text:
The Baddest Woman in India
Sampat Pal, head of India's vigilante pink gang.
This article is excerpted from Pink Sari Revolution.
"Just who do you think you are?" is a question that Sampat is used to hearing. At times, she acts like she is running a small detective agency; on other occasions, she behaves like a police officer patrolling Bundelkhand, a hardscrabble region in Uttar Pradesh, India's largest state. In Atarra, where her office is based, Sampat's endless meddling has nettled many and left others slightly baffled. It has been like that of all her life, wherever she has lived.
Sampat does not know exactly why she has persistently felt compelled to get involved in other people's business—indeed, it represents one of the greatest mysteries that she has encountered in her life. She once declared that "not even I understand Sampat Pal." She paused and then, wrinkling her brow as she pondered the enigma that she represented to herself, came up with an idea. "When I die, the Indian government should look in my brain and find out how I have become like this." It was an earnest, if somewhat humorous, suggestion. After a moment, she added, "They should look into my heart too, that could help."
Sampat Pal is the founder and commander-in-chief of India's Pink Gang, known as the Gulabi Gang in Hindi. Three years ago, I wrote an article in Slate about the gang, which is best-known for its vigilante tactics. Named after their pink sari uniforms and pink-painted bamboo sticks, this group of around 20,000 members take on everyone from abusive husbands to crooked police, who often refuse to register and investigate rape cases. Since then, I have spent two years writing and researching a book on them called the Pink Sari Revolution, which was released last week. I wanted to write a book on these women because they teach us an important lesson about power which in times of extreme inequality is easy to forget: Even the absolute weakest members of society can manage by extraordinary acts of will, luck and some recklessness to fight back. The person who best teaches that lesson is Sampat Pal, who was married off at the age of 12, bore the first of her five children at 15 and is essentially illiterate. Despite all this, she has not only empowered herself but thousands of women just like her.
Sampat is confident that any postmortem examination of her brain would reveal a fascinating, highly developed mind; she is quite possibly one of the smartest people she knows. "That's why people listen to me. They say that if Sampat-ji does something, it's not without any logic. Even good, learned professors fail in front of me, and they agree with what I am saying. They say that although I am not educated, I have gained knowledge from my vast experience. One professor asked me, 'Sampat-ji, you don't have any formal education, so how did you get such vast experience? You speak so well nobody has any answer to it. Where did you learn all this?' I said I don't know. Then I asked him, 'Where did the person who invented school study? Someone must have come up with it on their own, right?' " she recounted to me when I spoke to her in the village of Badausa, where her family lives. Few of Sampat's closest friends deny that her raw, intellectual strength was cultivated entirely on her own. "Sampat is sharper than I am. I am very straightforward. That's why I'm behind. Though, I'm more educated than her, I'm miles behind her," Babuji willingly admits.
Looking into Sampat's past offers few clues into the origins of her formidable understanding of the machinations of power and society. Her hometown, Kairi, is a small, windswept farming community in the heart of Bundelkhand. When Sampat was growing up in the 1970s, Kairi—like many parts of Bundelkhand—was a place where injustice against women, the lower castes, and the poor was an accepted part of life. The cries of a woman being beaten by a drunk husband in the middle of the night; a Dalit denied participation in village celebrations for fear that he and his family, considered "untouchable," would "pollute" the communal thalis, metal dishes, heaped with biryani; girls married off to widowed, older men who would use them like maids: These occurrences were, for the most part, accepted as being "how things were." Parents, grandparents, and cousins—everyone—had stoically born life's injustices without so much as a wince. If you could not, there was little hope for survival.
Sampat's parents were farmers. "They were simple people, they didn't take much interest in things," she says, but they taught her good values. "We were all kind-hearted. No one in my family treated women badly." Sampat had one sister and two brothers. Of the four children in the family, two were precocious and turned into rather remarkable people. "I was brightest and most dynamic in my family," Sampat states simply. Sampat's brother, Ram Lal Pal, also differed radically from all the other children in the village—he became a saddhu, an ascetic holy man, at the age of 10. "He used to find small stones and worship them. When we went to the village fair, he rang a bell and started praying. He used to collect ants in a box and feed them with sugar and ghee. He burned wood and made a tilak"—a Hindu religious marking often made using sandalwood paste or red kumkum powder—"on his forehead," Sampat remembers. Then, one day, he ran away to live with a holy man, a baba, and became his disciple. "We all cried. We were very unhappy. He grew his hair and left for Vrindavan"—a holy city. "I think my mother never recovered from the story with my brother. It was hard for her to have two children who had sacrificed their lives—one to God, another to society," she adds.
It must have been evident to Sampat's mother early on that her daughter was not a typical girl; for one, Sampat was the most outgoing of all the children in Kairi, well known among her friends for her bold arboreal explorations, which she started around the age of 5. "There was a mango tree in my village. I saw boys climbing the tree and I thought, Why can't I climb it? One friend, a girl, supported me while I climbed it. That's how I began. Once we were many girls at a jamun tree. I said to them, Come, let's climb. They said, 'No, we can't do it.' They helped me up. The branches of the tree were very fragile, so I fell. When I came back, we hid from the elders as I was hurt."
Apart from her courage, Sampat also picked up skills very quickly. She was the first person in her town to learn how to sew. "No one in Kairi could sew. Not my mother, nor my sister. God gave me this wisdom—I don't know why, but he did," Sampat says. She fell in love with sewing the first time Chunni Lal, her uncle, took her along with him to the tailor. This uncle, who was the only one in her family at the time with a college degree ("He did a BA in Atarra. He was an educated man"), was Sampat's favorite—"He treated me like a man." Chunni dispensed life lessons like, "If someone hits you, hit them back." Sampat wanted to please Chunni, who treated her better than most people, so it was a lesson she tried to put into practice as often as she could.


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Dell Boosts PC Market Share in U.S.
(DELL) move to retail shelves may be paying off --at least in the U.S. According to the latest data from industry research firm Gartner, Dell grabbed nearly a third of the PC market share in the U.S. during the first quarter. The Round Rock, Texas, PC maker boosted shipments 15.7% year-on-year to nab 31.4% of the U.S. market. A year earlier, Dell had only 27.9% of the market. Hewlett-Packard (HPQ - Get Report), by contrast, posted its weakest U.S. performance since the merger with Compaq in 2003, Gartner said, as shipments declined 0.2%. H-P's U.S. market share slipped from 25.8% to 25% during the quarter.H-P remains the world's top PC maker, with 18.3% of the global market vs. Dell's 14.9%. The results are an important sign of improvement for Dell, which has taken various steps to revive its fortunes in recent months, such as moving away from its model of selling PCs strictly by phone and Internet orders. Since founder Michael Dell return to the helm, Dell has struck deals with retailers like Wal-Mart (WMT - Get Report), and Best Buy (BBY - Get Report). Dell said last month that it will take another year before it can sell PCs through retailers as profitably as the competition. But the latest figures suggest that at the very least Dell has found a way to reignite demand for its brand in the U.S. Overall, PC shipments in the first quarter increased 12.3% compared with the first quarter of 2007, according to Gartner, despite fears that souring economic conditions might pinch PC sales. "Home mobile PC growth continued to drive U.S. PC growth," said Gartner analyst Mika Kitagawa. "Despite declining consumer confidence, U.S. consumers did not put off mobile PC purchases as evidenced by solid mobile growth during the first quarter." That sales growth was stimulated in party by aggressive price cuts, Kitagawa added. Strong demand for laptop PCs resulted in strong than expected growth in the Europe, Middle East and Africa region as well as in the Asia Pacific region. The report of healthy PC sales come a day after PC microprocessor maker Intel (INTC - Get Report), delivered strong quarterly financial results, and stressed that it was not feeling any ill-effects from the slowing U.S. economy. Shares of Dell were up 29 cents at $19.01 in extended trading on Wednesday. H-P shares were up 65 cents at $47.75.SAN FRANCISCO -- Dell's
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subset: commoncrawl


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- [c4]Kyoung-Hoi Koo, Soo-Kyung Lee, Jin-Ho Seo, Myeong-Lyong Ko, Jae-Whui Kim:
A versatile I/O with robust impedance calibration for various memory interfaces. ISCAS 2006
- 2005
- [c3]Kyoung-Hoi Koo, Jin-Ho Seo, Myeong-Lyong Ko, Jae-Whui Kim:
A new level-up shifter for high speed and wide range interface in ultra deep sub-micron. ISCAS (2) 2005: 1063-1065
- 2004
- [c2]Kyoung-Hoi Koo, Jin-Ho Seo, Myeong-Lyong Ko, Jae-Whui Kim:
A new level shifter in ultra deep sub-micron for low to wide range voltage applications. SoCC 2004: 155-156
- 2003
- [c1]Kyoung-Hoi Koo, Jin-Ho Seo, Jae-Whui Kim:
Digitally tuneable on-chip resistor in CMOS for high-speed data transmission. ISCAS (1) 2003: 185-188
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text:
Author: Patil, K S; Pore, Y V; Bhise, S B
Date published: January 1, 2010
Language: English
Journal code: JPTS
(ProQuest: ... denotes formulae omitted.)
Zolpidem tartrate is N,N,6-Trimethyl-2-ptolyl- imidazo(1,2-a)pyridine-3-acetamide L-(+)-tartrate (2:1), (fig. 1) an imidazopyridine derivative, is a nonbenzodiazepine hypnotic agent binds preferentially to one benzodiazepine receptor subtype ù-1 bezodiazepine-1 thought to mediate hypnotic effects. This combines a rapid onset with a short duration of action. Zolpidem behaves as a sleep inducer without the muscle relaxant and anticonvulsant effects of the benzodiazepines [1-2]. The hypnotic actions of Zolpidem, like benzodiazepine hypnotics, are mediated at the benzodiazepine recognition site of the GABAA receptor complex (3-4). However, the neuropharmacological profile of Zolpidem is somewhat different from that of most benzodiazepines (5-6). For example, Zolpidem binds with low affinity to a α5 -containing GABAA -receptor subtypes (7). Triazolam and diazepam, two benzodiazepines, bind with high affinity to these GABAA -receptor subtypes.
Literature survey revealed that the analytical techniques published for Zolpidem, and eventually some of its metabolites, have mainly involved HPLC [8-11], gas chromatography (GC) [12-14], capillary electrophoresis (CE) [15]. Two methods are described for the determination of Zolpidem hemitartrate in presence of its degradation product by quantitative HPTLC and LC [16]. Zolpidem has been determined by GC/MS for postmortem specimens [17]. Zolpidem has been also found to be estimated by oral fluid by liquid chromatography-tandem mass spectrometry [18]. Method was found on Simultaneous determination of Zolpidem and Zopicone in human plasma by gas chromatography-nitrogenphosphorus detection [19] and also Zaleplon and Zolpidem can be determined by liquid chromatography- turbo-ionspray mass spectrometry for forensic cases [20]. However, no UV spectrophotometric method is available for the quantitative determination of Zolpidem in its pharmaceutical dosage forms.
The objective of the present work was to develop simple, rapid, accurate and specific UV spectrophotometric method for the estimation of Zolpidem in pharmaceutical dosage forms. The method was further validated for the parameters like precision, accuracy, sensitivity, and linearity. The limit of detection (LOD) and limit of quantification (LOQ) were also determined. The results of analysis were validated statistically and by recovery studies. This method of estimation of Zolpidem was found to be simple, precise and accurate.
Materials and Methods:
Zolpidem was obtained as a gift sample from Aurobindo Pharma Ltd., Hyderabad, India. Zolpidem tablets were procured from local pharmacy. All the reagents were of analytical grade. Glass double distilled water was used throughout the experiment. A Shimadzu UV/VIS 1700 spectrophotometer with 1 cm matched quartz cells were used for the estimation.
An accurately weighed 5 mg of Zolpidem was dissolved in 5 ml methanol in a 50 ml volumetric flask and the volume was adjusted up to the mark with distilled water to obtain a stock solution of 100 µg/ml. Aliquots of 0.2 to1.6 ml portions of standard solution were transferred to a series of 10 ml volumetric flasks and volume in each flask were adjusted to 10 ml with distilled water to obtain a concentration of range of 2-16 µg/ml. One of the solutions was scanned in UV range using methanol: distilled water (1:9) as a blank and ëmax was found to be 238.5 nm. The absorbance of solutions was measured at 238.5 nm against blank and calibration curve of Zolpidem was constructed.
Twenty tablets of Zolpidem were emptied and powder was weighed. Amount equivalent to 5 mg was transferred to 50 ml volumetric flask, dissolved in 5 ml of methanol and made up the volume with distilled water to obtain a concentration of 100 µg/ml. The solution was filtered through Whatman filter paper No. 41 and filtrate was diluted to obtain concentration in between linearity range. The absorbance of sample solution was measured and amount of Zolpidem was determined by referring to the calibration curve. Recovery studies were carried out by adding a known quantity of pure drug to the preanalyzed formulation and the proposed method was followed. From the amount of drug found, percentage recovery was calculated.
Results and Discussion:
The results of optical characteristics and analysis of Zolpidem in tablets are presented in Table 1 and Table 2 respectively. The proposed method of determination of Zolpidem showed molar absorptivity of 4.4648~104 l/mol/cm and Sandell's sensitivity 0.017134 mcg/Sq.cm/0.001-absorbance units. Zolpidem exhibits its maximum absorption at 238.5 nm (fig. 2) and obeyed Beer's law in the range of 2-16 µg/ml (fig. 3). Linear regression of absorbance on concentration gave equation y=0.058x-0.0029 and coefficient of correlation (R2) = 0.9997. Relative standard deviation of 0.00067 was observed for analysis of 9 replicate samples, indicating precision and reproducibility. LOD and LOQ were calculated by Eqs. (1) LOD = ... and ..., respectively, where δ is the standard deviation of blank and s is slope of calibration [21].
The limit of detection (LOD) and limit of quantification (LOQ) were found to be 0.038 µg/ml and 0.114 µg/ml respectively. The percentage recovery values 99.68%, 100.65%, 100.10% for Zoldem, Nitrate and Zolfresh respectively indicates that there is no interference from the excipients present in formulation (Table 2). The developed method was found to be sensitive, accurate, precise and reproducible and can be used for the routine quality control analysis of Zolpidem in bulk drugs and formulations.
Conclusion: The present spectroscopic method developed provides a rapid, sensitive, accurate, and reproducible determination of Zolpidem in tablets. This method can be successfully applied routine estimation of Zolpidem in bulk and pharmaceutical dosage form.
We are grateful to Aurobindo Pharma Ltd., Hyderabad, India, for providing gift sample of drug for research work. We are thankful to Principal, Govt. College of Pharmacy, Karad for providing laboratory facility and constant encouragement.
[1] Walker R, Edwards C. Clinical Pharmacy and Therapeutics, 2nd ed, Churchill Livingstone United Kingdom 1999, 399.
[2] Smith C. M, Essentials of Pharmacology, Saunders 1995, 232.
[3] Haefely WE. Pharmacology of the benzodiazepine receptor. Eur. Arch. Psychiatr. Neurol. Sci. 1989, 238, 294-301.
[4] Sauvanet JP, Langer SZ, Morselli PL. Imidazopyridines in sleep disorders. Raven Press, New York 1988, pp. 175-81.
[5] Arbilla S, Depoortere H, George P, Langer S. Naunyn Schmiedebergs Arch. Pharmacol 1985, 330, 248-251.
[6] Benavides J, Peny B, DuBois A, Perrault G, Morel E, Zivkovic B, Scatton B. J. Pharmacol. Exp. Ther 1989, 245,1033-1041.
[7] Besnard F, Avenet P, Itier V, Granger P, Partiséti M, Depoortere H, Graham D, Langer S, Z. In: Freeman, H.; Puech, A. J.; Roth, T., (eds). Zolpidem: An update of its pharmacological properties and therapeutic place in the management of insomnia. Elsevier; Paris 1996, 21-32.
[8] Lavianaa L, Mangasa C, Fernáandez-Maríb F, Bayodb M, Blancoa D. J Pharm Biomed Anal 2004, 36, 925-928.
[9] Paula R. Ring, James M. Bostick. J Pharm Biomed Anal 2000, 22, 495-504.
[10] Tracqui A, Kintz P, Mangin P. J Chromatogr: Biomed Appl. 1993, 616, 95-103.
[11] Ascalone V, Flaminio L, Guinebault P, Thenot JP, Morselli PL. J Chromatogr B 1992, 581,237-250.
[12] Gock SB, Wong SHY, Nuwayhid N, Venuti SE, Kelley PD, Teggatz JR, Jentzen JM. J Anal Toxicol 1999, 23, 559-562.
[13] Gaillard Y, Gay-Montchamp JP, Ollagnier M. J Chromatogr. 1993, 622, 197-208.
[14] Stanke F, Jourdil N, Bessard J, Bessard G. J Chromatogr B Biomed Appl. 1996, 675, 43- 51.
[15] Hempel G, Blaschke G. J Chromatogr B. 1996, 675, 131-137.
[16] B.A. El Zeany, A.A. Moustafa, N.F. Farid. J Pharm Biomed Anal 2003,33,393-401.
[17] Keller T, Schneider A, Tutsch-Bauer E. Forensic Science International. 1999, 106, 103-108.
[18] Kintz P, Villain, Ludes B. J Chromatogr B 2004; 811:59-63.
[19] Stanke F, Jourdil N, Bessard J, Bessard G. J Chromatogr B 1996, 675:4,3-51.
[20] Giroud C, Augsburger M, Menetrey A, Mangin P. J Chromatogr B 2003; 789; 131- 138.
[21] Busaranon K, Suntornsuk W, Suntornsuk L. J Pharm Biomed Anal 2006, 41, 158-164.
Author affiliation:
K.S. Patil*; Y.V. Pore and S.B. Bhise
Government College of Pharmacy, Vidyanagar, Karad, Dist-Satara, Maharashtra-415 124, India.


text:
Local: News
Water Rates Will Go Up Significantly
The proposed location of a new water treatment plant drew most of the comments…
Young Formally Announces Candidacy
Senator Chuck Grassley's chief of staff hopes to join Grassley in the U.S. Senate. David Young formally announced his candidacy…
Heineman Makes No Apologies For Cuts
The Nebraska State Auditor's Office will operate with less money the next two years after ….
Investigating Debt Collectors
Iowa Attorney General is leading a multi-state investigation of banks and other businesses….
South Dakota Vets Home
South Dakota legislators will be asked to approve up to ten million dollars in state funding to….
"Impact 2018" Plan
Development is well under way for the next five year plan at South Dakota State University….
Sequestration Shrinks Debt
The Congressional Budget Office says the federal deficit is on track to shrink to….
Education Funding Study
The interim education funding study committee of the South Dakota legislature will hold its first meeting….
Gas Prices Going Down Slowly
Gas prices in South Dakota shot up just before the Memorial Day weekend.
Gas Prices on the Way Down
The pain at the gas pump for Minnesotans is easing just a bit.


text:
May 5, 2016
A Marine who died while helping wounded comrades while under attack will be honored Tuesday.
The Marine Corps said 27-year-old Gunnery Sgt. Daniel Price, who was killed during his 2012 deployment to Afghanistan, will be awarded the Silver Star Medal.
Price was with the 1st Marine Special Operations Battalion of the Marine Corps Forces Special Command.
Members of the Marine Corps will be heading to Price's hometown of Holland, Michigan to present the Silver Star Medal for Valor to his family.
Price was working with a Special Operations Task Force when his group was engaged by insurgent personnel.
Price died alongside Special Operations Marine Gunnery Sgt. Johnathan Gifford. Price was serving out of Camp Pendleton and Gifford was serving out of Camp Lejeune.
The award will be presented to Price's family 1 p.m. Tuesday in Holland, Michigan.
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text:
Friday, June 1, 2012
AUGUSTA, Ga. -- The Crowe family credits the Children's Medical Center for saving their daughter's life.
It was Mother's Day 2007 when 9-month-old Mallory had her first seizure. She would make countless trips to the Children's Medical Center, battling 14 different seizures in less than six years.
It all came to a head in 2008 when Mallory landed in intensive care for a week.
Doctors diagnosed Mallory with viral meningitis, and her mother spent every day and night by her side.
Now, three years later, Mallory is up and about. Her challenge now is speech and physical therapy.
That's where the doctors at the Children's Medical Center come in.
Thanks to your donations, young people like Mallory can grow up to become athletes and ballerinas, leaving behind the hospital bed for the playground.
Have information or an opinion about this story? Click here to contact the newsroom.
Copyright WRDW-TV News 12. All rights reserved. This material may not be republished without express written permission.


text:
EMPIRE reports that Steven Spielberg has locked down his cast for WAR HORSE.
EMPIRE reports that Steven Spielberg has locked down his cast for WAR HORSE. Newcomer Jeremy Irvine will take the lead role of Albert, the young man separated from his horse Joey during World War I. Emily Watson (PUNCH-DRUNK LOVE) and Peter Mullan (TRAINSPOTTING) play his parents. Benedict Cumberbatch (ATONEMENT) will take the role of Major Stewart and David Thewlis (HARRY POTTER) will play Lyons.
The rest of the cast includes Niels Arestrup (A PROPHET), Celine Buckens, Nicolas Bro, David Kross, Leonard Carow, Rainer Bock, Robert Emms and Patrick Kennedy. In talks to join the cast are Tom Hiddleston, who is playing Loki in Kenneth Branagh's THOR, and Stephen Graham, who just signed on to PIRATES OF THE CARIBBEAN 4.
Lee Hall (BILLY ELLIOT) and Richard Curtis (FOUR WEDDINGS AND A FUNERAL) are writing the screen adaptation from Michael Morpurgo's novel and Nick Stafford's stage version. Spielberg will produce with Kathleen Kennedy.
Production begins in August in the U.K. August 10, 2011 has been set for the film's release.


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Fire officials warn of fire dangers with fireplaces, wood burning stoves
Local fire department officials are reminding people to properly dispose of their ashes to reduce the risk of fire.
"If you properly dispose of the ashes from your fireplace or wood burning stove and place them in a metal can, you won't risk burning your property or that of your neighbors. 'Can Your Ashes' means when you clean your fireplace or wood burning stove make sure you place the hot ashes into a metal can or container so you can safely transport them outside," said Unit Chief Kelly Keenan of the Amador-El Dorado Unit of Cal Fire.
Proper ash disposal tips:
- When cleaning your fireplace or woodstove, always place your ashes in a metal container, never use a paper or plastic bag or cardboard box.
- Put the metal container outside and immediately pour water into the can to cool any hot embers. Coals or pieces of wood can smolder for days.
-Stir the water into the ashes with a stick, making sure everything is cold.
-Cover the container with a lid and store the metal container away from flammable materials.
-If you vacuum your ashes it is critical that you make sure you use an appropriate "ash vacuum" which is specially designed to hold hot and cold embers. Never, ever use your regular home vacuum.
- Never place hot ashes in your garbage can as they will catch your garbage can on fire.
"Let's make sure our holiday season is filled with wonderful memories, not a visit by the fire department. Remember fire prevention is your responsibility," said Keenan.
For more fire and life safety information, visit www.fire.ca.gov.


text:
Discover a dream-like winter landscape high above Lake Lucerne. The panorama from Klewenalp to the mountains of Central Switzerland is one of the most imposing in the whole region.
The Klewenalp is easily reached with the spacious cable car from Beckenried. The large mountain inn adjacent to the mountain station offers a sensational view of Lake Lucerne and the surrounding mountain world. Accommodation is available in the building of the mountain station. Some rooms are equipped with shower/WC. Ideal for families and groups.


text:
May 4, 2016
Four people were injured in a head on crash that could be weather related.
The wreck happened on Highway 17 North of Bridgeton around 3:00 p.m. and involved a SUV and a Volvo.
Emergency workers say after the two vehicles hit, they both ended up in ditches. Three people in the SUV and the driver of the Volvo were all taken to CarolinaEast Medical Center.
The driver of the Volvo was trapped in the car and had to be freed by rescue workers.
There's no immediate word on the extent of the injuries.
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LynsMama2011's Mom Answers Activity
LynsMama2011 is a star in these topics:
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1 month old baby and postpartum depression. Any one with experience? I feel like a terrible mother
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@Lizzy.. Taking walks is wonderful! Breast feeding is hard, but once you get it, it's awesome! It takes a few months to really get settl...posted by WillandNatesMom
newborn baby essentials ?
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Congrats!!! I wish I'd thought to ask this question when I was pregnant. :) Check out the Gerber and Disney Baby blog. Gerber gives great...posted by LynsMama2011
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My nurses said that the more frequently and the longer you pump and breastfeed, the more milk you have. Also, my son was in NICU for 6 d...posted by LynsMama2011
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My son is almost four months and has been on three flights so far. We will be taking our fourth trip in two more weeks. The first trip wa...posted by LynsMama2011
Single gal looking for advice on how to have a healthy working relationship with the baby's father
posted by a BabyCenter Member 09/18/2011


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Israel Escalates Air Attacks on Gaza
TheStreet) -- Israel stepped up its air attacks on Gaza Saturday, destroying the headquarters of the Hamas prime minister, according to published media reports. By hitting those headquarters, as well as police and security buildings, Israel expanded its assault on Gaza to civilian sites, The New York Times noted.Amid the attacks, Hamas continued to fire rockets at Israel, the Times reported. One pair of rockets was targeted at Tel Aviv, but one landed harmlessly, and the other was hit in the air, the newspaper said. The current assault on Gaza began Wednesday. Israel, which is preparing for a possible ground invasion, says its air attacks are intended to stop recent rocket attacks on Israeli cities and towns by Gaza militants. In Cairo, Egypt, leaders of Hamas, which governs Gaza; Turkey; and Qatar tried to work out a peace treaty, but the talks were reported to be deadlocked Saturday evening, the Times said. A representative for Israeli prime minister Benjamin Netanyahu said Israeli forces had targeted Hamas government buildings because Hamas has used civilian infrastructure to hide military operations, the Times also reported. > > Bull or Bear? Vote in Our PollNEW YORK (
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Leaders of the some of the world's most prominent research funding organisations have agreed to promote open access more actively, as they prepare to publish a report on the issue.
Members of the Global Research Council discussed and endorsed the report during a meeting held in Beijing from 26 to 28 May. A copy seen by Research Europe highlights concerns with the green and gold models of open access, and about balancing publication charges against licence fees.
The council, which represents science and engineering funding agencies around the world, says that the green and gold approaches are both likely to be used for some time, and has agreed to establish a working group on open-access progress. The report suggests that the council could develop sets of best-practice guidelines on open-access models, to improve international coherence.
According to data gathered for the report, 62 per cent of funders have a definition of what is meant by open access, and 60 per cent have formal policies in place. "The report shows that there are fewer differences than you would expect in the level of open access, the acceptance and the awareness of it," says Stephan Kuster, head of policy affairs at Science Europe, an association of funding organisations.
The survey is, however, skewed in its geographical reach. Of the 106 funders that were approached, only 64 replied, 30 of which were European. The Asia-Pacific region returned 13 responses, and Africa, the Americas, and the Middle East and north Africa returned only eight, seven and six responses respectively.
Ultimately, the ability of the GRC to push open access will hinge on whether the council can extend its influence beyond research funders. Curt Rice, head of the board of the Current Research Information System in Norway, believes that last week's agreement is an important step towards this. "This is the kind of thing that can increase pressure on publishers to get on board."
But he warns that the lure of the reputation offered by traditional journals remains an impediment. "The wonderful thing would be if those journals themselves changed to an open-access model, but I don't see that happening any time soon," he says.
This article also appeared in Research Europe
This article was published in Research Professional, the UK's leading independent source of news, analysis, funding opportunities and jobs for the academic research community.
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text:
The rare disease community has lost a tireless and utterly dedicated advocate – Jennifer C. Jaff, Esq. Jennifer was an attorney who, as a result of her own nearly 40-year battle with a chronic disease, became a leading advocate for people with chronic illnesses. When she died in September, the New York Times published an obituary that chronicled her impact and her dedication.
I knew Jennifer, and I had several occasions to refer patients to her. But I need to digress here…sort of…
The last few weeks have been a wild and miserable season of weather extremes for those of us living along the northeast coast, and the NORD offices in Danbury, CT, have experienced just about all of it.
In September, after several days of heavy rain, we endured sudden flooding of almost biblical proportion in our Danbury, CT, office. It took down our electricity, Internet capability, and phone system for days. This was followed just a few weeks later by Hurricane Sandy, with many of us having no electricity, heat, or hot water in our own homes for a full week. Then winter storm Athena hit us shortly afterward, leaving the roads a slippery sheet of wet snow and sleet, with some of us once again losing power at home.
We were, in our own way, disabled. We had lost our power.
Having endured those seven electricity-deprived days and nights in my own home, everything – the most minor activity such as going from one room to another once the sun went down – took major planning.
"Where did I leave the flashlight?"
"Do we have anymore AA batteries for the radio?"
"Where did I leave my head lamp (camping gear that I purchased from LL Bean, specifically in preparation for the hurricane) — I can't read without it and will go crazy just sitting here!
"Our cell phones aren't working now – how can we call for help if we need it?"
I found myself banging into things because I couldn't see them in the dark. I experienced several false starts, having forgotten to pick up the flashlight as I got up from the couch, put the matches back in the same spot so that I could find them to light a candle, or bring some water with me into the bathroom in a pitiful attempt to wash up.
Our son in Florida tried consoling us by calling (when our cell phones actually worked) and reminding me that "things could be worse, Mom."
This statement, meant to be calming and helpful, only served to make me more frustrated and very, very irritable. Why? Has that statement ever thoroughly aggravated any of you (despite being said with the best of intentions)?
The truth is, of course, that my son was absolutely correct – things could have been MUCH worse. I could have been wheelchair-bound, or required tube feedings, or IV nutrition, or had a child who required special, daily bandage changes, or been facing any of the myriad and daily miseries that many people with rare diseases endure each day. Disability, whether due to a rare disease or a common one – drains one of his/her strength and dignity.
Disabled people within the rare disease community have a uniquely difficult situation. Many fight an eternally uphill battle trying to contend with recalcitrant insurance companies, or grapple the bureaucratic maze that our social security system can present, just to obtain the most basic disability assistance.
Returning to Jennifer Jaff …
Jennifer was the was the Founder and Executive Director of the non-profit organization, Advocacy for Patients with Chronic Illness, Inc. The organization's mission is, "…to provide free legal information, advice and advocacy services to patients with chronic diseases…" They never charged a fee, regardless of a patient's ability to pay. And without question, Jennifer C. Jaff was THE EXPERT on chronic illness and advocacy. She learned it all the hard way, through personal experience.
Jennifer was diagnosed with Crohn's disease at the age of 19. Crohn's disease is an incurable autoimmune disorder that inflames the intestines and causes severe abdominal pain, diarrhea, and GI bleeding. Jennifer underwent eight operations and required, during a particular 12-year-period, steroids that caused her to gain 120 pounds.
During a period of remission, Jennifer went to law school and became a trial lawyer, serving as an assistant state attorney in CT. She then developed a private law practice, representing chronically ill clients. Then, when her own condition worsened, she founded Advocacy for Patients, raised funds through the sale of her outstanding disability handbook, and provided free counseling to clients. She was constantly in demand for speaking engagements on issues related to health care insurance issues and the Affordable Care Act.
Jennifer was a delight to speak with! I will forever count myself among the fortunate to have communicated with Jennifer, and more than anything, to have been able to refer our rare disease patients to this entirely trustworthy and most knowledgeable human being for the best advice available. And it was all free!
Despite suffering miserably from a disease that incapacitated her for extended periods, and that ultimately and without warning took her life at age 55, on September 14, 2012, Jennifer never lost her personal power. NORD deeply mourns her passing.
How do you maintain your power?
RareDisease Dialog is the official blog for the National Organization for Rare Disorders (NORD). NORD's staff and friends will share information of interest to the entire rare disease community.
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74-year-old Male
Seeking Women: 51 - 68
Oak Park, Illinois
United States
Last Activity:
> 3 months ago
photos (3)
Curiouser and Curiouser
About myself
I like to take things slow and ease my way into conversations. I'm in the mood for a relationship I don't have to define, but it still feels good. I like to go places I've never been before. I get along best with people who aren't afraid to call a spade a spade. If you contact me I might not reply immediately since I'm new to this and still a bit shy. Politically quite liberal and still believe the 60's values that we know are still right. I'm looking for a kindred spirit, height/weight proportional, While I am not specifically looking here for a long term relationship; should the necessary elements be there, I would want to let it develop, I look forward to seeing where this leads.
The person I would like to meet
I'm looking for someone with whom there mutually is both a physical attraction and emotional connection. For me the physical attraction is to the thinner side of the population. Enjoyment to me comes from a mutual attraction on an intellectual, emotional and physical level that culminates in a massive explosive firing of billions of neurons. For me the physical attraction is to the thinner side of the population.
About my work
I'm retired after too many years welded to administrative responsibilities.
What do you like to do for fun/hobbies?
Retirement is relatively new and I'm still looking for more ways to fill the days; a companion to play with on day trips, travels, dinner, shows, etc. would be great. I play and sing folk music and amuse my cat, Max.
My idea of a great date
The first/meeting date is the most awkward. A comfortable setting is important. For the meeting date I would like to meet at a quiet place that serves beverages. My preference is for a quiet place with wine (or such); a place with coffee is okay too. And then follow where the conversation, attraction and interest leads. All at a place that is mutually comfortable.
If you are divorced/widower, you can talk about how that happened here.
I am divorced; for me I think this is better covered in conversation
What is your academic background?
I have an bachelors degree in engineering from the University of Illinois.
Where did you last vacation and did you like it?
I spent the last several winters living near Key West; the weather, people, arts and other activities were plentiful and great.
What do you find attractive in people?
I appreciate being able to openly discuss any and all ideas that may pop in to anybodys head. I appreciate people with a more liberal political perspective and a higly spiritial attitude towards matters religious - very low on dogma.
What do others do that irritate you?
Conservative politically, dogmatically religious, bigotted, and the intellectually quiescent should keep to themselves. And the dishonest and those who misrepresent themselves should stay with those in the previous sentence.
What do you think is your best quality?
I see myself as sensative, open and accepting.
What one thing would you change about your personality if you could?
While it is my wish and often my intent to be patient with people at times this comes up sort.
What one question would you want answered in an initial email from another member?
It's not so much a question that I want answered as in a process that I prefer to follow in getting to know someone. The process includes being open, revealing and honest in both inquiries and responses.
Describe your physique.
I'm 6ft, about 185#. In good general health. It would probably take two or three bounds to leap over tall buildings; single bound days are in the past
What do you do well sexually?
While my taste is generally for fairly vanilla sex - mutual oral, touching, kissing, sucking, all leading to the ultimate, my penis in a warm, wet, undulating vagina - I am open to all suggestions and welcome other variations. I think I use my mouth, hands and penis well.
What is the favorite thing you like sexually done to you?
I like a long foreplay with a partner that is highly responsive and mutually involved.
Do you have any STDs (Sexually Transmitted Diseases)?
No STD's.
Are you looking for a one night stand, to play for a while, or a long-term Adult relationship?
While I am looking for, and am open to, a long-term relationship, I am interested in other opportunities for activities on the way. So, for me, it's all the above.
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May 5, 2016
Sharon is deaf, lives in Vada, GA (which is located between Camilla and Climax, GA). She's a deaf mother of 5 HCoDAs (Hearing Children of Deaf Adult) and grandmother of 5 grandchildren and 2 more on way-1 due about on Jan 24th. And she's turning 50 on her birthday. She was born in MCH in Camilla, GA. She's a single-parent & divorced woman. Her full name is Sharon Ann Blobel Lawrence Mathis.
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or firstname.lastname@example.com.


text:
Music snippets
· Adnan Sami and AB in a duet!: Adnan Sami and Amitabh Bachchan have recorded a duet titled Kabhi Nahin. It will be featured in Adnan's soon to be released album Tera Chehra (T-Series). Adnan, a 'huge fan' of Bachchan, approached him to sing this song since he thought AB would be the right person to sing it. They had a blast during the recording sessions, he added.
· Pinjar song recorded: Uttam Singh recently recorded the fifth song of Lucky Star Entertainment's maiden venture, Pinjar. The song was sung by Wadali Brothers and Jaspinder Narula and penned by Gulzar. The interesting point is that the story of the film has its origins in a novel written by Amrita Pritam.
· Bollywood Music Awards: India Abroad, the most widely circulated South Asian newspaper in North America, will, for the very first time, sponsor the Bollywood Music Awards scheduled for November 9, 2002 at the Hammerstein Ballroom in Manhattan's New York Center. Awards will be given to Bollywood, Bhangra and Indi-pop winners. Stars including Sonu Nigam, Kavita Krishnamurthy, Sunidhi Chauhan, Yesudas, Shaan, Sukhbir will add glitter to the event.
· Musical satire: Vote For Jhakaas Party, a musical satire, was organized on August 31, Mumbai, to aid the SPJ Sadhana School for the Developmentally Handicapped. This school has worked untiringly to help mentally challenged children deal with the normal world. The performance served as an opportunity to showcase the talents of the students of the school also. The musical was conceived and scripted by Geeta Gopalakrishnan. The story is about a bunch of kids who refuse to entertain politicians who 'buy' votes by preying on the communal feelings of the voters. Om Puri, actor, was the chief guest.
· Songs for Manisha's maiden production venture: Paisa Vasool is the maiden venture of Manisha Koitala's Moving Images. Music composer Bapi-Tutul four songs for this movie recently. Top singers like Shankar Mahadevan, Ila Arun, Shaan and Vasundhara Das rendered the songs. Sandeep Nath has written the lyrics.
· Marketing Hindi film soundtracks: Times Music will soon be marketing Hindi film soundtracks. Haasil will be the first major soundtrack to be released. Vijay Jindal and Zee Telefilms Ltd are producing Haasil. The film is scheduled for a December release. The film has music by Jatin Lalit.
· Sanjay Chhel, the lyricist: Story, dialogue writer and director, Sanjay Chhel has taken many avtars including that of a lyricist. For Khubsoorat, he had written four songs (he also directed the film). He has now written all seven songs for his second movie Kya Dil Ne Kaha. Of these, Nikamma kiya is dil ne is a blockbuster. He is also penning the songs for two other films – Pantaloons' Chura Liya Hai Tum Ne and Padmalayas' new film starring Dino Morea and Bipasha Basu. Way to go, Sanjay.
· Maan O Maan!: Gurdas Maan, who became a household name in music with Dil Da Mamla Hai, is all set to enter Bollywood – as an actor. He had already acted in Punjabi movies and now, with Zindagi Khoobsoorat Hai, he will be trying his luck in Bollywood too. Hope he carves a niche for himself – just like he did in music.
Summons from the underworld:
Poor Hans Raj Hans. He has received threatening phone calls from the underworld
in Dubai. The singer has complained to the police in which he has stated that
he was having a dispute with a music company in Mumbai over a contract about
the release of his recent album. The company owed him Rs.50 lakh but when he
demanded the amount, he started receiving these calls. Police are looking into
the issue.
· Abbas-Mustan to introduce new faces: Abbas-Mustan will be introducing new faces in their next film. Produced by Gordhan Tanwani, the untitled film will have a new leading pair with a strong supporting cast. Filming will start during end October – early November, he added.
© HindiSong.com 2006


text:
This news release contains "forward-looking statements," as that term is defined in Section 27A of the United States Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. Statements in this press release which are not purely historical are forward-looking statements and include any statements regarding beliefs, plans, expectations or intentions regarding the future. Such forward-looking statements include, among other things, that the Company will find appropriately priced equipment or a contractor willing to move the muck on our property, or that it will be able to complete any additional financing activity, or that the near surface mineralized material will be economically recoverable.Actual results could differ from those projected in any forward-looking statements due to numerous factors. Such factors include, among others, the inherent uncertainties associated with mineral exploration. We are not in control of metals prices and these could vary to make development uneconomic. These forward-looking statements are made as of the date of this news release, and we assume no obligation to update the forward-looking statements, or to update the reasons why actual results could differ from those projected in the forward-looking statements. Although we believe that the beliefs, plans, expectations and intentions contained in this press release are reasonable, there can be no assurance that such beliefs, plans, expectations or intentions will prove to be accurate. Investors should consult all of the information set forth herein and should also refer to the risk factors disclosure outlined in our annual report on Form 10-K for the most recent fiscal year, our quarterly reports on Form 10-Q and other periodic reports filed from time-to-time with the Securities and Exchange Commission.
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A Night on Ice
I can't skate. Not that I don't want to, I just can't. The second after I'm upright, I'm butt down. But my lack of ability to glide across ice does not deter from tagging along with my friends as they enjoy a night of fun at the Sculpture Garden Skating Rink. The rink is located adjacent to the West Wing of the Smithsonian's National Gallery of Art.
In the daytime, skaters whiz by sculptural pieces by famous artists the likes of Alexander Calder and David Smith. At night, the sculptures are hidden in the dark of the trees, but the backdrop that is the National Archives building comes to light. There's always music in the air, and on Thursday nights it's provided by live DJs spinning music from the 60s to current day.
You can find me sitting on one of the stone benches, watching my friends glide by and listening to the music. Every few rounds, they'll shout out to me to see if I'm okay. I know they're having fun! If it's really cold, you'll find me nestled under the warmth of a blanket, clutching a warm cup of tea poured from my Thermos. I come prepared. In no time, I'm lost in my own thoughts.
On weekends, the gang heads to the rink's café for an après skate bite and a cup of hot chocolate. All in all, it's a lot of fun….even if you don't skate.
I found out tonight that the rink offers skating lessons, so I'm going to sign up. Maybe after a few lessons, I can join my friends on the ice—though I'll always be content to just sit on the sidelines and watch.


text:
Degree Requirements and Related Policies
Nontraditional ProgramsDelta College/Honors Program/CLAM
Elementary and Secondary Teacher Preparation
Academic Departments and Programs
(585) 395-2209
Chairperson and Associate Professor: Debra Fisher; Associate Professors: Christopher Burnett, Debra Fisher, Jennifer Hecker; Assistant Professors: Alisia Chase,Timothy Massey; Gallery Director; Lori Mills; Jim Morris; Kitty Hubbard, Visual Resource Coordinator, Art/Delta College.
I still can find no better definition for the word art than this: nature, reality, truth; but with a significance, a conception, a character which the artist brings out in it, and to which he gives expression; which he disentangles and makes free and clears up.
Vincent Van Gogh
Art has been defined as many things: ability, process and product. The Department of Art at SUNY Brockport offers courses and programs which integrate the formal, technical, conceptual, and historical aspects of the visual arts.
Programs: The Department of Art offers a Bachelor of Fine Arts (BFA) in Studio Art, a Bachelor of Arts (BA) or a Bachelor of Science (BS) in Studio Art, and a minor in art history. In addition, the School of Arts and Performance offers an Interdisciplinary Arts for Children Program, in which studio art is one of the specialties. Once a student declares a major, a faculty member in the appropriate area will be assigned as academic advisor.
The Department of Art reserves the right to retain students' work for a limited period and reproduce work for official purposes such as exhibitions, catalogs, teaching aids, and slide lectures. Students are expected to assume the costs of materials they use in their courses. Many studio courses have an additional studio fee for materials used in class.
Resources and Facilities: The Department of Art, located in the Tower Fine Arts Center, has well-equipped studios, two galleries, and a Visual Resource Center, which houses over 112,000 slides and videotapes. An active Art Students' Association organizes critiques, visiting artist programs, field trips, and exhibitions. SUNY Brockport students benefit from an affiliation with the internationally known Visual Studies Workshop in Rochester, which offers a variety of courses in photography, video, film, and book arts. Visual Studies Workshop also offers many exciting seminars and workshops that may be taken for college credit during its Summer Institute. Students at SUNY Brockport have an opportunity to study abroad in the summer program in Faenza, Italy. In addition, students have the opportunity to study the visual arts from a non-Western perspective at the University of Science and Technology, Kumasi, Ghana.
Transfer students: A maximum of 18 transfer credits in art will be accepted by the department toward the studio art major; and a maximum of 39 transfer credits in art will be accepted toward the BFA. Other credits may be used as electives. Credits that correspond to the required courses within the major program may be accepted, as may certain related transfer courses not included in our curriculum. All transfer grades must be "C" or higher to be used to fulfill major requirements.
Studio Art Major (BA/BS)
The studio art major is designed to provide a well-rounded art experience, encompassing two-dimensional and three-dimensional media, art history courses, and a specialty (three levels) in one area. Students majoring in art are encouraged to expand their understanding of art as it relates to other disciplines, cultures, and global concerns.
Studio Art Major Requirements:
In addition to meeting all general SUNY Brockport requirements, studio art majors must complete a total of 36 credits in art and art history as listed below. No more than 54 credits in studio art (or any other single discipline) can be used to satisfy the 120-credit requirement for the BA or BS.
A minimum grade of "C" must be attained in all courses in the major.
|Required Courses (18 credits)
|ARH 201 Survey of World Art I
|ARH 202 Survey of World Art II
|ART 210 2-D Design or ART 212 3-D Design
|ART 221 Drawing I
|ARH 420 20th-century Art
|ART 401 Senior Seminar
|Any two-dimensional courses from the following:(6 credits)
|Visual Studies (book arts, film/video, or Digital Art)
|Drawing (excluding ART 221)
|2-Dimensional Design (if not taken in the above required courses)
|Any two three-dimensional courses from the following:
(6 credits)
|3-Dimensional Design (if not taken in the above required courses)
|A three-course sequence (specialty) in one of the following areas: (6 credits)
|Book Arts
|Electronic Imaging
The Bachelor of Fine Arts (BFA) in
Studio Art
The BFA is an intensive degree program in studio art, intended for students who plan to pursue a professional career in art or to prepare for graduate study. Offering concentrations in 10 different areas, the BFA also allows students to pursue their interests in installation art, performance art, public art, Web page design, and other nontraditional art forms. BFA students work closely with a professor/mentor in their area of concentration, as well as interact with the entire art faculty through the required courses and semester BFA Reviews. BFA students are encouraged to be active in the Art Students' Association, which runs Rainbow Gallery, where BFA senior exhibitions take place. BFA students are also encouraged to take DCE 323 Career Explorations in Art, in which they may receive credit for apprenticeships or internships in artists' studios, galleries, or alternative spaces.
Students are admitted to the program by a portfolio review. Those who do not have a portfolio may enroll in the BA or BS program in studio art, and begin work on foundation courses to assemble a portfolio. BFA candidates are reviewed each semester and are expected to maintain a 2.5 minimum overall cumulative SUNY Brockport GPA and a 3.0 GPA in art. If advised to discontinue the program, a student may continue as a studio art major in the BA or BS program. A minimum grade of "C" must be attained in all courses in the major.
BFA Degree Requirements
Candidates for the BFA degree must meet all general College requirements and complete a total of 81 credits in art and art history as indicated below.
|Required ART Courses (36 credits)
|ART 210 2-Dimensional Design
|ART 212 3-Dimensional Design
|ART 221 Drawing I
|ART 322 Drawing II
|ART 331 Photography I
|ART 341 Painting I
|ART 351 Printmaking I
|ART 361 Sculpture I
|ART 371 Ceramics I
|ART 381 Metal/Jewelry I
|ART XXX Visual Studies (book arts, film/video, or electronic imaging)
|ART 401 Senior Seminar
|ART 402 BFA Senior Exhibition
|Required ARH Courses (12 credits)
|ARH 201 Survey of World Art I
|ARH 202 Survey of World Art II
|ARH 420 20th-century Art
|ARH XXX Art history elective
|Electives in ART, ARH, or related discipline (9 credits)
|The following courses are approved electives in the BFA:
|ANT 401 Native American Art and Culture
|DNS 115 Introduction to Dance
|PSH 352 Sensation /Perception
|MUS 276 Arts & Humanity
|MUS 278 African-American Music and Culture
|PHL 308 The Arts in Society
|PHL 428 Philosophy of Art
|THE 202 Stagecraft
|THE 235 Stage Lighting I
|THE 244 Costume Construction
|Concentration in one of the following (21 credits)
|Visual Studies (photography, electronic imaging, film/video book arts)
|Still Arts (photography, painting, printmaking, drawing, electronic imaging, visual books)
|Time-based Arts (film/video, photography, sculpture, book arts)
|Dimensional Arts (sculpture, ceramics, metal/jewelry and selected courses from the Department of Theatre)
|Interactive (studio, dance, theatre, literature)
Please note: Students are expected to spend at least three hours a week in the studio for every credit taken. Arrangements for the use of studios at unscheduled times must be made with appropriate instructor. There is a mandatory materials fee charged in most studio art courses to help cover the expense of supplies for students.
ART 101 Visual Art Experience (A,P). An introductory course for students with little or no art experience, designed to broaden their visual vocabulary. Explores the basic elements and principles of art through a sequence of problems to be solved by the execution of original works in various media. 3 Cr. Every Semester
ART 110 Art and Artists (A,F). Students may select ART 110 or ARH 215 as credit towards the Fine Arts requirement (F), but may not receive credit for both. Explores the basic forms of artistic production and the study of aesthetic principles of visual art, and how those principles reveal cultural meaning through lectures, slides and films, sketchbook design projects, gallery visits, student-teacher dialogues, written assignments and tests. 3 Cr. Fall and Spring
ART 210 2-Dimensional Design (A,P). Explores concepts of creating 2-dimensional images through various methods including line, shape, color, composition, texture, etc. Includes lectures, written assignments, projects, demonstrations, and critiques. Assigns problems involving the production of 2-dimensional images using various media. 3 Cr.
ART 212 3-Dimensional Design (A,P). Examines the theory and application of 3-dimensional design. Explores design concepts such as volume, positive and negative space, texture, color, etc. through the manipulation of a variety of materials. 3 Cr. Spring
ART 221 Drawing I (A,P). Provides an intro-duction to the basic elements of drawing and two dimensional imagery; including drawing from natural forms; aesthetic elements, such as line, value, composition, space, perspective, and mark making; and a basic understanding of the development of content in a work of art. 3 Cr.
ART 311 Video I (A). (Taught at Visual Studies Workshop, lab hours weekdays at VSW.) Provides an introduction to the use of video as a medium for individual expression and creativity. Develops basic video skills (i.e., the operation of the video camera and editing deck) and fundamental procedures in planning and producing a videotape are presented through demonstrations, lectures, and practice sessions. Uses screenings and artists' presentations to illustrate contemporary work in video. 3 Cr.
ART 322 Drawing II (A). Prerequisite: ART 221. Provides studio experience using a variety of drawing materials to teach drawing skills and allow students to acquire the necessary background for further study. 3 Cr.
ART 330 Digital Art I (A). Introduces students to the use of the computer as a tool of art making. Uses multimedia software to create digital art. Encourages students to explore and combine computer-based techniques with traditional studio art techniques. Requires short readings to accompany the assignments to help students contexualize their work within the historical, social and political arena that surrounds the production of computer-based art. 3 Cr.
ART 331 Introduction to Photography (A). (Two sections: SUNY Brockport campus and Visual Studies Workshop.) Explores photography's creative potential for personal expression. Covers 35mm camera operation, processing and developing film, and printing black and white photographs in the darkroom. During the first half of this class focus is on technical skills. During the second half focus is on the use of the students' newly found skills and their creative potential. Requires students to have access to an adjustable 35mm camera. 3 Cr.
ART 332 Photography II (A). (Taught at Visual Studies Workshop.) Expands on the basic darkroom skills covered in introductory photography courses, with an emphasis on the conceptual aspects of image making. Prompts students to experiment with infrared film and to try hand-applied photo emulsions, such as Liquid Light and Luminos. Teaches students how to test equipment accuracy to ensure proper exposures. Employs a variety of assignments using technical tools learned as applied to conceptual themes. Entails lectures and field trips to supplement the studio aspect. 3 Cr.
ART 333 Introduction to Color Photography (A). Prerequisite: ART 331. (Taught at Visual Studies Workshop.) Provides an introduction to color photography. Addresses technical and aesthetic concerns with an emphasis placed on developing a personal color vocabulary. Upon completion, allows the student to be able to expose, process, and print both color negatives and slides properly; have an understanding of color theory and history; and see the possibilities for expression in color photography. 3 Cr.
ART 341 Painting I (A). Prerequisite: ART 221. Provides an introduction to painting and design theory. Emphasizes such design elements as form, texture, line, tone, and the spatial and structural aspects of color through the application of various painting techniques. Uses principally oil and acrylics. 3 Cr.
ART 342 Painting II (A). Prerequisite: ART 341. Provides a continuation of ART 341 with emphasis on composition, structure of space, and the human figure. Uses principally oil and acrylic paints. 3 Cr.
ART 351 Printmaking I (A). Prerequisite: ART 221. Entails an introduction to printmaking processes including monotype, intaglio and relief. Stresses conceptual development, technical skills and compositional elements throughout the semester. 3 Cr.
ART 352 Printmaking II (A). Prerequisite: ART 351. Provides advanced skills and techniques from ART 351 and includes bookmaking, papermaking and alternative methods in printmaking. 3 Cr.
ART 358 Making Visual Books (A). (Taught at Visual Studies Workshop.) Introduces bookworks, which combines text, images, unexpected materials and unusual bindings, through examples, discussions and demonstrations, including access to outstanding collections. Requires students to work on individual projects, including one-of-a-kind books, and small editions. Emphasizes developing books that integrate word, image, and structure. 3 Cr.
ART 361 Sculpture I (A). Familiarizes students with the conceptual, technical, and visual vocabulary of sculpture well enough to create dimensional works of artistic merit and personal expression. Expects students to gain basic skills with materials as well as understanding of sculptural concepts. Designs problems to distinguish between technique and idea in sculpture, and how materials are used to express concepts. 3 Cr.
ART 362 Sculpture II (A). Expands student's knowledge of sculptural materials and techniques, with an emphasis on metal-working through both direct and indirect methods. In addition, allows students to further explore sculptural concepts and 3-dimensional spatial organization as they apply to the completion of class projects. 3 Cr.
ART 371 Ceramics I (A). Introduces students to basic hand-building techniques that are used to create objects out of clay. Asks students to address projects in a problem-solving approach, which utilize and develop technical knowledge, skill and creative thinking capabilities using clay as an expressive material. Also covers basic glazing theories and application techniques. 3 Cr.
ART 372 Ceramics II (A). Prerequisite: ART 371. Provides further exploration of clay as an expressive material while focusing on production methods utilizing the potter's wheel. Introduces glaze calculation, oxidation, reduction firing, and formulation of clay bodies. 3 Cr.
ART 381 Metalwork and Jewelry I (A). Introduces 3-dimensional design concepts using basic jewelry disciplines. Emphasizes the study of design form through metal-working techniques, using and integrating various materials, metal, wood, plastic, glass, stone and synthetic materials. 3 Cr.
ART 382 Metalwork and Jewelry II (A). Prerequisite: ART 381. Provides a continuation of ART 381. Focuses on intermediate design and studio procedure. 3 Cr.
ART 383 Metalwork and Jewelry III (A). Prerequisite: ART 382. Covers advanced design theory and studio procedures in metal-working techniques. 3 Cr.
ART 399 Independent Study in Art (A,O,R,B). Prerequisite: Instructor's permission. Arranged in consultation with the instructor-sponsor and in accordance with the procedures of the Office of Academic Advisement prior to registration. May be repeated for credit. 1-6 Cr.
ART 401 Senior Seminar (A,U). Prerequisites: ARH 201 and 202, and ART 221. Class to be taken in the senior year. Requires readings, portfolio development, exhibition preparation, advanced studio problems and a discussion of the theory and criticism of art. 3 Cr.
ART 402 Senior Exhibition (A). Entails a Senior Exhibition required of all BFA students prior to graduation. Allows students to work with the professor in their area of specialization to produce an exhibition of quality that represents their accomplishments in the program. Covers exhibition design, installation, and advertising as well as other pertinent responsibilities and information relative to a successful exhibition. 3 Cr. Every Semester
ART 412 Video II: Advanced Video Production (A). (Taught at Visual Studies Workshop, lab hours weekdays during Media Center hours.) Designed for people with prior experience in video, presents advanced techniques for those who wish to further explore the ideas and meaning behind their work in video. Allows students to combine the elements of performance, scripting, sound, computer graphics, and special effects within individual projects. Uses class time to study film, computer, and video techniques, as well as have in-group discussions about the tapes created during the course. 3 Cr.
ART 414 Advanced Problems in Visual Studies (A). Provides for reading, advanced projects, and discussion of theory and criticism applied to electronic imaging, visual books or film/video. 3 Cr. May be repeated for credit
ART 415 16 mm Film I (A). (Taught at Visual Studies Workshop, lab hours weekdays during Media Center hours.) Provides an introduction to independent 16 mm film production. Focuses on individual expression through script writing, film production and post-production. Includes sessions covering topics such as the history of film, camera operation, the use of light meters, lighting, composition, directing actors, and the principles and techniques of editing. Expects students to demonstrate competence with equipment as a prerequisite for working on individual projects. 3 Cr.
ART 416 Introduction to 16 mm Film II (A). Prerequisite: ART 315 or instructor's per mission. (Taught at Visual Studies Workshop.) Provides a follow-up to basic filmmaking, with a more in-depth analysis of sound production including sync recording mixing of complex tracks, working with ensemble acting and dialogue. Highlights animation techniques, titling, and counterpoint in editing. Requires students to ready film projects for final post-production and distribution. 3 Cr.
ART 417 Methods of Teaching Art on the Elementary Level (A). Prerequisite: An introductory art course or instructor's permission. Explores the philosophical and psychological basis for teaching art. Investigates problems of artistic and creative development. Examines methods of teaching art through practice and observation. Includes teaching of art to children. 3 Cr.
ART 418 Documentary Film/Video (A). (Taught at Visual Studies Workshop, lab hours weekdays during Media Center hours.) Provides insight into the practice of documentary film/video making. Introduces and discusses basic tools and the principles of film narration and montage, as they apply to documentary film/video making. In hands-on exercises, allows participants to explore the creative process of interpreting "the world out there" by means of the moving image. 3 Cr.
ART 419 Practices of Teaching Art on the Elementary Level (A). Prerequisite 417. Explores important concepts related to art history, art aesthetics, and art criticism. Examines advanced methods of teaching art and classroom management techniques. Familiarizes with national and New York state standards of art curriculum in grades K�6. Allows students to work with a classroom teacher in developing syllabus and teaching art. 3 Cr.
ART 423 Drawing III (A). Prerequisite: ART 322. Provides a continuation of ART 322. Allows for in-depth studio experience, concentrating on drawing the humane, the nature of space, individual exploration of imagery and further experimentation with a variety of media. 3 Cr.
ART 424 Advanced Problems in Drawing (A). Prerequisite: ART 423. Provides for intensive drawing, research on concepts, readings, advanced projects, and discussion of theory and criticism as applied to creative drawing. May be repeated for credit. 3 Cr.
ART 430 Digital Art II (A). Further develops skills and principles relating to the exploration of the computer as a tool for creating art. Encourages students to do a more advanced exploration and combine computer-based techniques with traditional studio art techniques. 3 Cr.
ART 433 Photography III (A). (Taught at Visual Studies Workshop.) Explores independent creative projects through out the semester, emphasizing a continued development of a project. Focuses on paper quality, issues of presentation and sequencing, as demonstrated in the work of other photographers and through class discussion. Teaches advanced darkroom skills. 3 Cr.
ART 434 Advanced Problems in Photography (A). (Taught at Visual Studies Workshop.) Structured for students to gain independence in their working methods. Expects students to locate an area of interest and create a substantial project that reflects a thoughtful and developed investigation. Requires conceptual and technical readings to supplement their work. 3 Cr.
ART 443 Painting III (A). Prerequisite: ART 342. Covers advanced painting, painting from life, and the human figure. Emphasizes creative forms of self expression. Intensive painting and research on imagery begins in the second half of the semester. 3 Cr.
ART 444 Advanced Problems in Painting (A). Prerequisite: ART 443. Emphasizes personal solutions related to content in the work as well as technical issues in painting, advanced projects, and discussion of theory and criticism applied to creative painting. May be repeated for credit. 3 Cr.
ART 453 Printmaking III (A). Prerequisite: ART 352. Allows advanced students to design their individual projects for the semester. Requires a minimum of four projects exploring advanced technical and conceptual development. 3 Cr.
ART 454 Advanced Problems in Printmaking (A). Prerequisite: ART 453. Allows for a continuation of personal development of ideas, skills and varied technical approaches to the art of printmaking at the advanced level. 3 Cr.
ART 463 Sculpture III (A). Prerequisite: ART 362. Allows students to expand their knowledge of materials and techniques used in the production of sculpture. Assignments address contemporary concerns in working three-dimensionally, such as permanence, process and site-specificity. Allows students to gain knowledge and experience with public art, installation art, and performance art. Entails readings to supplement class demonstrations, critiques, slide lectures, and videos on contemporary sculpture. 3 Cr. Every Semester. ART 464 Advanced
ART 473 Ceramics III (A). Prerequisite: ART 372. Provides students the opportunity to expand their technical knowledge and skills in either hand construction or wheel-thrown techniques. Emphasizes continued development of creative thinking and problem solving as students address assigned problems and investigate individual areas of interest. 3 Cr.
ART 474 Advanced Problems in Ceramics (A). Prerequisite: ART 473. Provides for reading, advanced projects, and discussion of theory and criticism applied to the art of ceramics. May be repeated for credit. 3 Cr.
ART 484 Advanced Problems in Metal/Jewelry (A). Prerequisite: ART 483. Provides for reading, advanced projects, and discussion of theory and criticism applied to the metalwork and jewelry arts. May be repeated for credit. 3 Cr.
ART 491 Topics in Art-Studio (A). Provides an upper-division art studio experience. Allows students to earn credit for a special offering not normally a part of regular department curriculum. 1-3 Cr.
ART 499 Independent Study in Art (A,O,R,B). Prerequisite: Instructor's permission. Arranged in consultation with the instructor-sponsor and in accordance with the procedures of the Office of Academic Advisement prior to registration. May be repeated for credit. 1-6 Cr.
Interdisciplinary Arts for Children:
Art Specialty
Students seeking an interdisciplinary major in Arts for Children with a specialty in art are required to complete a 48-credit program consisting of: (1) two interdisciplinary courses, IAC 280 Introduction to Related Arts for Children, and IAC 491 Seminar in Arts for Children; (2) an art specialty of 21 credits; and (3) a 21-credit block consisting of two courses in each of the other three arts and one approved elective. Students wishing to major in Arts for Children with an art specialty must present a portfolio of their artwork for review by the art specialty advisor. They are also urged to take additional studio art courses and ART 419 Practices of Teaching Art on the Elementary Level (prerequisite ART 417). A minimum grade of "C" must be maintained in all required courses.
For detailed information and a comprehensive listing of courses required in this specialty area, refer to the section Arts for Children-Interdisciplinary Major in this catalog.
|Core Courses: (6 credits)
|IAC 280 Introduction to Related Arts for Children (fall only)1
|IAC 491 Seminar in Arts for Children (spring only)2
|Interdisciplinary Core:
|Art Specialty Courses: (21 credits)
|ARH 201 Survey of World Art I
|ARH 202 Survey of World Art II
|ART 221 Drawing I
|ART 417 Methods of Teaching Art on Elementary Level and three courses in any studio art3
|Art Specialty:
|Arts Block: (21 credits)
|DNS 115 Intro to Dance
|DNS 483 Children's Dance I
|Students with previous experience can take DNS 483 and DNS 484 in this sequence.
|MUS 105 Intro to Music
|MUS 487 Music and the Child4
|THE 281 Creative Drama
|THE 353 Children's Theatre
|THE 365 Puppet Theatre OR
|ENL 482 Children's Literature
|Arts Block:
|Minors in Studio Art
|Studio Art: 18 credits, including the following:
|ARH 201 Survey of World Art I
|ARH 202 Survey of World Art II
|ART 221 Drawing I
|Nine additional credits of art studio electives
1 This course must be taken after taking introductory courses in art, dance, music, and theatre.
2 This course must be taken by all IARC majors at the conclusion of program of study.
3 Prerequisite: An introductory art course or instructor's permission.
4 Prerequisite: MUS 105 or instructor's permission.
IAC 280 Introduction to Related Arts for Children (A). Prerequisites: Consult with program advisor to choose four introductory arts courses, one in each area: art, dance, music, theatre. Covers the unique aspects of art, dance, music, and theatre, and relationships among the arts: theory, discussion, inquiry, and experiences in creative process. Must be taken before declaring a major in arts for children. 3 Cr. Fall
IAC 399 Independent Study in Art for Children (A). Prerequisite: Instructor's permission. Arranged in consultation with instructor-sponsor in accordance with procedures of Office of Academic Advisement prior to registration. 1-3 Cr.
IAC 450 Performances for Young Audiences (A). Prerequisite: Instructor's permission. Explores performance and staging techniques for young audiences; develops skills in improvisation and ensemble playing; prepares shows involving art, dance, music, and theatre; tours and performs for and with young audiences. 4 Cr.
IAC 490 Arts for Children Special Topics (A). Prerequisite: Instructor's permission. Provides opportunities for arts for children students to focus for a full semester on meaningful current topics which cannot be developed fully in other curricular offerings. Both theory and/or art making may serve as content. 2-6 Cr.
IAC 491 Seminar in Arts for Children (A). Prerequisites: Completion of required arts for children courses. Examines issues and representative theories, program development and evaluation, and the development of leadership skills and ability to utilize arts resources. 3 Cr. Spring
IAC 499 Independent Study in Arts for Children (A). Prerequisite: Instructor's permission. Arranged in consultation with instructor-sponsor in accordance with procedures of Office of Academic Advisement prior to registration. 1-3 Cr.
Art History Minor
Art history minors must complete a total of 18 credits in the courses listed below. A minimum grade of "C" must be attained in all courses taken for the minor.
Required Courses (6 credits)
ARH 201 Survey of World Art I
ARH 202 Survey of World Art II
Electives (12 Credits)
Twelve credits of art history electives are required. It is recommended that art history minors take at least one non-western art course.
ARH 201 Survey of World Art I: Ancient to Renaissance (A,G,O). Provides an integrated chronological study of world art from prehistory to the 14th century. Covers western art along with the ancient arts of Asia, Islamic arts, and pre Columbian arts. Teaches students to identify cross-cultural influences and regional stylistic features. 3 Cr. Fall
ARH 202 Survey of World Art II: Renaissance to Modern (A,F). Provides an integrated chronological study of world art from the 15th century to present. Covers Renaissance art to modern art, along with later Islamic and Asian arts, Latin American arts, African, Oceanian, and Native- American arts. Aims at illustrating the growing interdependence of the arts of major civilizations and cultures, and their respective contribution to the visual arts. 3 Cr. Spring
ARH 215 Art Appreciation (A,F,C). Studies the elements of art, the artists' process, and selected works of painting and sculpture to give an appreciation of diverse art creativity throughout the world. Also discusses and uses artists and artworks of selected non-western cultures to illustrate elements of art. 3 Cr.
ARH 310 Women in Art (A,U,W,C). Studies women artists and the role played by women in the visual arts through the ages. 3 Cr.
ARH 391 Seminar in Art History (A). Explores research methods in fine arts and learn to write about art. Focuses each time on a different subject. May be repeated for credit. 3 Cr.
ARH 410 Contemporary Art Criticism (A). Examines the relationship between the critic, the artist, and the art market. 3 Cr.
ARH 419 19th-century Art (A). Covers the fine and minor arts of 19th-century Europe and America, with emphasis on patronage and the artistic movements that dominated the century. 3 Cr.
ARH 420 20th-century Art (A). Emphasizes the main artistic movements of the late 19th and the 20th century to present, with focus on artists, patronage, styles, and trends in the decorative arts. 3 Cr. Spring
ARH 424 Medieval Art (A). Covers the art and architecture of Europe from the early Christian period to the Fall of Constantinople. Includes an overview of Byzantine Art. 3 Cr.
ARH 425 Italian Renaissance Art (A). Examines works of art and architecture from the 15th and 16th centuries in Italy. 3 Cr.
ARH 431 American Art (A). Surveys painting, sculpture, architecture, and the decorative arts from colonial times to present. 3 Cr.
ARH 441 Art Worldwide (A). Entails field trips abroad focusing on selected topics in art history. May be repeated for credit. 3 Cr.
ARH 450 Egyptian Art (A). Studies the art and civilizations of pharaonic Egypt and the ancient Near East from the late fourth millennium BC to the conquest of Alexander the Great, with emphasis on pharaonic Egypt, Phoenicia, and Mesopotamia. 3 Cr.
ARH 451 Art of the Classical World (A). Traces the development of Minoen, Mycenean, Greek and Roman art and architecture from the second millennium BCE to the 4th century CE. 3 Cr.
ARH 461 History of Photography (A). (Taught at Visual Studies Workshop). Surveys the development of photographic processes and the movements and artists that have influenced photography. 3 Cr.
ARH 470 Asian Art (A). Studies Indian, Chinese, and Japanese arts from prehistory to the 19th century, with emphasis on painting, sculpture, and the minor arts. 3 Cr.
ARH 474 Islamic Art (A). Studies Islamic art from the origins to the 19th century with emphasis on the evolution of main regional styles, and Chinese influence on the minor arts. 3 Cr.
ARH 490 Topics in Art History (A). Reserved for different topics not listed in this catalog. May be repeated for credit. 3 Cr.
ARH 491 Senior Seminar in Art History (A). Prerequisite: ARH 201 and 202, or instructor's permission. Examines in detail selected topics in art history with the emphasis on the exploration of research methodologies in fine arts, and writing papers and sharing them in the class. 3 Cr.
ARH 499 Independent Study in Art History (A). Special project in art history arranged in consultation with the instructor-sponsor in accordance with the procedures of the Office of Academic Advisement before registration. May be repeated for credit. 1-6 Cr.
The information in this publication was current as of December 2002 when the text was compiled. Changes, including but not restricted to, tuition and fees, course descriptions, degree and program requirements, policies, and financial aid availability may have occurred since that time. Whether or not a specific course is scheduled for a given term is contingent on enrollment, budget and staffing. The college reserves the right to make any changes it finds necessary and may announce such changes for student notification in publications other than the College catalogs. For the purpose of degree and program completion, students are bound by the requirements in effect as stated in the printed catalog at the time of their matriculation at SUNY Brockport. Inquiries on the current status of requirements can be addressed to the appropriate College department of office. Also refer to the Brockport Web site home page at www.brockport.edu for current information.


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- Inhabitat New York City - http://inhabitat.com/nyc -
"Secret Santa" Gives Out $100 Bills to Hurricane Sandy Victims in Staten Island and New Jersey
Posted By Yuka Yoneda On November 30, 2012 @ 12:04 pm In Helping People,New Jersey,Staten Island | No Comments
The "Secret Santa" declined to give his name or show his face but the Daily News [2] reports that he is a wealthy Missouri businessman from Kansas City. Including the $100 bills, which were stamped with the words "Secret Santa", that he handed out to Hurricane Sandy victims in New York and New Jersey today, he says he will be giving away a total of $100,000 this holiday season.
Some of Sandy Santa's benefactors seemed incredulous that he was just handing them free money. "No, you can't be!" was the reaction of Olivia Bazille of Elizabeth, NJ when Secret Santa offered her the cash. "Oh gosh, I feel like I just got a million dollars," she said. Others, like Elsa Hernandez, also of Elizabeth, NJ, were moved to tears by the kind gesture.
As you might have imagined, Sandy Santa was carrying quite a bit of legal tender on him today so he traveled with a pretty serious security entourage which included NY and NJ cops as well as FBI agents. We hope that this selfless Samaritan has a wonderful east coast stay and gets everything he asked for on his own holiday wishlist.
Via NY Daily News [2]
Images from AP Video [2]
Article printed from Inhabitat New York City: http://inhabitat.com/nyc
URL to article: http://inhabitat.com/nyc/secret-santa-gives-out-100-bills-to-hurricane-sandy-victims-in-staten-island-and-new-jersey/
URLs in this post:
[1] Hurricane Sandy : http://inhabitat.com/nyc/tag/hurricane-sandy/
[2] told the Associated Press: http://www.nydailynews.com/new-york/santa-hands-money-storm-victims-article-1.1210799
[3] : http://inhabitat.com/nyc/secret-santa-gives-out-100-bills-to-hurricane-sandy-victims-in-staten-island-and-new-jersey/hurr-sandy-secret-santa-4/?extend=1
Click here to print.
Copyright © 2011 Inhabitat Local - New York. All rights reserved.


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What is it: This lip gloss formula is unlike any you've ever seen or felt. It's going to give you a beautiful, full-looking pout! It also has ingredients that make the product last longer so it doesn't transfer as quickly, meaning you can still have that gorgeous color later in the day. Packaged in a pink, snakeskin-style gift box.Who is it for: Any woman who wants a beautiful, full-looking pout.Why is it different: This gloss has great pigment and shine without being sticky. The shades were selected to complement each other as well as work perfectly together.How do I use it: Simply turn the bottom of the click-up pen until color appears through the brush and fill in those gorgeous lips!From Mally Beauty.Includes:
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Cool Man
Our Adventure in Blogging
by EB
Jen Starcevic
The computer you are commenting from has an id number. It is 22.214.171.124!
Posted Comments
About the Blogger
I am in Mrs. Starcevic's class. My favorite food is spaghetti. My favorite colors are blue red and green. My favorite number is 200. My favorite letter is e.


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Findings should cheer publishers and educators
Excerpts of survey results
• Both the portion of people who owned an e-reader and the portion who owned a tablet nearly doubled over the holiday season, from 10 percent in December to 19 percent in January.
• E-book readers say they are reading more — an average of 24 books during the past 12 months, compared with 15 books for non-electronic readers.
• Specialized devices aren't the only place people read e-books or other long-form writing, such as magazine articles. Using its broadest definition of electronic content, Pew says about 43 percent of Americans read digital content during the last year on an e-reader, tablet, cellphone or computer.
Here's what's happening on the plugged-in side of the digital divide: an extraordinarily swift change in how people are reading books and other media, driven by the rapid acceptance of tablets and e-readers.
More than 1 in 5 Americans say they have read a book in electronic form during the past 12 months, a trend that is fueling a renewed love of reading, according to a study published Thursday by the Pew Internet and American Life Project. Nearly 3 in 10 adult Americans now own at least one device designed for electronic reading — either an e-reader such as the Amazon Kindle or a tablet such as Apple's iPad.
Pew is documenting trends that may herald profound change — and large challenges — for society, according to Lee Rainie, director of the Internet project. "Those who have taken the plunge into reading e-books stand out in almost every way from other kinds of readers … They are avid readers of books in all formats," Rainie said.
One clear factor is increasing affordability, common with electronic technologies. Amazon now sells a basic Kindle for well under $80.
Even as e-readers are downloading books on computers, tablets, and smartphones, they are also checking out more books at libraries and buying more at bookstores and online. About nine in 10 e-book readers, who typically tend to be affluent and educated, said they have also read printed books in the past year, said the findings, which should cheer publishers and educators.


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An extraordinary opportunity exists to become a suite holder at Agganis Arena, home to five-time National Champion Boston University hockey and world class concerts, family shows, and theatrical spectacles.
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