: 140mm x 196mm x 16mm | 340g
- Publication date: 25 April 2010
- Publication City/Country: London
- Illustrations note: 50 colour photos
- Sales rank: 11,911
Product description
Philosophers have been devising conundrums and thought experiments to stretch the mind for more than two millennia. They are motivated by the idea that the way we try to solve such things tells us something about ourselves and how we see the world. Reflecting carefully upon a particular moral dilemma provides an insight into our overall views on morality and can affect the way we see real-world controversies. For example, if David and John both drink drive and John runs over a child, should they both be in prison? What do our answers tell us about personal responsibility and justifications for punishment? "Would You Eat Your Cat?" examines some of the classic conundrums and thought experiments that philosophers throughout history have devised to challenge their preconceptions. Clear and witty, each serves as an introduction to key concepts in philosophy, ethics and metaphysics. Designed to challenge your preconceptions, uncover your deeply held beliefs and tell you something about yourself and how you see the world, the book also includes 'morality barometers' and an ethics quiz to help you discover which schools of thought you are most closely aligned with.
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Jeremy Stangroom has a PhD from the London School of Economics. He is currently the New Media editor of The Philosophers' Magazine, which he founded with Julian Baggini in 1997. He is the author/editor of numerous books, including Einstein's Riddle, The Little Book of Big Ideas: Philosophy and The Little Book of Big Ideas: Religion. He is also Series Editor, with James Garvey, of Continuum Books' series on Contemporary Social Issues. Stangroom is an elected fellow of the Committee for the Scientific Examination of Religion.


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What endorsement?
Since the days of movable type, newspapers have endorsed candidates for offices from the local level all the way up to the presidential level.
Most newspapers continue this tradition, though some have abandoned it in recent years.
Add the Reformer to that list of media outlets that will no longer endorse any candidates on any level.
This shouldn't be a surprise to regular readers. Over the past several years, we've begun to pull back on endorsements, first at the local level (selectboards), and then expanding that process to more high-profile candidates.
Readers of our editorial page don't need us to tell them we have a certain ideological standpoint when it comes to politics, and it probably would come as no surprise as to who we would endorse if we were to continue to do so.
But it's not for that self-evident reason we are discontinuing our participation in this hallowed practice.
Simply put, we believe our job here at the Reformer is to profile the candidates and present their stances on various issues and let our readers make their own decisions. For the past several months, we've profiled and interviewed candidates, published full coverage of all of the races in our county and at the state and national level. Some of those interviews are available online (at Reformer.com and at our YouTube channel).
We believe it is the duty and responsibility of each and every voter to educate themselves on the issues, on the candidates, to think long and hard about who will do the best job at representing their interests in Montpelier or Washington, D.C.
Though sometimes it's hard to remember, each and every vote does matter.
In addition, our letters page is replete with endorsements and criticisms of certain candidates; we believe readers of the letters page actually are more influenced by their peers than by the editorial staff of the Reformer.
We've also published letters or columns from the candidates, offering those who choose to a direct connection with our readers.
Though we encourage our venerable cohorts in the information industry to continue to endorse political candidates as they see fit, we will no longer do so.
But one thing we will continue to do is urge and cajole our readers to cast their ballots, if they haven't already done so, on Nov. 6.
See you at the polls.
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5.0 Mustang & Super FordsHow To Drivetrain
Upgrading Ford's Automatic Overdrive Transmission - Blowing Into Overdrive
An Old Hand Shows Us How To Make An AOD Live Behind A Supercharged 5.0
Next, the Overdrive (Fourth gear) is achieved by applying a band around the direct drum (Third gear). This band is narrow at 1.5 inches wide, and it too often fails by slipping.
Furthermore, the valvebody is set up to supply 30 percent less line pressure to Third and Fourth (OD) gears. This was Ford's misguided attempt to increase fuel mileage via reduced power losses to drive the transmission's pump-miniscule mileage was gained at the expense of numerous Third and OD failures due to low clamping pressure.
If you fix those conditions, you'll find the AOD's two-piece input shaft is not quite the stuff of legend. Given just a little extra power and half sticky tires, the stock AOD input shaft will instantly snap at the first full-throttle shift. In addition, a stock AOD will not shift into Overdrive at full throttle (and if you try, you'll smoke the direct clutch pack), normal shifts are a bit squishy, and the shift pattern is undesirable.
Late in the game as we are these days-Ricky's coupe is 10 years old and has 125,000 miles on it-a few maintenance items are also important. As with all automatics, heat is the enemy, and the constantly moving fluid and slipping, power-on shifts lead to plenty of heat. Seals dry up and need replacement, the clutches are typically worn, and the stock oil cooler is woefully inadequate. The Throttle Valve (TV) cable is also prone to stretching around the 50,000-mile mark, so this is now a standard replacement item.
From a performance standpoint, the torque converter is also in need of upgrading. The stock 12-inch unit is most often replaced by a 10-inch converter with a touch more stall speed, so converter construction and integrity come into play.
Addressing these issues is relatively straightforward, with the typical trade-offs and costs associated with hot-rod parts.
The direct drive (Third gear) clutches and steels can be increased by recutting the drum's snap-ring groove or using a different drum, which is what California Performance Transmission does. This allows seven clutches and steels, which are also of considerably higher-grade material.