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Too small and tight.
By BikerBeth
from Evansville, IN
About Me Casual/ Recreational
Comments about Giro Espada Women's Road Shoes - Closeout:
I ordered the size I usually wear but these must run supper small. They were too short and very tight across the instep. Sadly, I returned them.
Bottom Line No, I would not recommend this to a friend
Was this review helpful? Yes / No
- You may also flag this review
Comment on this review
Great shoes but run small
By Soc
from Chino Hills
About Me Avid Cyclist
Ended up returning them cuz even though they mentioned size US 7.5 they were too tight
Really great road shoe
By Penny for your thoughts
from Portland, Maine
About Me Competitive Cyclist
See all my reviews
I will use this for training and competitive triathlons including an ironman in 2016. The two strap, one buckle design is similar to my older Sidis and I felt right at home stepping into these. Love the stiff light sole.
Bottom Line Yes, I would recommend this to a friend
Made for a better ride
By Mo
from Monroe, nc
I purchased these to replace my mountain bike shoes and cletes I've been dual purposing. I noticed better power transfer and feet that didn't cramp and go to sleep. I'm glad I changed to a more traditional road show and pedal. These giros are a good fit how ever run small as stated. I wear a 6.5 street shoe and ended up with a 38 giro espada. I returned a 37. That was too snug. Don't forget you need petals and cletes too.
Super SHoes
By Motomomma
from Milwaukee, WI
Have used these shoes for a 70-mile and a 175-mile ride, and they were fabulous! They come with three different arch inserts; they fit me right out of the box but I am pleased to have the inserts just in case.
Great shoes
By MN
from Richmond, Virginia
Great shoe for the price. Comfortable and light weight.
(1 of 1 customers found this review helpful)
Great Shoe
By Cycling Gal
from Dayton, OH
Great shoe - I'm a cycling instructor and these shoes provide sufficient support, style and durability. Would highly recommend these shoes!
(0 of 1 customers found this review helpful)
Perfect shoes for new cyclist
By Amy
from San Jose,CA
These are wonderful. They are my first pair of cycling shoes and are very easy to use. They fit my wider feet nicely.
Awesome. But 1.5 eu sizes bigger
By Domphoto
from Montreal
Amazing quality
Excellent performance and value!
By Tina the Trainer
from Ann Arbor, MI
Excellent performance, light weight, comfortable and well constructed shoe. I've always had high performance gear and these shoes are a standout. And of course, great value (price/quality.) One major caution is they run a full size small. The sizing chart suggested a 39.5 for me and I had to re-order a 40.5. Highly recommend these shoes overall.
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Almond Brownies RecipeRead Reviews Be the first to add a review
3.5 16 17
With a perfect creamy frosting and just a touch of almond flavor, these easy-to-make brownies really are something special. Keep a can of chocolate syrup on hand for this delectable treat! —Didi Desjardins, Dartmouth, Massachusetts
- 1/2 cup butter, softened
- 1 cup sugar
- 4 eggs
- 1 can (16 ounces) chocolate syrup
- 1/2 teaspoon almond extract
- 1 cup plus 1 tablespoon all-purpose flour
- 1/2 teaspoon salt
- 1 cup (6 ounces) semisweet chocolate chips
- 1 carton (8 ounces) frozen whipped topping, thawed, divided
- 1/4 teaspoon almond extract
- 1/2 cup chopped almonds
- In a large bowl, cream butter and sugar until light and fluffy. Add eggs, one at a time, beating well after each addition. Stir in chocolate syrup and extract. Combine flour and salt; gradually add to chocolate mixture.
- Pour into a greased 13-in. x 9-in. baking pan. Bake at 350° for 25-30 minutes or until a toothpick inserted near the center comes out clean (brownies may appear moist). Cool on a wire rack.
- For frosting, in a microwave-safe bowl, melt chocolate chips and 1 cup whipped topping; stir until smooth. Cool. Fold in extract and remaining whipped topping. Spread over cooled brownies. Sprinkle with almonds. Store in the refrigerator. Yield: 3 dozen.
Originally published as Almond Brownies in Simple & Delicious March/April 2009, p48
Reviews for Almond Brownies
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Any changes to your rating or review will appear where you originally posted your review
Reviewed Nov. 5, 2015
Reviewed Mar. 20, 2014
"Really good. My oldest grandson thought there should be more almond. But I thought the taste was just right. Will make again."
Reviewed Mar. 12, 2013
"These were delicious - will make again!"
Reviewed Sep. 1, 2012
"Did NOT like the frosting made with whipped topping! It is gummy and strange. Everyone here was disappointed because they love my normal brownie recipe. We scraped the frosting off and ate the brownies."
Reviewed May. 15, 2012
"21g of Carbs for a single brownie does not make this a diabetic friendly snack and stating that it is can be dangerous!"

subset: commoncrawl


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- From 27 Tue Nov 2012 to 06 Thu Dec 2012 November 27, 2012 December 6, 2012 Malibu Beach Inn Every Sunday, Tuesday, Wednesday, Thursday, Friday, Saturday ...
Nothing to Hide
Audrey Skirball Kenis Theater
Created by Derek DelGaudio & Helder Guimarães
Written by Derek DelGaudio
Directed by Neil Patrick Harris
An unlikely series of events has led two of the world's most gifted sleight-of-hand artists, Derek DelGaudio (2011 Close-Up Magician of the Year) and Helder Guimarães (2011 Parlour Magician of the Year), to share a stage. Fresh from sold-out performances at the Magic Castle, DelGaudio and Guimarães have joined forces with director Neil Patrick Harris to present Nothing to Hide, a unique and unprecedented theatrical event. Abandoning the antiquated notions of a traditional magic show, Nothing to Hide takes the audience on an imaginary journey through a series of diverse and engaging vignettes brought to life solely from the words and hands of the two masterful magicians.


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Purchasing Office
Our mission is to procure goods and services in accordance with all Federal, State and System regulations and obtain the best procurement value upholding and supporting the educational and research missions of the University. It is the department's goal to serve our customers with courteousness, efficiency and timeliness.
The Purchasing Office operates under the Office of Financial Affairs.
The Purchasing Staff is comprised of the Director of Purchasing and Distribution Services, a team of professional buyers, and support staff.
The Purchasing Office is located in the Central Receiving Warehouse Building (CRW) at One UTSA Circle, San Antonio, Texas, 78249. Our hours of operation are 8:00 a.m. to 5 p.m. Monday through Friday, excluding University Holidays.
You may contact the Purchasing Office by email at UTSA Purchasing Department email@example.com
As of MAY 1, 2014, UTSA will be implementing a new Financial ERP System, PeopleSoft 9.1. The System will not accept any variances between the purchase order items and the invoice line items, including variances related to unit price, extended price, freight charges, unit of measurement, or number of line items. To ensure proper payment of invoices, UTSA providers should use all efforts to safeguard against any line item variances between the purchase order and invoice. Any variance will result in significant payment delays.


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John Robert Teltschik
Position: P
Height: 6-2 Weight: 212 lbs.
Born: March 8, 1964 in Floresville, TX
High School: Tivy
College: Texas (school history) (Teltschik college stats)
Drafted by the Chicago Bears in the 9th round (249th overall) of the 1986 NFL Draft.
Weighted Career AV (100-95-...): 7 (8324th overall since 1950)
Other SR Links: College Football at Sports-Reference.com


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What Happens During Radiation Therapy for Non-Hodgkin Lymphoma
If you're having treatment directed at just a small part of your body, you'll probably be able to have radiation as an outpatient. That means you can have it done at a hospital or clinic without having to spend the night. If you're preparing for a stem cell transplant, you will have the treatments as an inpatient, which means you'll have to stay in the hospital.
You get radiation in one of two ways.
External radiation from a machine outside the body, which is the most common type of radiation used for lymphoma
Internal radiation where radioactive material is placed inside you, directly into or near the tumor
You will talk with a doctor who specializes in both lymphoma and radiation, called a radiation oncologist. This doctor determines the type of radiation you need, the dose, and the treatment length. During your visit, ask what you can expect to feel during and after the treatment.


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Photo courtesy of Sundance Film Festival.
Reporters flocked to the Egyptian Theatre to hear Robert Redford talk about the 2013 Sundance Film Festival at a press conference on Jan. 17. But only a handful attended round-table interviews with the founder later that day.
In Salt Lake magazine's round-table, Redford gave his thoughts on this year's festival, the festival's future, Slamdance and more. Here are the highlights from that interview:
How as the Sundance brand changed over the years?
"The brand has not changed in terms of its purpose, but it has changed in terms of its size. It's grown beyond what I ever imagined, but the purpose has remained the same . . . which is creating opportunities for new voices to be heard. And that can be expanded into other art forms."
Has the festival come to fruition the way you had hoped?
"Yeah, it has. It has more than fulfilled a vision—it's gone beyond that. I can't be anything but happy about it. Now, it's like wild horses. Hold them back and don't let them run out of control. I think that's the new challenge.
In terms of the original idea . . . what I found out is you're not going to get any support for a new idea unless there's some guaranteed money behind it. We are a non-profit, so that was out of the question. So, you have to do it yourself. You have to grind it out yourself and take it to the point where something is recognizable or there's some kind of proof of profit, and then you can get some support. At the first festival, it was one theater in Park City in 1986. One theater—the Egyptian. There was no financial support . . . I tried to reach some local people I thought had money . . . the only person who stepped up was Mrs. Fields of Mrs. Fields Cookies. And they wouldn't give any money; they would just give free cookies."
You have mentioned before that no Sundance filmmaker had ever asked you to be in his or her film, aside from J.C. Chandor recently for the film All Is Lost. Why is that?
"I have no idea . . . I went into film in 1964 and right away, I was an actor for hire, and I started to get anxious about stories that I would like to tell . . . So, if I was going to do Butch Cassidy or The Way We Were, I would ask 'Would you allow me to make this smaller film?'—like Downhill Racer and The Candidate—and I was, provided it was lower budget . . . Then I thought about how many other people [didn't] have that opportunity—maybe I could do something . . . That's where the idea came to create this. I thought, when I started it, it would be nice to be in some of these films, but nobody asked. And I never have figured out why."
But now it's not just Sundance, there are film festivals popping up all over. Would you still start Sundance today?
"If there was still a space to have an independent film festival, I would do it because it's really that word 'independent' that interests me . . . I am happy that more films that are out there have more of a chance for distribution."
What do you think about those other "dance" festivals, like Slamdance and X-Dance?
"I don't have any problem with it at all, because we can only show so many films. You can see the problem. [Park City] is bulging at the seams. We've probably taken it as far as we can. It now has to bleed out into other communities, like Salt Lake, Ogden and Provo. We can only show so many films, so I don't have any problem. Whatever they call it doesn't matter to me if they can show films we can't show."
There are lighter themes at this year's Sundance Film Festival. What are your thoughts on the changing mood?
"There's more comedy, which I think is great. You can always use a little more comedy. Sometimes, things are too serious. Comedy usually comes at a time of duress. During the depression in the '30s, there was a lot of comedy. So, if that's showing up now, I would suspect that it's a reflection of the times. You can only be depressed so long."
Speaking of duress, there are a lot of films with heavy subjects this year coming from places that are dangerous for the filmmakers, like The Square.
"That's one of the reasons I think documentaries are so important . . . They take the time to dig in, and many of those documentarians are risking their lives to get their product . . . To me that's a very brave thing. That's film being brave."
So much technology is no longer place-based, but mobile. What's the role of Sundance as a place-based festival five to 10 years from now?
"I don't know. That's too far for me to predict. I can only tell you we'll be there."


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The Arts at Trinity will feature the Serafin String Quartet at 7:30 p.m. April 20 at the Trinity Episcopal Church, 1108 N. Adams St., Wilmington.
The Serafins will be joined by University of Delaware piano faculty artist Julie Nishimura. The program features "Song of Palestine Variations" and "Estampe" from Lou Harrison's String Quartet Set. The concert will close with the Serafins performing Schumann's String Quartet a minor Op. 41 number one.
Tickets are free and donations will be appreciated. For more information, call (302) 652-8605.
Location, ST | website.com


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Ranked among the nation's most integrated healthcare systems, Community Health Network is Central Indiana's leader in providing convenient access to exceptional healthcare services, where and when patients need them—in hospitals, health pavilions, workplaces, schools and homes.
According to the National SAFE KIDS Campaign, accidental injuries are a leading cause of death among children ages 14 and younger. And, according to the Centers for Disease Control and Prevention (CDC), burns and fires are the fifth most common cause of accidental death in children and adults, and account for an estimated 4,000 adult and child deaths per year. The key to reducing childhood burn injuries is prevention.
Burns destroy tissue. When skin is burned, it cannot prevent the entry of germs, prevent loss of body fluid, or control body temperature.
The severity of the burn depends on the depth of the burn; the size of the burn; the location of the burn; the age of the child; the source of the burn; and the health of the child prior to the burn injury.
To protect your child, it is important to understand the types of burns and the most common causes of burns. Practice fire safety and burn awareness at all times. Teach your children how to avoid sources of burns and what to do in the case of a fire. Should your child be burned, emergency care may be necessary.
See more of our awards
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Toscana Fixed Dining Table
- White Glove Delivery
- Overview
Our Toscana trestle table evokes a 19th-century Northern Italian tailor's table with its X-shaped supports and keyed through-tenons. It's crafted with a distressed planked top and eased edges, and designed to maximize legroom and serving space.
- 70" long x 38" wide x 30" high; seats up to 6
- Handcrafted with a kiln-dried wood frame.
- The Tuscan chestnut finish is a multistep process with hand-applied layers, hand distressing and burnished edges that give the table the look of a well-loved antique.
- The coordinating bench spans the entire length of the table, comfortably seating three.
- Wood swatches, below, are available for $25 each. We will provide a merchandise refund for wood swatches if they're returned within 30 days.
- View our Furniture Brochure.
- For successful delivery: Furniture Delivery Video.
- 70" long x 38" wide x 30" high; seats up to 6
- Dimensions & Care
- Built from pine, particleboard and pine veneer.
- 70" long x 38" wide x 30" high
- Top: 1.5" thick
- Apron: 3.5" high
- Clearance under table: 28.5"
- Clearance under stretcher: 12"
- Distance between legs: 40.5" side to side; 22" front to back
- Weight: 107 pounds
- Shipping & Return Info
View our Shipping Information
Return Policy
At Pottery Barn, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction is our priority. We carefully inspect your order prior to shipment. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement. If, within 7 days for Quick Ship upholstery and 30 days for all other products, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. Mattresses are final sale and may not be returned or exchanged.
We cannot accept returns on monogrammed, personalized, made to order items, or on items damaged through normal wear and tear. We also cannot accept returns of final-sale items which are identified by a price which ends in .99.
For returns of items purchased from your Pottery Barn registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later.
You may return merchandise through the mail for a refund or replacement. For detailed procedures for returning items through the mail, please contact Customer Service at 1.888.779.5176, 7 days a week, 5:00am - 9:00pm (PT).


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June 14, 2013
LOS ANGELES - A total of four UCLA tennis players recently earned the highest honor in collegiate tennis, as the Intercollegiate Tennis Association (ITA) released a list of 86 players (45 men and 41 women) who achieved All-America status for 2013.
On the women's side, sophomore Robin Anderson was the only UCLA player to earn All-America honors in both singles and doubles. She was seeded No. 3 in the NCAA singles draw, where she reached the round of 16. She also ended the year ranked No. 4 nationally in singles. In doubles, she and partner Skylar Morton reached the final of the NCAA doubles draw where they fell to USC's Kaitlyn Christian and Sabrina Santamaria, 6-4, 6-3. Anderson and Morton ended the year ranked No. 8 in the ITA doubles rankings. As a result of reaching the NCAA final and a top 10 doubles rankings, Morton was also named an All-American in doubles.
Freshman Kyle McPhillips was also named an All-American in singles by finishing the year ranked in the top 20 (No. 17) of the ITA rankings.
The UCLA women were one of just four teams in the country to place three players on the 2013 All-America team, joining Georgia, Stanford and USC.
On the men's side, sophomore Marcos Giron was the lone All-American for UCLA, as he was listed at No. 13 in the final ITA singles rankings.
The following criteria is used to determine All-America honors:
Top 16 seed in NCAA Singles Championship
Reach round of 16 in NCAA Singles Championship
Finish in the Top 20 of final ITA National Singles Rankings
Top eight seed in NCAA Doubles Championship
Reach quarterfinals in NCAA Doubles Championship
Finish in the Top 10 of final ITA National Doubles Rankings
2013 All-America Teams: Men & Women
Final ITA Rankings (Men): Team | Singles | Doubles
Final ITA Rankings (Women): Team | Singles | Doubles


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Corneal Ulcer (cont.)
If you do not need hospitalization, your ophthalmologist will prescribe eyedrops and pain medications for you to take regularly at home. You will need to follow up with your ophthalmologist daily until your ophthalmologist tells you differently.
You should contact your ophthalmologist immediately if you experience symptoms such as worsening vision, pain, discharge, or fever.
Medically Reviewed by a Doctor on 8/12/2015
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Ulcer, Corneal »
This type of corneal ulcer is usually associated with a connective tissue disease, such as rheumatoid arthritis (RA), Sjögren syndrome, Mooren ulcer, or a systemic vasculitic disorder (eg, systemic lupus erythematosus [SLE], Wegener granulomatosis, polyarteritis nodosa).


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Gardening Articles: Flowers :: Roses
Animal Fencing
by National Gardening Association Editors
Fencing is the most reliable defense against garden-raiding deer
Fencing is the only sure-fired way to keep wild and domestic animals out of a prized garden long term. Although it can be expensive for large animals such as deer, it may be the only way to protect your yard from costly damage.
Here are some points to keep in mind when planning to build a wildlife fence.
- Check local ordinances on building fences. Large fences may block desired views.
- Polypropylene fencing is less obtrusive than solid fencing, but provides protection only from certain animals.
- Fences work best when the animal doesn't know what it's protecting. A hungry animal that knows food is available will try harder to get through any fence. Solid fences provide a visual block so they don?t know what they're missing.
- Electric fences are more expensive and need maintenance, but they make less of an impact on your view and can be more effective than solid fences.
- Electric fences work best if animals know they are "hot". Smear peanut butter on the fence as soon as you put it up to entice animals to get shocked. They'll be less likely to test the fence again. Keep vegetation from touching the fence. It will reduce its charge or ground it out.
- Build the fence to fit the animal. Below is a list of animals with design tips to foil their wiles.
Deer are probably at the top of the list of animals home owners want to fence out. Since deer can jump, the fence needs to be constructed high and at an angle to deter them. There are many design variations for deer barriers available from game wardens. One effective option is an 8- to 10-foot-tall fence slanted at a 45 degree angle toward the direction from which deer are most likely to come (for an illustration, click here). It will make them think twice about jumping. Keep the fence snug to the ground, since deer can also wiggle under fences. Electric fences baited with peanut butter and solid fences that block the view to a food source also work well.
Cats and Dogs
Build a wire mesh fence 3 feet high anchored with sturdy posts. Cats probably won't climb over, and most dogs can't knock it over. Bend the base of the fence outward to form a 2-foot-wide apron along the ground to discourage dogs from digging under it.
Exclude rabbits with a 2-foot-tall chicken wire fence that has 1-inch-diameter holes. To prevent them from digging under, curve the bottom of the fence 90 degrees to create an apron a foot or so wide, and bury it several inches deep.
Like raccoons and opossums, woodchucks are good climbers, so leave the top 18 inches of fence unattached, or string electric wire across the top to discourage these pests. The 4-foot-tall fence should also have a 2-foot-wide apron buried a few inches below the soil to stop the pests from burrowing under the fence. Electric fencing placed a few inches outside a wire fence also helps.
Photograph courtesy of Flickr Creative Commons, f_shields


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ZF-3499: helper="formMultiCheckbox" being added to fieldset
I've created a Zend_Form and added a Zend_Form_Element_MultiCheckbox element to it with the following decorators: ViewHelper, Fieldset. When using setLegend on the Fieldset decorator the HTML output is something like below:
... snip ...
fieldset id="testMulti" helper="formMultiCheckbox">test legend
... snip ...
helper is not a valid attribute and I believe it is being added to the fieldset tag errantly.
Related to several other changes; scheduling for 1.6 release.
Fixed in trunk in r10689 and in 1.6 release branch in r10690.
Updating for the 1.6.0 release.


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The United Nations Office at Geneva (UNOG) operates a programme called the IT Equipment Donation Programme to Permanent Missions and NGOs for the benefit of United Nations Permanent or Observer Missions and non-governmental organizations (NGOs).
Through this programme, UNOG supports IT equipment donation requests. When available, the Central Support Services donate the returns from UNOG's IT Replacement Program.
Who can request for this programme?
What can be donated through this programme?
Terms and Conditions
How to apply?
Permanent or Observer Missions & NGOs interested in computer equipment should place their requests on an official letterhead that has been endorsed by their Chief of Mission / NGO and sent to the following address:
United Nations Office at Geneva
Central Support Services
Palais des Nations, Room S29
1211 Geneva 10
The Central Support Services will treat the requests received on a first come first served basis. When the equipment requested is available, the Permanent or Observer Mission / NGO will be notified and allotted a date and time to pick up from Dock 49 at UNOG.
Upon withdrawal of the equipment, the Permanent or Observer Mission / NGO will sign and date a form confirming that they have taken the equipment. Through the form, the transfer of property will be effective and UNOG will be relieved from obligations and liabilities.
Q: Approximately how old are the donated PCs?
A: The PCs are in average 5 years old.
Q: Could we request for more than 10 desktop PCs, 10 Flat screen monitors and 3 printers?
A: Yes, Please indicate your requirement in your letter.
Q: Do you donate laptops?
A: We have only a very limited number.
Additional Information
For additional information, please contact the Central Support Services using one of the following methods:
Address: Palais des Nations, 1211 Geneva 10, Switzerland. | P: +41 (0) 22 917 1234 | F: +41 (0) 22 917 0123 | E:firstname.lastname@example.com
Copyright | Terms and Conditions of Use | Privacy Notice


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Terry heads the Mobile Library Services department and enjoys each and every one of the communities the bookmobile serves.
This is an official blog for the Marin County Free Library.
All branches of Marin County Free Library will be closed on Monday, July 4 for Independence Day.
William Steig was born in New York City in 1907. In a family where every member was involved in the arts, it was not surprising that Steig became an artist.
He published his first children's book, Roland the Minstrel Pig, in 1968, embarking on a new and very different career.
Steig's books reflect his conviction that children want the security of a devoted family and friends. When Sylvester, Farmer Palmer, Abel, Pearl, Gorky, Solomon, and Irene eventually get home, their families are all waiting, and beginning with Amos and Boris, friendship is celebrated in story after story.
Try some of these books by William Steig----you're in for a treat!


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Price: $32.00
Create models of some of the world's most stunning architecture with these challenging 3-D puzzles. Famous buildings take shape as you assemble foam-core pieces. Detailed instruction booklets include information on the building's history.
WARNING: CHOKING HAZARDsmall parts not for children under 3 years.
Average assembly time is 3-4 hours. 120 pieces. For ages 7 and up. 23 1/2"H x 16 1/2"W x 13 3/4"D when assembled.
St. Basil's Cathedral in Moscow's Red Square was a Russian Orthodox church built in the mid 1500s. Since the 1920s it has been part of the State Historical Museum system and is now a UNESCO World Heritage site. Its iconic and brightly colored onion domes are recognized the world over, and have influenced the architecture of Russian Orthodox churches found in other countries throughout the world.
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(3 of 5 customers found this review helpful)
A unique and beautiful gift
By Eve from Canada
from Ottawa, Ontario
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Comments about St. Basil's Cathedral 3-D Puzzle:
This will be a great project to assemble with our son! He has enjoyed 3D puzzles before, but this one is the most detailed, colorful and architecturally interesting one yet.
Bottom Line Yes, I would recommend this to a friend
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text: By the mid-1960s, Southern California had come into its own as a pop metropolis. Thanks to the surf sound of the Beach Boys, the region became identified with the sun-kissed dreams of white American teens, and producers like Phil Spector and Lou Adler were making classic singles that challenged the dominance of the New York scene. At the same time, Los Angeles was developing a thriving folk scene around clubs like the Ash Grove and the Troubadour and McCabe's guitar shop. That scene served as a magnet to aspiring folkies from all over -- people like Roger McGuinn, John ...read more


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Rated 5 out of 5 by 1 reviewer.
Rated 5 out of 5 by gunnysmom Great sauce This far exceeded my expectations. I made a super quick supper by using crumbled tofu and the sauce. Served over basmati rice, it was scrumptious. I love curries and this sauce is one of the best I've tried. It has a nice kick and good blend of spices. I wish I had ordered more. I will be reordering as soon as it is available online again. February 4, 2015
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Department of Psychology
WIU Home > CAS > Psychology > Faculty
Select a faculty or staff member or select a category:
Faculty by Area | Staff | Advisor | Chairperson | Graduate Program Coordinators
Faculty Members
- Blankenship, Matthew (Associate Professor and Advisor for Neuroscience Minor)
- Cruise, Tracy (Professor)
- Diehl, Virginia (Professor)
- Dunkel, Curtis (Associate Professor)
- Dworkin, Steven (Professor)
- Goodwin, Paige (Associate Professor)
- Hammersley, Jonathan (Assistant Professor and Advisor for Psychology of Substance Abuse)
- Harbke, Colin (Associate Professor)
- Hemenover, Scott (Associate Professor)
- Herbstrith, Julie (Assistant Professor)
- Intrieri, Robert (Professor and Advisor for Gerontology Minor)
- Keefe, Kristy (Assistant Professor)
- Kelly, Kristine (Professor)
- Kelly, Ruth (Professor and Coordinator of Specialist in School Psychology Program)
- Knight, Tracy (Professor and Coordinator of Clinical/Community Mental Health M.S. Program)
- Lane, David (Professor and Coordinator of General Experimental M.S. Program)
- Laurent, Jeff (Professor)
- Lindemann, Dana (Associate Professor)
- Mathes, Eugene (Professor)
- McClure, Kimberley (Professor and Advisor for Forensic Psychology )
- McFadden, Sandra (Professor)
- McGuire, Kathy (Assistant Professor)
- Morgan, Russell (Professor, Interim Associate Provost)
- Schmidt, James (Associate Professor and Associate Dean)
- Sears, Karen (Professor and Chair)
Sotozaki, Hiroko (Associate Professor)
Associate Faculty
- Colclasure, Ryan (QC, Instructor)
- Gorsuch Bainter, Tiffany (Instructor)
- Sim, Jeffrey (QC, Instructor)
- Kreps, Connie (Graduate/Clinic Secretary)
- Staley, Christine (Office Manager)
- Miller, Kathleen (Academic Advisor, Undergraduate)
- Smith, Roland (LAC Tech II)


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Video Pick: "He Doesn't Love You Any More"
When the Center for Documentary Studies at Duke University announced the winner of the 2013 Dorothea Lange-Paul Taylor Prize last week, the selection committee also awarded a "special recognition" to Bianca Giaever. The committee recognized her innovative approach to using images and words to tell a funny, touching and very personal story in her video "Holy Cow Lisa," which she produced for a college class.
The video is based on an actual conversation she had with her college advisor—he provides the voice over for the video—during what was evidently not an easy time in Giaever's college career. She seems to have a hard time confronting those tough words, "He doesn't love you anymore." Her advisor encourages her to "revel in these emotions," and shares his own story of a sad break-up. In fact, he shares a lot about it.
If you've been to college, broken up with someone, or marveled at grown-ups and the advice they give, you'll probably find something to like in "Holy Cow Lisa." It's on view on Vimeo at vimeo.com/54700919
Holy Cow Lisa from Bianca Giaever on Vimeo.
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Lange-Taylor Prize of $10K Given For Photo Project On Tiny Alaska Town


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EMU's Center for Interfaith Engagement promotes friendship and understanding among those who believe differently
Why would an explicitly Christian university go out of its way to bring Muslim and Jewish scholars to its campus to teach entire courses and interact every day with students? That's what is happening at Eastern Mennonite University. "Interacting with people of other faiths builds friendship and understanding – something we sorely need in this world," says ...More


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- Inside Athletics
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The senior rolled to victory in the 100, clocking a regional-qualifying time of 10.47. Teammate Johnny Tucker (
Rainer and Tucker had hands in ETSU gold in the 4x100-meter relay. The team of Tucker, Mike Wright (
Shane Estes (
Wright earned another silver in the 110-hurdles, posting a season-best time of 15.13, while Reber managed a fifth-place showing the triple jump, posting a season-best mark of 41-5 (12.62m).
Josh Hicks (
The Bucs racked up the points in the 5,000-meters, with Michael Deren (Blasdell, N.Y.) and Jeff Crane (Taylors, S.C.) reeling in third and fourth place finishes. The Buccaneer duo recorded season-best marks of 15:24.94, and 15:30.09, respectively.
Peter Dalton (
Also scoring for the Bucs was Josh Rock (
Gardner-Webb took the competition with a total 194 points, followed by
Next up, members of the ETSU squad are scheduled to attend either the Penn Relays in


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Colorado Public Radio chimes in on the impact of doping on Colorado
Submitted by Kris Thompson on
Professional cycling is huge in Colorado, so when Lance Armstrong was stripped of all seven of his Tour de France titles for doping, we wanted to learn what his spectacuar fall from grace could mean for the sport in this state. Ryan Warner talks with Brian Holcombe, editor of the Boulder cycling media outlet VeloNews.com.
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Simple solution to get rid of the cheats, liars and thieves...
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God it's huge.
God it's huge.
it's all spent killing mainly innocent brown people in the name of 'democracy', either directly (Vietnam / Iraq) or indirectly (Palestine). maybe if they had a huge defence budget but it was just to fund a highly-structured peace army which acted as the "arsenal of democracy" in wartime and supplied arms to the group of countries that it was allied with and wasn't composed of lebensraum-securing dictators.
i mean there's a country with a highly superior economy at this time with a functioning democracy which has worked for several years and yet its citizens continually elect people who don't plan to convert it into an operation for world peace, despite the great potential it has to secure this. and is it that great of a democracy, really? i mean the words 'filibuster' and 'gerrymandering' are everywhere in the U.S. press, there's a bigger over-representation of the main two than in U.K. politics, and yet the U.S. is the king of democracy. at least they have freedom of speech and freedom of press/association I guess!!
i'm not speaking from any political position here, these are just inevidenced thoughts.
no hicky you are factually incorrect
the vietnamese are yellow
america hardly has a highly superior economy. its really big yes, but thats more down to the fact that we have a much larger population than other western industrial nations on our level of development, and the fact that everything is so inefficient and thus costs more. america's economy is a mess.
its nice to have a defense. sucks when officials use it so offensively though.
its funny how we turn a blind eye to Saudi Arabia even though the mosque that funded the original terrorist attacks abides there, just because we have "political ties" and we purchase oil from them.
your welcome
derp (no seriously, their inhabitants fund our enemies heavily)
your welcome
allied by commerce
your welcome
Chances are, if you're on a mountain in China, all you'll see is China anyway.
That thing is too freaking huge.
It's been so long and I still don't get your Iraq war. Sorry guys.
its generally to wipe out a source of social intolerance based on a sect of islam that we are after for revenge.
sparking american pride will make our country fight for the general sake of revenge pretty quick. but then again, we wouldn't have won WWII and stopped the cruel antisemitism and annexation.
your welcome
china isnt our ally
Your an absolutely wonderful man, any girl that is yours is lucky and I know that from personal experience. ~KMT
(we are trade allies lol)
your welcome
a 'trade ally' is ... sort of a thing that doesnt exist. china and america trade(moreso america forks out money to china without much reciprocity), but their foreign relations are rather uneasy, and even their actual economic relations are uneasy as china artificially deflating the yuan to suck up the world export market is something the us has been calling predatory for years
also the us military pretty regularly runs war games based on china taking moves against US influence(specifically trying to invade taiwan) so military conflict with china is something the government and military view as a distinct plausibility
IN SHORT: not allies
I hate China so much.
Your an absolutely wonderful man, any girl that is yours is lucky and I know that from personal experience. ~KMT
nope, because there are no alternatives to the entitlement programs
I know I'm new here but I'll throw in my 2 cents. I have a little experience on this.
Back to the main topic though, the reason the military budget is so high, quite simpily is because it's such a gigantic organization. You gotta figure wages, clothing, housing, healthcare, et cetera. For 1.5 million people (1.477 according to wiki) that adds up real quick. Not to mention fighting a war a few thousand miles away. Granted it probably dosnt need to be so high. but since we're "entitled" to protection as Americans, well that's what we get. At a cost.


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30 Years Ago (Dec. 16, 1982)
The Bedford Town Board signed the final bond issue for the sewer works and the loan was closed as FMHA officials and others involved in the project met last Friday morning at the Bedford City Hall. The sewer project was funded by FmHA loan of $525,000, a FmHA grant of $52,000 and an Environmental Protection Agency grant of $1,091,800, a total of $1,668,900. The loan portion is to be paid back within 40 years from the rates and charges for the use of the sewer facility.
30 Years Ago (Dec. 9, 1982)
Federal law requires counties surrounding a nuclear power plant to have a plan in the event of a radiological emergency. The first meeting for preparing such a plan was held last Tuesday evening at the courthouse in Bedford. Representatives of Marble Hill, their plan consultants, Stone and Webster Engineering Corporation of New York, Kentucky state consultants and Trimble County representatives were present.
30 Years Ago (Dec. 2, 1982)
30 Years Ago (Nov. 25, 1982)
The Trimble County school system was among four such systems in Kentucky to be given more time to balance their budget by the Kentucky State Board of Education last Thursday. In October the local school board submitted their plan to the State for eliminating the $78,769 deficit that had developed in last year's budget. School systems are required by state law to balance their budgets.
30 Years Ago (Nov. 18, 1982)
Burley market opened yesterday and there will be sales every day in Carrollton. With 16 days until the closing for Christmas, tobacco growers have time to makes the sales. The average support price is now $1.751 per pound, 7 percent above last year's average. This year's crop seems to be of much better quality than last year's according to warehousemen.
30 Years Ago (Nov. 11, 1982)
A reward of $100 is being offered for information leading to the arrest and conviction of the offenders who pushed over 12 tombstones in the old part of the cemetery.
Students of the month of October for the freshmen is Shannon Davidson; sophomore is Ruth McCane, Junior Carder; and the senior Chris Frederick.
Anniversary: Mr. & Mrs. Clifton Liter-40 years; Mr. and Mrs. Lawrence Hughes-50 years.
30 Years Ago (Nov. 4, 1982)
The Bedford Town Board voted to give the Trimble County Public Library the $1000 previously budgeted to them. They also voted to give the Bedford Volunteer Fire Department $3000 at their meeting Monday night.
The Trimble County School Board met last Wednesday night and heard the results of a three-day test given Trimble County students last April. According to the test results, Trimble County students scored higher than the state wide norm on an average.
30 Years Ago (Oct. 28, 1982)
A large group of people, about 60, gathered at the Trimble County Public Library last Tuesday as the library board met to decide whether or not the proposed November 15th closing of the library would be permanent or temporary. Many suggestions were made on how to keep the library operating until tax money came in. The final comment before adjournment was an invitation to attend Thursday's fiscal court meeting and learn what they could do to help.
30 Years Ago (Oct. 21, 1982)
30 Years Ago (Oct. 14, 1982)
Trimble County Sheriff Howard Long is still investigating the plane crash of a Cessna 182 into the Ohio River last July 4.
The Milton Town Board received a complete set of plans and Joe Ballard, from the construction-engineering firm, said that a copy of the plans had been sent to the state for approval and any revisions that would be deemed necessary. If revisions were not needed, the target date for letting out the contract for construction of the system would be six months.
Copyright © 2016
The Trimble Banner is your source for local news, sports, events, and information in Trimble County, KY and the surrounding area.


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The second in a series of books containing just Polaroid images. A fantastic photographic medium where you only get one chance to get the image. Each picture is totally unique and a complete original. I hope you enjoy the pictures. Neal
With 20 years experience in Design and Marketing behind me and with a passion for photography, I love colour, texture, shape and form in just about everything. Whether it be a frosty morning or a hot summers day (unlikely in England!) you'll find me capturing images wherever I am, either on my Canon digital kit or with my Polaroid camera. I freelance in Design and Photography and cover events, Weddings parties and conferences. I also do portrait work and have had held several small solo exhibitions where I have sold photos and artworks (I occasionally paint as well, though my kids have slowed that down a bit now). I hope you like what I do. Cheers! Neal
Comentario publicado.
ISO600 dice
HI! we're leading the 1°Italian Instant festival, in October in Milan. It will be very important and the first in europe to and in the contempoarry art day. we'll have shows, performance, conferences, workshops, the museum of polaroid cameras and also we'll have a space dedicated to publications on the instant photographyt.
If you want to be among the protagonists of this festival with your book. write to: info.polaroiders [at] gmail.com (set subjet: "iso600: pubblication-your name surname") to have more information.
Hope to hear soon from you,
publicado a las 01 de jul. a las 22:40 PST
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Instant Images 3 Publicado 29 de marzo de 2008
On Location Volume 1 Publicado 24 de octubre de 2007
Neal Lankester Photographer Publicado 03 de octubre de 2007
Colours and Shapes Publicado 29 de agosto de 2007
Instant images Publicado 03 de julio de 2007


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St. Paul Top Customizer
Imagination is the only limit when designing a vanity top that matches your style using an assortment of spectacular colors in four unique finishes and premium sink options. Our Vanity Top Customizer is the perfect tool to design the top that is perfect for your home. Choose from 36 colors, 5 designer sink options, 3 edge profiles and multiple backsplash options. Create your top today and it will be delivered in 10-15 business days. Note: St. Paul vanity tops are custom made to your specifications and are not eligible for refunds. We also have a short vanity top customizer tutorial to view.


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Alice Elizabeth "Betty" Knotts of Dover, DE passed away on Thursday, September 6, 2012 at the Seasons Hospice Wing of Christiana Care Hospital surrounded by her loving family. She was 87.
Mrs. Knotts was born October 11, 1924 in Clayton, DE, the daughter of the late George Edward Eichholz and Daisy Davy Scott Eichholz.
She graduated from JBM High School in Smyrna in 1942. During World War II, she worked in Washington D.C. and for the DuPont Company in Wilmington, DE. She later worked as an Auditor for the State of DE/DMV, retiring after 30 years.
In addition to her parents, she was preceded in death by her husband of 57 years, George Walter Knotts; brothers, Charles "Toddy" Scott, and Medford and Edward Eichholz; and a sister, Barbara Eley.
She is survived by her son, George D. "Dave" Knotts and his wife, Alma Jean "Jeanne" Cox Knotts of Clayton; granddaughter, Jeanne Marie Harkleroad and her husband Wayne of Colbert, WA; grandson, George "Eddie" Knotts and his girlfriend Amy Saly of Elkton, MD; and a great grandson, Robert W. Harkleroad III, of Colbert, WA.
A viewing will be held on Monday, September 10 from 7 to 9 p.m. and again on Tuesday, September 11 at 10 a.m., in the Faries Funeral Chapel, located at 29 S. Main St. in Smyrna.
Funeral Services will begin Tuesday at 11 a.m. Burial will follow in Odd Fellows Cemetery in Smyrna.
Condolence letters may be sent by visiting www.fariesfuneralhome.com.
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Location, ST | website.com


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VMware Fusion and Fusion Pro FAQs
Downloads and Trials
How can I download VMware Fusion or VMware Fusion Pro?
You can download VMware Fusion software from the Fusion Download page.
Can I convert my trial license to a permanent license?
After the evaluation period has expired, you will be prompted to enter a license key. If you have purchased the product you will have received a new license key. Enter the purchased license key when prompted to unlock the full "unlimited" version of the software. To take advantage of complimentary email support for up to 18 months, your license key must be registered. If you purchased the product from the VMware Online store, your license key is automatically registered. If you purchased from a reseller, you need to manually register your license key in My VMware. Please consult this KB article for detailed instructions on license key registration.
Do I need to download VMware Fusion again if I am converting my trial license to a full license?
No. You simply need to update your license key in VMware Fusion. You can do this from the "VMware Fusion" menu, click on "License" and enter your new license key.
Where do I download free "minor" updates?
VMware Fusion will prompt you for updates automatically. To manually check for updates, click on the "VMware Fusion" drop down menu in VMware Fusion and choose "Check for Updates."
Can I install VMware Fusion and Parallels on the same Mac?
Yes, both can be installed at the same time. Please, check system requirements for both products before installing.
How can I obtain an evaluation of VMware Fusion or VMware Fusion Pro?
You can obtain a free trial of VMware Fusion or VMware Fusion Pro at


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Ludovic Morlot is that rarest of musicians, a conductor at once humble and self-confident. Among a crop of rising music directors, he stands out for the breadth of his intelligence, his innate musicality, the diversity of his repertory, his commitment to audience expansion and – perhaps most important of all – his common touch as signaled by his unusual approachability.
At 38 (still young in the world of conducting, where eminences often thrive well into their eighties), Morlot has secured two plum positions notable for their differentiation. Last season, he succeeded Gerard Schwarz as music director of the Seattle Symphony. And this season, he assumes the position of chief conductor at La Monnaie/De Munt in Brussels. That symphonic-operatic divide is no coincidence, for Morlot has strong feelings about how the two forms diverge as well as complement each other. "The fact that today I can have that diet between the two almost equally is exactly what I've been dreaming of," he said over a hearty lunch of heirloom tomatoes followed by steak in Chicago in early June. He was in this capital of the American Midwest to conduct the Chicago Symphony Orchestra, with whom he has enjoyed a warm relationship since his debut there in 2006, when he replaced an ailing Riccardo Muti. "It's also nice to have two completely different rhythms," he added. "With opera, you can be for six weeks in one place," as opposed to just a week, or less, for most symphonic programs.
Morlot cites "growth" as the "driving force" of his career. "I'm not 40 years old yet," he said. "But even though I'm super-busy, I must keep in mind where I want to be 20 years from now. Conducting opera gives me time to think. I can be more reflective. Time isn't so much your enemy in that configuration. All that time you spend with the singers – people who challenge you with different issues – helps force you to think. It's not only the score that you're dealing with. When you prepare a symphony program, you know you have only that limited time to make it what it is. That is it. You cannot really change you mind halfway through rehearsals of a Brahms symphony. You can only do that when you come back to it the next time. But opera is totally different. It's silly if you don't take the opportunity to learn from this singer or that director or that lighting designer. In the opera, you have time to try out an idea, leave it or take it, argue about it. And this meets the growth pattern I seek. So this is for me the real attraction of the position in Brussels. It's selfish I suppose, all this attention on growth."
There are, of course, other reasons to find opera enticing. "The more risks you take, the more sublime it can become," the conductor said. "This is the beauty of opera or theater. It can exceed what you were expecting. There is always that unknown thing. You put all the things together that should work, and then there's always the possibility of that little extra magic. With symphonic music, you work hard toward your goal and know what you get from that hard work."
The conductor's experience at La Monnaie/De Munt, where his initial contract runs five years, roughly parallels the pattern of his appointment in Seattle: near-immediate rapport with the musicians followed swiftly by an offer to take the helm. "I had done a concert with Monnaie, not an opera," Morlot recalled. The orchestra at Monnaie was worried I had not spent much time conducting opera. But I had conducted opera in Paris and Lyon and many of the players came to hear me conduct the Concertgebouw in Brussels. It's always great to start this kind of relationship when it's the orchestra, not just management, who's eager to close the deal." Though Morlot does not equate symphonic and operatic conducting, neither does he consider the endeavors mutually exclusive. "Ultimately, it is a different thing to conduct operas and symphonies," he said. "But I've worked enough with singers and feel confident in the pit. One learns on the spot, too. I don't believe in this idea of 'He's a wonderful opera conductor, but he can't conduct symphonies.' That cannot be. Bernard Haitink does both. Georg Solti did both. Rafael Kubelik conducted opera as well as concert music, as did Herbert von Karajan. Any musician at that level will do both."
Naturally, the conductor is looking forward to many of the tasks associated with being chief conductor, including influencing reportoire and casting decisions in the house. But Morlot also has other things on his mind, and here again his plans for Brussels echo the Seattle situation, where he has spearheaded efforts to expand the orchestra's outreach, with a particular emphasis on attracting young people.
"One of our big challenges in Brussels is that we have to build audiences for our concerts," he said, noting that the 1100-seat house is virtually always filled for operatic performances. "It's very difficult to perform concert music in this space when you have so many outstanding visiting orchestras. I'm trying to program so that our concert series will be appealing not just to people in Brussels, but also to others who will travel to hear a particular piece. I want to offer something unique, and I want to include the wonderful chorus. We might even consider operas in concert."
Beyond creating programs that are in and of themselves compelling, the conductor intends for these concerts to relate to La Monnaie/Da Munt's principal fare, so that there is, in effect, a dialogue between the operatic and the concert programming at the house. "Like the Opéra Comique in Paris," he said, "I want to try to create a real connection between what's going on in the opera house and other artistic endeavors associated with the period. Let's say you're doing Janáček's "Jenůfa," so maybe then you do Mahler symphony or something by Martinů. We would embark on a whole musical journey of the music around Janáček. It's very important for me to build something so that the audience from the opera would come to the concerts as well. I really like what they do at the Opéra-Comique. It's presented as a whole. You hear Mérimée being read at the same time that "Carmen" is running. This curatorial approach I find much more fulfilling. We do not want to compete with orchestras that play 200 concerts a year when we do only seven."
Perhaps surprisingly for one who thinks so deeply about such things, Morlot – who was born and raised in Lyon, France – did not come from an especially musical family. "It for sure wasn't something they were pushing for," he said. "I began studying the violin at age six, more through my grandfather's will than my parents'. He loved singing and opera, and I spent a lot of time with him during vacations and even living with him for a while. He would play recordings for me – he had these great stereo speakers – and try to make me guess who composed whatever was playing. I got tremendous musical curiosity and education from that experience."
The conductor's older siblings were also playing instruments at this time, but by the time Morlot got serious about his musical studies – when he was 12 – his siblings had abandoned their instruments. "I was living with my grandfather then," the conductor recalled. "He took me took me to my first opera, 'Lohengrin' in Lyon. I was sitting right behind the conductor. It's a small opera house. And the fact that I remember that must mean it was a decisive moment in making me believe that conducting was something I was interested in. From then on, I studied the violin more seriously."
At age 19, he left France for Canada – specifically, Montreal – to study violin. In the summers, he journeyed to the United States to attend the Pierre Monteux School in Maine, whose alumni also include the conductors Lorin Maazel, Neville Marriner and David Zinman. After earning his B.A. in violin performance at the Université de Montréal, Morlot returned to Europe, having been accepted into the master's program in conducting at the Royal Academy of Music in London. "There was a struggle for me whether it was going to be violin or conducting," Morlot said. "But at the end of my time in London, I was invited by Seiji Ozawa to Tanglewood," the Boston Symphony Orchestra's summer home. "After that, I went back to Europe to assist David Robertson in Lyon. And then the Boston Symphony suggested I audition for James Levine, so it was back to Boston. It was one thing leading to the next. There was also the one-year Norman Del Mar Conducting Fellowship at the Royal College of Music, specifically for opera."
A Frenchman studying music in England in unusual, but Morlot maintains that the experience was pivotal in shaping his development as an artist. "That's where I discovered my passion for working in Anglo-Saxon countries," he said. "What attracted me to London was the wealth of musical offerings there. Prague and Berlin and Munich, of course, have this, too. But Paris has never been such a place. France in general has never been such a musical country. It has cinema and theater and dance – everything else, but the classical music tradition is not as strong as in many other European countries. I find that's not true in London. You go to the Philharmonia and hear this richness. Or you go to the London Symphony Orchestra and hear more virtuosity. And this is also true for opera and contemporary music and Baroque music. I've never attended so many concerts as during those four years in London. I wish I had the time to do that now."
His audition for Levine yielded a big break, his appointment as the Boston Symphony's assistant conductor, from 2004 to 2007. After that, the invitations to conduct major orchestras began pouring in, and Morlot accepted as many as he could. "Because you don't want to get married until you've dated as many girls as possible," he said jokingly. "I wanted to do as many debuts as possible. There's a lot of energy when you're with a new orchestra for only a week, but it changes when you're asked back. The relationship deepens. Rotterdam is one example that's striking to me. From day one, the orchestra wanted more and more from me, so our rapport has been growing to a higher level every time I return."
Morlot refers to his appointment in Seattle as "a dream come true," the announcement in June 2010 coming less than a year after his debut with the orchestra in October 2009. "There was a thirst for a new era," he said. "It was the same in Boston when Levine succeeded Ozawa. I know it will take some time to put my stamp on Seattle, but there's a real possibility to do so – through different energy, different repertoire. I feel I can really create there. In places where there's a new leader every three or four years, change is too cautious. You can't do much in that time. That's why I insisted on my first contract in Seattle being six years, instead of just three. I need three or four years to decided whether we've accomplished what we set out to. And the same is true in Brussels."
The conductor and his family – his wife, Ghizlane, and two their daughters, Nora and Iman – may have set up house in Seattle, but that doesn't mean his feelings for European life have abated. "I love working and living in Seattle, but I need my shot of Europe. I grew up there, after all. So this is what is great about Brussels now. I will keep an apartment in Brussels from September, and that's very important for me, because it's such a change when you are home as opposed to a hotel room – not to mention that you can leave some luggage. And something like finding your espresso machine in the morning, that can be your best friend!"
Morlot's responsibilities in Brussels are less numerous than those he faces in Seattle, but that doesn't mean he give any less thought to their execution. "We have only seven concert programs on stage in Brussels," he said. "I wish I could do all of them, but I cannot right now. This way you can really shape the orchestra, so that's an aspiration for me. Much as you can convey when rehearsing in the pit, it's important to do concerts as well." He has committed to conduct two productions a year at La Monnaie/De Munt and as many concerts as his schedule will allow (at least two per season). "My goal is at least half of them," he said. "I want to do two operas and four concerts. I would love to do more, but it would be not reasonable. And I want to be there from day one with the operas; I want to be part of the whole process. Otherwise, you might as well not have any staging. I want to participate in auditions, which I take very, very seriously. You have this ability to shape an orchestra very quickly that way. I take it quite seriously. And even though I don't, of course, have the last word on casting and internal issues, I'm always in full conversation with the intendant, Peter de Caluwe, and can help him plan things and form a family of guest conductors. So it's an ongoing dialogue as well. We even have a series of chamber music, which I want to get involved in programming."
Such bold ambitions are characteristic of Morlot, whose energy seems boundless and whose enthusiasm, especially in person, is infectious. Clearly this is a conductor on the rise, but not one motivated by unalloyed ambition so much as by an obvious love of music and its power to enrich and enliven. Rather than resting on metaphoric laurels, he seems poised to continue questing, reaching for greater understanding and illumination. "People in their seventies and eighties who claim they are still learning, those are the real artists," Morlot said. "Learning new repertoire when you're 82 is what it's all about. You must always be in this spirit. Wasn't it Muti who said, 'You stop beating time when you turn 60'? There's some truth in that. You may reach that level, but you don't live there. It's the start of a completely different path of growth. Like composers, first you lean the craft and then you rise above it, with the craft still there. We conductors do something like that, too. That curiosity is vital. "
David Mermelstein
David Mermelstein writes about classical music for the Wall Street Journal, the Los Angeles Times and the Washington Post, as well as for BBC Music magazine and MusicalAmerica.com. He contributed to the latest edition of "The New Grove Dictionary of Music and Musicians" and is the co-author of the "American Tradition" chapter of "The Cambridge Companion to Conducting" (2003).


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Magpul iPhone 4 Field Case
all you mall-ninjas line up and get one of these i-phone cases! every mall-ninja has got to have one--don't be the lase on the block to get one of these now! LOL!
that way when the battle dies down you can text-message and play video-games--LOL!


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Parisa Hafezi has been attacked by riot police on the streets of Tehran, targeted by Iran's Revolutionary Guards, endured government interrogations and even been kidnapped as a result of her work.
The Iranian-born journalist serves as chief of Reuters' bureau in Iran, and despite her brushes with danger, she refuses to step away from the job she says she loves.
Hafezi is one of four brave women journalists to be honored by the International Women's Media Foundation at the 2011 Courage in Journalism Awards for risking their lives to cover the news. Two events are slated, for October 24 in Los Angeles and October 27 in New York.
Joining Hafezi, 41, are editor Adela Navarro Bello from Zeta newsmagazine in Mexico, Thai online newspaper director Chiranuch Premchaiporn, and reporter Kate Adie, the BBC's first chief news correspondent, who will be awarded the IWMF's Lifetime Achievement Award.
We spoke with Hafezi recently about why she not only continues to cover the news in such hazardous circumstances but even runs toward danger. An edited version of the interview follows.
More: You stayed to cover the violent protests on the streets of Tehran after the country's 2009 elections when most of the media took off. Can you talk about that decision?
Parisa Hafezi: It was a very dangerous period to work in Iran, as the country was in crisis—according to officials—and foreign media, especially Reuters, that is not favored by authorities in the Islamic state often is called "the Zionist news agency" by state media. I became the bureau chief a month ahead of the 2009 vote, meaning that I was the only female, Iranian bureau chief in the country.
Three days after the vote, Reuters' office was busted by plainclothes agents, who kept me and the team under office-detention for almost four hours and checked our stories, pictures taken from protests and our TV footage. That was the day that dozens of pro-reform senior politicians, activists and journalists were arrested.
I was followed, detained and interrogated several times in the months after the vote. Reporting protests was very dangerous, as the authorities banned foreign media members leaving their office during the street protests. Any report could be considered as supporting the opposition and acting against national security, which is a serious charge in Iran. I faced beatings in the street, detentions and house and office raids.
No other office of foreign media in Tehran faced such problems. However, I should say that the situation calmed down after some months and, as you see, I am still in Iran and continue reporting events.
More: Why did you choose to stay and continue reporting, when other journalists fled?
PH: As a journalist, my job is to report events, and to do my job properly, I need to stay in the field. I chose to stay because I should be where the news is. Without witnessing events like protests, how can you report it properly? Without feeling the fear ordinary Iranians felt when seeing riot police everywhere in the streets, how can a journalist report properly? Being beaten or detained is part of our job, particularly for those who cover stories in hostile environments. You cannot sit in an office in the United States or Europe or anywhere else and write about protests in Iran. Despite all the pressure, I decided to stay because I had to do my job.
More: What makes reporting in such dangerous circumstances worth the risks?
PH: I love my job, and taking risks is part of my job. You cannot jump into the pool and expect not to get wet. During that period, I never thought about risks, I just focused on doing my job properly and tried to write impartial and accurate reports from Tehran.


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ZF-4524: Zend_Filter_InputTest testNamespaceExceptionClassNotFound
The testcase "testNamespaceExceptionClassNotFound", in Zend_Filter_InputTest makes the wrong assertion. Currently, when the namespace is omitted on purpose, an assertion is made that the exception should equal the string "Plugin by name MyDigits was not found in the registry".
However, the exception message also returns in which paths has been searched to find the plugin. Thus the assertion should be changed to an "assertContains" instead of "assertEquals".
Fixed in svn r11748


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Last time we posted a blog on what we'll be shooting for our Utah People section, we mentioned the Damn! These Heels Film Festival, which happens this weekend. Be there, here's all the info from that last blog.
Toward the end half of the month, we'll be celebrating the anniversary of Brigham Young and co.'s arrival to the Salt Lake Valley at the Days of '47 Parade.
It kicks off at at South Temple and State Street and runs east to 200 East, then turns south to 900 South and east to Liberty Park at 600 East. And it starts at 9 a.m., but if you want a really good spot, you're going to have to camp out the night before.
Here's more info on the parade.
And while you're there, be on the look out for our photographer Preston Gallacher. He'd love to take your photo for us to use online and in the mag.


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Recover deleted messages
Sometimes you can get deleted Gmail messages back, but not always.
If you've moved a message to Trash by clicking Delete but it's been fewer than 30 days and you haven't permanently deleted it, you can get it back.
Move deleted mail out of Trash
- Sign in to Gmail.
- Along the left side of any Gmail page, click Trash.
Note: If you don't see Trash along the left side of your Gmail page, go to Settings > Labels, then click show next to the Trash label.
- Find the message you'd like to recover, then check the box next to the sender's name.
- At the top, click the Move to icon .
- Click Inbox.
You'll now see the message in your Gmail inbox.
Permanently deleted mail
If you've deleted a message by choosing Delete Forever, you won't be able to get the message back.
If your messages are permanently deleted because someone got into your account without your consent, you can ask us to see whether we can recover your messages. To do this, do both of the following steps:
Have your messages gone missing? Click here to start investigating.
Vivian is a Gmail expert and the author of this help page. Leave her feedback about this help page.
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Edition: 1st
Author(s): Newman, John Henry; Ward, Leo L.
ISBN: 9780882950631 / Paperback / 1/15/1948
Marketplace Disclaimer:
Edition, Cover Design, etc may vary from the eCampus.com description. Please refer to the seller's comments before ordering. Marketplace sellers are required to ship by the end of the 5th business day. Items are not returnable to eCampus.com. Orders cannot be cancelled by eCampus.com.


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ZF-2102: Add ability to set the class used for statement objects (Zend_Db_Adapter_Pdo_Abstract/Zend_Db_Statement_Pdo)
When running a SELECT query through one of the PDO adapters a Zend_Db_Statement_Pdo object is returned. However if you were to extend Zend_Db_Statement_Pdo with your own class, there is presently no way tell Zend_Db_Adapter_Pdo_Abstract to use that class for new statement objects, as it is hard coded into Zend_Db_Adapter_Pdo_Abstract::prepare().
Could we add the facility to set the class used for new statement objects?
It seems as if you could simply extend the pdo adapter class with a class of your own, overriding the {{prepare()}} method, is this not the case, and if not, why?
Oh you can, and that's exactly what I've done for now. I just thought it would be beneficial to have a way to do it built right in, rather than have to extend the class yourself. Much like you can set the row class in Zend_Db_Table. This would be particularly useful if you needed to do it with more than one type of adapter.
I agree that we should have such support without extending the class. I've lowered the priority to minor, however, since an easy workaround is available.
This issue should have been fixed for the 1.5 release.
Please categorize/fix as needed.
This doesn't appear to have been fixed in 1.5.0. Please update if this is not correct.
Resolved in r9577
Updating for the 1.6.0 release.


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adidas Men's Brooklyn Nets Joe Johnson #7 Road Black Replica Jersey
NOW: $44.99 (35% off!)
Was: $70.00*
Product Information:
Represent your favorite Nets player with the adidas® Men's Brooklyn Nets Joe Johnson #7 Replica Basketball Jersey. With screen-printed name and numbers, and the official NBA® logo, you'll look like you just stepped off the court. Take it to the hoop in the adidas® Joe Johnson #7 Replica Basketball Jersey.
- Replica basketball jersey
- Screen-printed team wordmark and numbers on front
- Screen-printed player name and numbers on back
- Team logo on back above name
- adidas® logo on upper right front
- Official NBA® logo on upper left front
- NBA® locker tag above left hem
- Sleeveless
- Officially licensed by the NBA®
- Fabric: 100% polyester
- adidas
Country of Origin: ImportedWeb ID: 17299966


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Front Range Pipeline Manager Randy Duncan was at the Otero County Commissioners meeting on Monday to hear the good news: the commissioners, acting as the Permit Authority for the 1041 agreement (local affairs that may affect the state), granted permission to begin physical work on the pipeline.
An additional permit condition is a $675,000 bond posted by the pipeline company assuring that proper revegetation and reclamation be completed on properties through which the pipeline is laid. Front Range Pipeline is required to place 10 percent of the amount, $67,500, in cash deposited with the county treasurer.
Commissioner Kevin Karney read the following statement at the meeting:?"The Permit Authority, upon review of the evidence and testimony submitted by all parties, concludes that the application submitted by Front Range Pipeline LLC and deemed complete by the Permit Authority on March 18, 2013, requesting a permit to allow development in areas containing or having a significant impact upon natural resources of statewide importance complies with the provisions of the regulations governing such area and is hereby approved, subject to the conditions recited in the issued permit, which permit and conditions are fully incorporated by this reference."
Duncan said the bond was fully acceptable to his company and is just happy to get the work started.
Location, ST | website.com


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School of Theatre and Dance
The School of Theatre and Dance provides students with liberal and professional education preparing them for careers in the performing arts as artists, scholars and educators. The school's production season serves as the primary laboratory for the development of student artistic expression and technique. As performing arts, theatre and dance reflect and communicate cultural values and identities intrinsic to human existence. As such, the study of theatre and dance is central to the humanities curriculum.
To achieve these objectives, the School of Theatre and Dance offers comprehensive programs leading to the Bachelor of Arts (theatre), Bachelor of Fine Arts in Dance (performance and dance education), Bachelor of Fine Arts in Theatre (design and technology and musical theatre), Master of Arts and Master of Fine Arts degrees. The MA and MFA programs are described in the Graduate Schools Catalog. Minors also are offered in theatre and in dance. These programs are designed to provide basic and advanced training for teachers, scholars, directors, actors, dancers, choreographers, technicians and designers; managers in professional, educational and community theatre; and in allied fields of the performing arts (cinema, dance, music, etc.).
The B.A. in theatre studies is designed for students who seek a liberal arts approach to their undergraduate theatre education and does not require an audition for admittance. The curriculum emphasizes all aspects of theatre and their interactions with other areas of study. Students in both the B.A. and B.F.A. in theatre studies are expected both to develop theatre skills and to analyze the relationship of these skills to theatre and theatre to the world.
The B.F.A. degree is designed for students who wish to specialize in a specific area of theatre or dance (design and technology, musical theatre, dance performance or dance education) and requires successful completion of auditions. Students declaring a theatre major who have not successfully passed the audition(s) will be enrolled in the B.A. program. This program requires the demonstration of competency in the chosen specialty, both in auditions or portfolio reviews and via yearly evaluations. The B.F.A. candidate is expected to develop theatre and/or dance and performance skills equal to entry-level positions in the profession or as expected for admission into M.F.A. programs.
Entrance to the B.F.A. program is based on rigorous auditions or theatre design portfolio. Students who pass this audition or portfolio review will be invited to enroll in the B.F.A. program upon beginning classes at Kent State. All B.F.A. students are required to be evaluated on a yearly basis through performances, portfolio reviews, contributions to the production season and academic achievement. The B.F.A. in musical theatre is an interdisciplinary program offered with the Dance Division of the School of Theatre and Dance and the School of Music. Application to the B.F.A. in musical theatre requires an audition in each of the three performance areas: dance, music and theatre. The students must display talent and training potential in all areas to be admitted to the program. Students who pass the musical theatre audition will be admitted directly into the B.F.A. program at the beginning of their freshman year. Students who pass the Dance Division auditions are also admitted directly into the B.F.A. program at the beginning of their freshman year.
Students in all B.F.A. program areas may be dropped from the program for failure to maintain a 2.50 GPA (B.F.A. students should strive to maintain a 3.00 overall GPA).
B.F.A. musical theatre students must pass yearly auditions; B.F.A. design/technology students must pass yearly portfolio reviews. Students will be dropped from the B.F.A. program for failure of audition or portfolio review. Students on academic probation may not participate in any School of Theatre and Dance productions. All B.F.A. musical theatre majors are expected to audition for all mainstage theatre productions and accept roles if cast. All B.F.A. design/technology majors are expected to participate in at least one mainstage production per semester (this may be in addition to any production design assignment).
Scholarship and Awards
Scholarships and awards available through the School of Theatre and Dance include the L. LeRoy Cowperthwaite Fund, Eugenia V. Erdmann Award, G. Harry Wright Scholarship Award, the Marsha Levinson Award, the School of Theatre and Dance Award, and the Michael Mould Scholarship Award. Faculty nominate students for these awards each spring.
Incoming freshmen may also compete for Creative Artist Awards (CAA) that are given through the Honors College and are renewable for four years. Requirements include a high school GPA of at least 3.30 and either an ACT score of 23 or higher or SAT scores of at least 1060. Successful completion of an audition in the students' chosen area is also required.
Graduate Study
The School of Theatre and Dance offers programs of graduate study leading to the Master of Arts degree or the Master of Fine Arts degree. It also provides graduate coursework in theatre for graduate students in other disciplines of the university when it is required or elected as part of their programs.
The Master of Arts program offers the student advanced work in theatre that will represent mastery of the field in general and of a specific area of theatre as well. In addition, the research writing skills stressed in this track are intended to prepare the student, who so elects, to define and pursue a terminal degree.
The Master of Fine Arts, normally a three-year course of study, is offered in acting and in design/technology (with concentrations in costume design, scenic design, lighting design and in costume technology and technical direction). The acting concentration includes a returning professional's track in which students can receive credit for professional work previously completed as fulfillment of Kent State University course requirements (substitutions require course enrollment for credit). The M.F.A. is a terminal degree designed for those who intend to pursue a career in the profession as a creative artist or theatre technologist.
The School of Theatre and Dance offers a limited number of graduate assistantships for both full-time Master of Arts and Master of Fine Arts students. Graduate assistantships usually provide a tuition waiver and a stipend and require a minimum of 20 hours of service to the School of Theatre and Dance in the form of instruction, supervision of labs or work in a specific area (management, scene shop, costume shop). Students interested in a graduate assistantship must apply to the School of Theatre and Dance in writing. To be continued on a graduate assistantship, students must maintain a minimum 3.0 GPA, pass periodic review by the Graduate Studies Committee and (if M.F.A. students) regular performance or portfolio review, and show satisfactory progress toward the degree. Students are notified at the time of these reviews of the awarding or continuation of a graduate assistantship. An M.A. student may hold an assistantship for a maximum of two academic years (excluding summers) and an M.F.A. student may hold an assistantship for a maximum of three academic years (excluding summers and off-campus internships).
For further information on either the Master of Arts degree or the Master of Fine Arts degree, please contact the School of Theatre and Dance or visit the school's Web site at http://www.theatre.kent.edu/.
Master of Arts
All Master of Arts applicants for graduate study should comply with the conditions for admission as set forth in the general section of this catalog. Of the three letters of recommendation required in the application for graduate study, at least two should come from former professors or others competent to evaluate research or scholarly writing skills. The application must be accompanied by a brief statement (no more than two double-spaced pages) summarizing the student's background and career goals. Students are required to submit an example of historical or critical writing (such as a documented research paper). Applicants for the Master of Arts must achieve and submit appropriate scores on the Graduate Record Examination.
Students are expected to have the equivalent of an undergraduate curriculum in theatre consisting of at least 12 semester hours in theatre history and dramatic literature and basic courses in acting, directing, design and technical theatre. An idea of the level of background expected may be derived from the Kent State University undergraduate catalog and from course syllabi in these areas of theatre. Applicants who do not possess the equivalent of this curriculum may be required to complete specified undergraduate coursework for no credit in addition to the master's degree curricular requirements.
Program Requirements
Curricular advising will be provided by the coordinator of graduate studies or area head prior to first enrollment. Unless they have successfully completed an equivalent course, Master of Arts students must take Introduction to Graduate Study (THEA 61000) during their first semester. Program requirements for the two-year program may be completed via one of the following options, which the student will elect in consultation with an advisor, chosen during the first semester in residence:
- Option 1. Thesis. Requires a minimum of 32 hours of graduate coursework, consisting of THEA 61000, at least five courses from among our graduate offerings in theatre history, drama, theory and criticism (to include THEA 51110, 51133, 51134, 61110 and 61111), courses in other departments that support and enrich the area of specialty, and 6 hours of Thesis I (THEA 61199). Continuous enrollment in Thesis II (THEA 61299), including summer, is required until the thesis is successfully defended
(maximum time: six calendar years from first enrollment). A description of the thesis process may be obtained from the school. The thesis is deposited in the college office and archived, and follows regulations described in the College of The Arts Style Guide.
- Option 2. Non-thesis Paper. Requires a minimum of 36 hours of graduate coursework consisting of THEA 61000, at least five courses from among our graduate offerings in theatre history, drama, theory and criticism (to include THEA 51133, 51134, 61001, 61110 and 61111), courses in other departments that support and enrich the area of specialty, 9 hours in a specified research area (at least 3 hours of these courses must be at the 60000 level), and 3 hours of Research (THEA 61098). A description of the nonthesis paper process may be obtained from the school.
Master of Fine Arts
All Master of Fine Arts applicants for graduate study should comply with the conditions for admission as set forth in the general section of this bulletin and in the application form. Applicants whose undergraduate grade point average is below 3.0 are not normally accepted for graduate study. Those seeking exception to this rule must submit scores on the Graduate Record Examination and other evidence of high academic potential. Of the three letters of recommendation required in the application for graduate study, at least two should come from former professors or others competent to evaluate productions and academic skills.
In addition to meeting the general university requirements for admission to graduate study, the applicant must meet one of the following two requirements in undergraduate preparation: a baccalaureate degree in theatre that includes a core curriculum consisting of 12 semester hours in theatre history and dramatic literature, plus basic courses in acting, directing, technical theatre and design; or a baccalaureate degree in a discipline other than theatre, when there is a record of equivalent professional training or experience in theatre, or demonstrable potential for work at the Master of Fine Arts level in theatre.
Applicants to the Master of Fine Arts program are required to submit a resume of all theatrical experience and a brief statement — no more than two double-spaced pages — summarizing background and career goals.
Admission to the Master of Fine Arts concentrations in design/technology or acting requires an audition or portfolio review with the graduate faculty in the area of concentration. On campus interviews, auditions and portfolio reviews are by appointment only and are scheduled each semester, typically during the November or March preceding the first enrollment for a fall semester. M.F.A. classes are admitted once every three years, beginning with the fall of 2003. Students may also schedule an appointment at conferences and conventions where graduate faculty are in attendance. During the first and second years of study, students are regularly reviewed by the graduate faculty in their area of concentration (design/technology faculty or acting faculty) and advised of the outcome of those reviews. Reviews concern whether the student will be allowed to continue in the program and may involve warning, probation or dismissal, as well as retention. Design/technology students must present a portfolio of their work for these reviews and acting students the performance of a significant role. All students are expected to be able to demonstrate significant contributions to the productions of the School of Theatre and Dance.
Program Requirements
The Master of Fine Arts program is an intensive, three-year, professional training program requiring the completion of 60-73 hours of graduate credit depending on the area of concentration. All M.F.A. students are required to take THEA 61000 during their first semester in the program, the graduate core courses THEA 61110 and THEA 61111, 6 hours of Graduate Practicum in their area of concentration (design/technology or acting), THEA 60992, 61992 and 60199-M.F.A. Thesis Project (Design/Tech) or THEA 61309-M.F.A.Comprehensive Project in Acting. Each student will be provided a graduate faculty advisor from his/her area of concentration to assure that curricular requirements in the area of specialty are met.
THEA 60992 and THEA 61992 may be completed in one of three ways (all require the advisor's approval): (1) an internship with the Porthouse Theatre Company and an internship with another professional theatre company; or (2) internships with two professional theatre companies; or (3) two internships with the Porthouse Theatre Company.
All internships require an exit document by the on-site supervisor summarizing the duties performed, skill level attained and quality of the student's internship work. Where possible, internships should be undertaken during the summer. Absence on internship during a semester requires prior approval by the Graduate Studies Committee. M.F.A. students are required to remain in residence for the three years needed to complete the program (excluding, if appropriate, the internship). At a minimum, acting students
must audition for all main stage productions and accept the roles assigned to them, and design/technology students must complete one production assignment and work on one other production per semester. Students may not undertake any work outside the School of Theatre and Dance without petitioning the appropriate area faculty and receiving written permission prior to auditioning/interviewing. (Returning professionals in acting are exempt from this requirement but need to keep the school advised of absences.)
Students in the Master of Fine Arts program must successfully complete a Comprehensive Project (Performance) or M.F.A. Thesis Project (Production) as to demonstrate mastery of skills and artistry commensurate with entrance into the profession. The scope of the project will be determined and reviewed by the area of specialty and may be fulfilled within the School of Theatre and Dance, through Porthouse and/or professional production assignments. The Comprehensive Project will consist of performance or exhibition of work, documentation of that work in a format appropriate for each area and project, and an exit interview.
M.F.A. Thesis Project/M.F.A. Comprehensive Project
Students in design/technology begin the M.F.A. thesis project by presenting a two-page proposal to the advisor requesting that a specific design or project be accepted as the thesis project topic, and identifying a thesis project committee, consisting of a minimum of three graduate faculty, including the student's academic advisor. When deemed in submissible form, the advisor will present the proposed topic to the graduate faculty in the area of concentration. When approved by the graduate faculty in the area, the advisor will submit the proposal to the graduate coordinator for circulation to the Graduate Studies Committee and will present the thesis project topic to them as scheduled. The approval of this committee shall be final and a Notification of Approved M.F.A. Thesis Project Topic form will be filed with the school and the college. The student may then enroll in THEA 60199 for the semester in which the project will be undertaken.
As soon as the thesis project has been completed, the student will prepare and submit the thesis project paper or components to the advisor in accordance with regulations specified in the school's description of the M.F.A. Thesis Project Paper (available from the coordinator of graduate studies) and in the College Style Guide. When both are satisfied, the paper will be circulated to the members of the student's thesis project committee. When the committee deems the work is in appropriate form, it will be made available to members of the graduate faculty in the school and presented at a public meeting. Upon successful completion of these procedures, the Report of Completion of M.F.A. Thesis Project will be signed and the thesis project placed in the student's file and deposited in the college office.
Students in acting begin the comprehensive project during the second semester of study by identifying a graduate faculty advisor in the acting area. Each of the three roles in which the student is cast (from this point to the conclusion of the project) is presented to the area with the student's rationale that the role is challenging, significant and relevant to serve as part of he comprehensive project. The student will register for THEA 1309 M.F.A. Comprehensive Project for each role approved. he process is then documented in a format appropriate for he project and presented by the faculty advisor. After each role, the student will meet with the acting area for assessment and evaluation. Upon completion of the third role, the student will compile all appropriate documentation and create a
comprehensive project summary to be approved by the acting area. After approval, the comprehensive project summary will be presented to the Graduate Studies Committee. The approval of this committee shall be final and the project summary shall be housed in the school office.
Students in the returning professional track in acting focus upon one task for the M.F.A. comprehensive project, approved according to the topic proposal and specified area of research and creativity. The returning professional project completion process follows the process outlined above. The advisor will clarify what documentation is appropriate for each project.