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Russian authorities accused Ukraine of trying to kill law enforcement officials who were checking reports of cross-border shooting on Friday by firing a volley of mortar rounds over the frontier into Russia.
A Russian security official said up to 40 mortar bombs fired by Ukrainian forces had fallen in the Russian province of Rostov near the border where Ukrainian government forces are fighting pro-Russian separatists.
There were no reports of injuries.
"Those who shot from Ukraine carried out the shooting purposefully with an intent to kill Russian law enforcement officials," said Russia's Investigative Committee, which answers only to President Vladimir Putin.
"It was only the poor preparation of the Ukrainian military and the timely evacuation of law enforcement officers under the cover of armoured transport vehicles that did not allow the shooters to realize their intention," it said in a statement.
Accusations by Ukraine's pro-European government, its Western backers and Russia over cross-border fire have ratcheted up tensions in the worst crisis between Moscow and the West since the end of the Cold War.
The U.S. ambassador to NATO, Douglas Lute, said Russia was again increasing troop numbers on its long border with Ukraine, where Washington and Kiev say Moscow is letting fighters and arms cross into rebel-held eastern Ukrainian territory.
Lute said the estimate was "now up again over about 15,000 Russian troops amassed along the border with Ukraine".
Evidence that Russia is moving more weapons into Ukraine to arm rebels is likely to trigger more U.S. sanctions against Moscow once the European Union likely agrees its own sanctions next week, senior U.S. officials said on Friday.
"If the EU pulls together a package of sanctions in the coming week, the U.S. would want to complement that," said a European diplomat in Washington, who requested anonymity to discuss diplomatic strategy.
The new willingness in Europe to impose sanctions on prominent Russians and sections of the economy, partly because of horror at the downing of a Malaysian airliner over Ukraine last week, has been welcomed by the United States.
After months of hesitation, the EU moved on Friday toward adopting measures that include closing EU capital markets to state-owned Russian banks, an embargo on arms sales to Moscow, and restrictions on supplying dual-use and energy technologies.
"The European Union leaders have tied these tough measures not just to the cooperation on (investigating the Malaysian plane crash) but to an end of the arms flow across the border," one senior U.S. official said.
"The fact is that those arms flows are continuing and the Europeans know it, and we're providing them with information about it," said the official, speaking on condition of anonymity.
The Pentagon said on Friday that Russia was again massing thousands of troops along the Ukraine border, was firing artillery into Ukraine, and was preparing to supply the rebels with advanced large-caliber multiple-launch rocket systems.
In its sixth round of sanctions, the United States last week imposed the toughest ones yet on Moscow, targeting Russia's largest oil producer Rosneft, its second-largest gas producer Novatek, and its third-largest bank Gazprombank.
U.S. statements on Ukraine, which Moscow traditionally views as within its sphere of influence, have angered Russia. Its foreign ministry reacted angrily on Friday to U.S. accusations that Russian forces had fired artillery across the border targeting Ukrainian military positions.
"We deny the unfounded public insinuations that State Department spokeswoman (Marie) Harf repeats day after day," the ministry said in a statement. "In journalistic briefings in previous days she has produced anti-Russian clichés that Washington stubbornly tries to impose on international opinion," the statement said.
The Investigative Committee said its officers were identifiable as law enforcement officials and were in Rostov province's Kuybyshevsky region to look into previous accounts of cross-border shelling.
The committee has thrust itself to the forefront of the crisis, accusing Ukrainian Interior Minister Arsen Avakov and Ihor Kolomoisky, a provincial governor, of "criminal acts" in Kiev's military push against the pro-Russian rebels.
Vasily Malayev, a regional representative of Russia's Federal Security Service branch devoted to border security, was quoted by Russian news agency Interfax as saying that 30 mortar rounds had landed in a village in the region. He earlier told state Ria Novosti news agency around 40 shells had come across the border.
Ukraine says missiles shot from Russia may have downed two of its fighter jets this week. Moscow denies the accusation.
Russia's Chief of General Staff was quoted as saying by Interfax that it had proof that Ukraine had used phosphorus bombs that can kill through burns or smoke inhalation.
Earlier allegations of the use of the weapon were never proved and Kiev quickly denied this accusation.
"It's complete nonsense. We don't use phosphorus bombs. We simply don't have them. We use flares, but they have no relation to phosphorus bombs," said Ukrainian military spokesman Vladislav Seleznyov.
"We're not done," the anonymous U.S. official said, referring to additional sanctions. "Sanctions will make it progressively harder for Putin to carry out his aggressive designs."
Some critics, demanding more action from the administration of U.S. President Barack Obama, argue that the sanctions have failed to halt Russian President Vladimir Putin's aggression in Ukraine. But the U.S. official said, "We know from many sources that the sanctions have certainly changed the context in which Putin is making these decisions."
Moscow traditionally views Ukraine as within its sphere of influence and has been angered by the Kiev government's moves to build links with western Europe. But it denies supplying weapons to the separatist forces and on Friday accused the Ukrainian military of firing up to 40 mortar rounds across the border.
A senior U.S. congressional aide said senior officials at the State and Treasury departments were "champing at the bit" to impose additional sanctions, while the White House favored a more measured pace of tightening the financial screws.
He said another round of U.S. sanctions was inevitable once the European Union's measures were in place, and predicted it would be "significantly more serious." The likely targets again are Russian banks, energy companies and defense firms.
U.S. State Department spokeswoman Marie Harf on Friday said sanctions had been "incredibly effective against the economy" of Russia so far and that Washington was "looking at a variety of options" to put increased financial pressure on Putin.
She conceded there had not yet been a significant change in Putin's approach and said: "We have not seen a de-escalation" of the hostilities. But she told a regular media briefing that "sanctions work best the longer they are implemented."
On Friday, U.S. credit rating agency Fitch affirmed its long-term foreign and local currency issuer default ratings (IDRs) of "BBB" on Russia, citing a "deteriorating" security situation in eastern Ukraine that has strained its relations with the European Union and United States.
The ratings agency said the events of July 17, when a Malaysian airliner was shot down over eastern Ukraine, killing 298 people, are expected to result in more sanctions against the country by the U.S. and the EU.
"This will depress capital inflows to Russia and potentially lead to higher capital outflows, putting downward pressure on reserves and growth," Fitch said in a statement.
A European diplomat in Washington, speaking on condition of anonymity, said the downing of the plane over an area controlled by Russian-backed separatists was "a game changer" for the Europeans.
"The mood music is far more optimistic" for those favoring tougher measures against Russia, said the diplomat. "It does look increasingly likely we will have something that looks and feels like sectoral sanctions by the back end of next week," he said.


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They're back, and they're hungry for blood. With the recent rainfall, standing water and warm temperatures, Mosquitoes are going to be hatching fast, according to Matt Weldon, director of parks and mosquito control for Levy County. Yankeetown and Cedar Key, with their salt marshes, are two of the worst areas, Weldon said, though Gulf Hammock and Otter Creek can get bad, as well. To combat mosquitoes, Weldon said the county has five trucks that spray an oily coating on the the surface of the water in problem areas, whi
n 80 species of mosquitoes known in Florida n 33 can be problems for humans and animals n 13 are capable of spreading pathogens
--Information taken from www.mosquito.ifas.ufl.edu
The City Commission voted unanimously 5-0 Monday night in favor of city officials sending a letter to federal and state agencies expressing concerns about recent flood map data. The letter, which will be a collaboration between City Manager Grady Hartzog and Building and Zoning Official Bill Hammond, will be sent to the Federal Emergency Management Agency and the Suwannee River Water Management District with the hope that the agencies, especially FEMA, will review collected data affecting local property owners. According to a recent report from SRWMD, the maps,
Margaret Ross Tolbert first began painting the springs of Florida more than 25 years ago.
The Levy County Sheriff's Office is sponsoring driver refresher courses in Bronson and Chiefland as a result of an increase in traffic fatalities in the county. The free, two-hour class "Realities of Driving" is aimed at all ages. Lt. Sean Mullins of the Sheriff's Division of Community Relations says the course is a wake-up call designed for all drivers who over time can become complacent in their driving. We can all use a refresher on safe driving habits, Mullins said. The Bronson class is April 20 from 7 to 9 p.m.
Train safety awareness week is April 18 to 24. The local law enforcement agencies and Florida Operation Lifesaver will be setting up at various railroad crossings throughout the state in an effort to increase motorist and pedestrian awareness of highway-railroad grade crossing safety. There will be fliers for all drivers and a few gifts for kids as well.
The Marion Civic Chorale and the Chancel Choir from First United Methodist Church will be accompanied by a chamber orchestra from the Orlando Symphony. This free-will offering at UMC will go to support First United Methodist Church Pre-School.
It was about this time of year when Juan Ponce de Leon first landed in Florida almost 500 years ago. A profusion of greenery and flowers inspired him to call the area Pascua Florida—roughly translated as " flowery Easter". The plants were native varieties, blooming without the help of fertilizers, pesticides or water from sprinkler systems and garden hoses, all of which have become an issue affecting Florida's fragile ecology. Much of the pesticide and fertilizer ends up in Florida's streams, rivers and springs.
Area bicycle riders raised about $5,200 last Saturday during the first Cycle for Education in Chiefland. The event began along the bike trail behind Chiefland Shopping Center and ran through Old Town and back for a ride of about 25 miles. The fundraiser attracted 33 riders and benefited the Levy County Schools Foundation's general fund. School Board member Paige Brookins, of Chiefland, was the chairperson for the Cycle for Education, spending a considerable amount of time planning and preparing last Saturday's ride.
Memoir writing course at CFCC Levy Center The Central Florida Community College Levy Center will offer a class for aspiring authors in April. Memoir Writing: Developing and Refining Your Story is for anyone who has begun writing a memoir and is looking for help in developing and organizing their story. Participants will learn to narrow their subject and how to insert information that will create more relevant and interesting characters. The class will meet on Mondays, April 5-26, from 5:30 to 8 p.m. The course fee is $65.
Copyright © 2016
The Chiefland Citizen is your source for local news, sports, events, and information in Levy County and Chiefland Florida, and the surrounding area.

subset: commoncrawl


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by Howard L. Weinberger, MD & Steven D. Blatt, MD
From time to time we hear stories on the news about toys or cosmetics having lead paint in them. If you are old enough, you may remember that gasoline was once "leaded" but federal legislation led to its removal in the 1970's. Many people know that paint in old houses contains lead. Since 1978, house paint has been lead free. It may seem we no longer have to worry about lead exposure. Why is it still important to prevent lead poisoning and how can you keep your child safe from lead poisoning?
Lead can harm the body in many ways. If there is a lot of lead in the body, it can cause developmental delay. That is, it prevents the brain from developing as it normally would. Fortunately, we can identify children who have been exposed to lead and prevent the lead levels from getting high enough to cause serious damage.
The only way to know if your child or an adult has been exposed to lead in the environment is by a test to measure the amount of lead in the blood. New York State requires physicians to test all children with a blood lead test at one and two years of age. In many pediatric offices, the doctor will order this test at the one and two year Well Child Visit. If your child is found to have an elevated blood lead level, don't panic. For most children, no medical treatment is necessary. Whenever a child's blood lead level is even mildly elevated, the source of the exposure needs to be identified and eliminated.
If your child does have lead in the body, where did it come from and what do we do about it? Even though house paint bought at the store no longer has lead in it, three out of every four houses in Central New York were built when paint did have lead it. That means if your house was built prior to 1978, it most likely has lead on its walls, both indoors and outside. When the paint chips get in the dirt on the outside of the house or in the dust inside of the house, lead may eventually find its way into the child's mouth. Children often put their hands or toys covered with "leaded-dust" into their mouth or may actually eat paint chips. Chipped paint, especially on window frames and railings are common sources of lead.
Your local county Health Department can help you identify the sources of exposure in your house and make recommendations for making your home safe. They will help even if you are renting the home or apartment. The lead in house doesn't have to be removed. It would be impossible to remove all the lead from all the houses in Upstate New York. The practical approach is to ensure that the lead in the house paint stays on the walls. If your house has chipping paint, it needs to be corrected safely.
Rarely, some children are found to have high blood lead levels. These children will be offered medical treatment to help the body excrete the lead quickly. This is called chelation. Most children will never need this treatment.
As an adult, you may be at risk for exposure to lead especially if you are a pregnant woman, if you participate in certain hobbies which use lead (fishing sinkers, lead solder, stained glass, and jewelry work), or if you work in certain industries.
In our pediatrics office, we follow New York State requirements and do a blood test for lead at one and two years of age. When you take your child for his or her checkup, your child's doctor should do the same. If not, ask for a lead test. Tell the doctor you want to be sure your child does not have lead exposure and you can only be certain by doing a blood test.


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Some Routers can do it,. most can Not. So if it is not working with your
Router. It probably belongs to the Most can Not category.
Jack (MS, MVP-Networking)
wrote in message
> Has anybody been able to loop back? Meaning go out of your router and come
> back in with your WAN IPort to get to your IPCAM to see if it works from
> the WAN side? I can easily see the IPCAM with LAN side IP but not
> WANIPort.
> Port forwarding is set up properly


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Anser believes that all children can learn and achieve high standards. The student assessment process at Anser facilitates the achievement of this goal by making explicit the criteria by which successful performance may be judged. Here are some examples of what we use to assess our student's performance:
Copyright © 2014 Anser Charter School. All rights reserved. | Privacy Policy | Site Map | Faculty Portal | Parent & Staff Login |


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The Fulton Montgomery Regional Chamber of Commerce has scheduled a breakfast presentation by state Comptroller Thomas DiNapoli for 8 a.m. on Monday, Nov. 18, at the Holiday Inn Johnstown-Gloversville, 308 N. Comrie Ave., Johnstown.
DiNapoli's presentation will consist of an update on the regional and state economy, how the state pension fund invests in job growth, discussion of the state budget, the state infrastructure and more.
There will be opportunities to network with DiNapoli and other Chamber members, and there will be a question and answer period after the presentation.
There will be a full breakfast buffet at the event. Admission to the breakfast is $20 for Chamber members, and $25 for non-Chamber members. Reservations are required for planning purposes; contact the Chamber at 518-725-0641 or firstname.lastname@example.com.
Location, ST | website.com


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Future of Work
The Future of Work program examines the causes and consequences of the deteriorating quality of low-wage jobs in the United States. Projects sponsored by the program have examined a wide range of causal factors, from foreign outsourcing and immigration to the decline of unions and technological change, that may have depressed wages of low-education workers. Current research under this program includes a new investigation to re-assess how minimum wage increases affect employment and the broader labor market; a new study of the extent of offshoring of production by U.S. firms and its impact on the economy; and a project that examines the role of job search behaviors on the employment and wage outcomes of women and minorities in the post-recessionary U.S. labor market, among others.
Minimum Wage Policies and Low-Wage Work
Arindrajit Dube
Economist Arindrajit Dube, who has been at the forefront of new minimum wage research, will employ innovative new methods to assess the labor market effects of durable minimum wage increases.
Does Good Management Promote Better Work-Life Balance?
Nicholas Bloom, John van Reenen, and Raffaella Sadun
Bloom, van Reenen, and Sadun use a novel survey tool to collect new data on work-life balance policies from a large representative sample of medium-sized manufacturing firms from the U.S., Europe and Asia to study the association between management practices and firm performance.
Featured Awards
Offshoring and the Future of Work: New Evidence from Global Production and Employer-Employee Microdata
Awarded Scholars
Jointly funded with the W.K. Kellogg Foundation
There has been significant controversy about the effects of globalization in general and offshoring in particular. Proponents argue that it contributes to economic growth; critics, that it increases inequality by lowering the relative employment and wages of less-skilled workers. [...]
Precarious Work Schedules among Early Career Adults in the U.S.
Awarded Scholars
Jointly funded with the W.K. Kellogg Foundation
Recent research on job quality and work-life balance shows that work schedules can facilitate or hinder workers' efforts to arrange caregiving, pursue an education, secure a second job, maintain meaningful relationships, and earn an adequate income. [...]
Race, Gender, and the Supply-Side Dynamics of Labor Market Placement
Awarded Scholars
The majority of recent social science research on labor market placement of disadvantaged groups in the population has focused on the demand side of the labor market, investigating the degree to which employer preferences shape the distribution of opportunities available to minority and female workers. [...]
Upskilling During the Great Recession: Do Employers Demand Greater Skill When Workers Are Plentiful?
Awarded Scholars
Like most downturns, the Great Recession has been particularly hard on low-skilled workers. While one potential explanation posits that this reflects the cyclical nature of industries and occupations that employ many low-skilled workers, another points to the ability of unemployed high-skilled workers to take middle- and low-skilled jobs during the downturn. [...]
In This Section
- Programs
- Special Initiatives
- Working Groups
- Funding Opportunities
- Co-Funded Research
- Non-Program Activities
- Reports
- Data
- Chartbooks
- Completed Initiatives
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Featured Research Project
Russell Sage Foundation offers awards, grants, and positions in our Visiting Scholars program for research that falls under our areas of interest. Learn More


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Established in 1909, our bronze foundry is one of the last in North America that's family owned. You're guaranteed foundry-direct pricing...without expensive per-word or letter charges no matter how long your epitaph is...and "Old World" craftsmanship of your bronze memorial plaque or bronze grave marker.
Visit our "Photo Gallery" to compare our sharp and crisp letters and artwork against the casting quality shown on other bronze retailers' websites! And then compare our unbeatable prices! We're sure you'll agree there's no reason to trust anyone else with your loved one's grave marker!
What Our Bronze Markers Include:
• High-quality, cast bronze grave markers!
Compare Our Bronze Marker Prices!
24" x 12" - TheBronzePlaque.com...$1,085 vs. $799
28" x 16" - CemeteryBroker.com....$1,198 vs. $979
24" x 30" - EverlifeMemorials.com...$1,875 vs. $1,493
44" x 14" - HeadstoneUSA.com.......$1,840 vs. $1,499
* Our prices include unlimited text-that-fits. Other retailers usually only allow a person's name, date of birth and death, and a short, five-word epitaph...and often charge $1.50-$3.50 per word or letter beyond that amount!


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Salted Caramel
17 hours ago
With this blog i want to keep everybody up to date about my work my inspirations and progress. I'll try to write at least once a week. This blog is a translation of my Dutch Art blog. More and more people from other countries are interested in my work.


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Kamal Rashid Khan re-enters Bigg Boss
The producers had to force the Deshdrohi actor out of the house after he had hurled a water bottle at designer Rohit Verma. Rohit ducked to save himself and the bottle accidentally ended up hitting Bollywood actress Shamita Shetty. Unable to tolerate such violent acts the house mates demanded forced eviction of Kamal and the producers had to agree.
Kamal has reportedly apologised to the producers and assured that he won't get physical with anyone in future. He is now expected to face a stiff challenge in the show from Vindu Dara Singh and Pravesh Rana who will never tolerate his violent attitude and foul language. It remains to be seen how KRK re-entry changes the chemistry of the house mates.


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It was brutal viewing for Arsenal fans, this afternoon, as they watched their beloved side torn apart by the explosive Everton side assembled by Roberto Martinez.
The Toffees display was reminiscent of the performances we've become accustomed to from Arsene Wenger's sides in the past: fast, free-flowing and exciting.
With every high-profile defeat, the Gunners faithful turn on Arsene and, slowly but surely, you feel like the minority who tweet "#WengerOut" are becoming the majority.
Well, it appears Gunnersaurus has seen enough, anyway…
— Doc (@ManhattanDoc) April 6, 2014
Love Wenger but he should let his contract run out & give us a breathe of fresh air with new management
— Reverend K (@KaceLeyne) April 6, 2014
Another shameful 1st half performance vs a Top5 team. Yet still many Arsenal fans cry: 'Wenger forever!' Ridiculous. #WengerOut
— Piers Morgan (@piersmorgan) April 6, 2014
I love Wenger so much but maybe it's time to say goodbye if we can somehow convince Martinez to come here.
— Fahad (@Zemanianoo) April 6, 2014
Wenger out
Time for a change…definition of insanity is doing the same thing over and over and expecting a different result
We all like Wenger but it's time to tell the truth, goodbye Wenger.
Anyone who doesn't think Wenger should leave, truly doesn't want the best for the gunners! #Wenger out
wenger should go his tacties are outdated. He should let new face come on board


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Prof. Fotini Christia
Spring 2009
This course is a general overview of the recent political science literature on violent non-state actors. Its aim is to examine why non-state actors (such as warlords, terrorists, militias, etc.) resort to violence, what means and tactics they use, and what can be done to counter that violence. In that regard, the class will cover works pertaining to the production side of non-state violence (i.e. the objectives and organization of insurgents/terrorists/militias/warlords, their mobilization strategies and support base, how they coerce opponents, etc.); as well as the response that violence elicits from governments or other actors (i.e. counter-insurgency or counter-terrorism strategies, among others). Apart from introducing the basic variables and theoretical and empirical findings in the literature, this course will also grapple with questions of definition, operationalization of variables, and general methodology relevant to conducting research in this area of violent conflict. Though thematically-driven, this course will also reference cases from the contemporary battlefields of insurgency and terrorism (be it Afghanistan, Iraq, Pakistan, the West Bank and Gaza, Colombia, etc.) as they relate to the pertinent themes.
Fotini Christia. 17.586 Warlords, Terrorists, and Militias: Theorizing on Violent Non-State Actors, Spring 2009. (Massachusetts Institute of Technology: MIT OpenCourseWare), http://ocw.mit.edu (Accessed). License: Creative Commons BY-NC-SA
For more information about using these materials and the Creative Commons license, see our Terms of Use.


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Share Photo
In this photo taken Wednesday, Jan. 12, 2011, Film critic Roger Ebert works in his office at the WTTW-TV studios in Chicago. Ebert, will return to his famed show "Roger Ebert Presents At the Movies." featuring co-hosts Christy Lemire of The Associated Press and Ignatiy Vishnevetsky of Mubi.com, appearing in his own segment nearly five years after cancer surgery left him unable to speak. (AP Photo/Charles Rex Arbogast)


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What would you do if you discovered that your prized BMW was missing from your driveway? You'd probably freak out; which is exactly what this gentleman did.
That's what happened to the gentleman in the following video, who fell victim to a prank orchestrated by his wife and BMW of . According to his wife, he doesn't give her as much attention as he does his BMW, a standard, white 3 Series. So she nominated her husband for "The BMW Switch," the automaker's promotional prank where they swap out someone's BMW that looks the same but is higher up the totem pole. In this case, his standard BMW was replaced with a 3 Series decked out with performance bits. All of it was caught on tape, which includes a candid-camera low-blow insult to his wife. Find out what else happened and other expletives shouted in the video below.
Source: BMW Asia


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Not only are instructors not laughing out loud -- shortened to LOL in text messages and online chats -- at the technology-oriented shorthand that has seeped into academic papers, many of them also sternly telling students to stop using the new language even in less formal writing.
The shorthand often consists of shortened variations of common words -- "u" instead of you, or "ur" for your. Text speak may be appropriate for a quick note to a friend, but professors are increasingly stymied by how casually students are using the terms.
"Despite the fact that I happen to be perfectly capable of reading any incoherent drivel you may send to my (e-mail) inbox directly from your phone keypad, 'wut up ya I cnt make it 2 clss lol' is insanely unprofessional," reads the syllabus of Alejo Enriquez, a Cal State East Bay instructor.
"Therefore, I am imposing a higher standard of grammar, spelling, and use of the enter key upon you and kindly request that all e-mails sent to me resemble any other letter to your teacher, supervisor, grandparents or parole officer."
Faculty members increasingly have expressed irritation about reading acronyms and abbreviations they often do not understand, said Sally Murphy, a Cal State East Bay professor and director of the university's general-education program.
"It has a real effect on the tone of professionalism," said Murphy, who also has seen younger instructors use the shorthand. "We tell them very specifically how this is going to affect them in life. It's kind of like wearing their jeans below their butt. They're going to lose all credibility."
The introduction of such casual language into term papers is a sea change from the days when nearly all students addressed their instructors as "professor" or "doctor." More faculty members ask students to call them by their first names, but many are drawing the line at texting shorthand or even emoticons -- smiley faces made out of punctuation marks.
Tech-speak has been moving through the educational pipeline toward colleges for a few years. A 2008 survey by the Pew Internet & American Life Project found that two-thirds of middle- and high-school students had accidentally used instant-messaging-style words in their work, while a quarter admitted using emoticons in assignments.
The breakdown in language skills is an odd phenomenon given how much time children and young adults spend in front of the computer, said Marcia Linn, who teaches about technology in education at UC Berkeley's Graduate School of Education.
"Writing has actually increased as an activity," she said. "Standards are another issue. Maybe we haven't quite thought it through well enough in an academic setting."
Many students communicate constantly via text and instant messaging, so it can be difficult to leave the tech lingo behind in class, said Mohammed Shahid Beig, a senior and student-body president at Cal State East Bay.
"When we sit down to do something formal, it's hard to switch to that way of thinking," said Shahid Beig, who grew up in India speaking to teachers in the most formal tones. "We don't even recognize it. I'm pretty sure that it has never happened to me, but I might have done it without knowing."
The phenomenon appears to be widespread. Instructors at Sonoma State, Holy Names and San Francisco State universities have grumbled about text-speak showing up in assignments, and the president of the statewide faculty senate for community colleges, Mission College professor Jane Patton, said she has heard the same complaints.
College always has been a place for students to learn how to communicate appropriately, Patton said, and teaching them to can the tech-speak is merely the latest step in that education.
"That's a standard part of every curriculum, pointing out the standards of appropriateness," she said. "In some ways, (text language) is a small modification to add to the list."
UC Berkeley professor Ken Goldberg said he has not received assignments using the texting terms, but said he has had trouble getting used to the casual tone of e-mails he receives from students these days.
"They don't even resort to the niceties," said Goldberg, director of the Berkeley Center for New Media. "They just jump right in as if they were texting me. I don't want to sound like I'm some sort of Victorian schoolmarm, but it's an adjustment."
Goldberg noted that although his 6-year-old child spells out complete words in text messages, he received a message from his 70-year-old mother -- a retired reading teacher -- that read, "luv 2 u."
Several professors said they are trying to emphasize the negative effects casual language will have on students' job searches. Some, such as Diablo Valley College student Alicia Fambrini, are clear on that message.
"I think it's an error by people my age not to use formal language," she said. "I've always followed the philosophy that it doesn't take that much longer to add 'y' and 'o' to 'u.' I spell everything out."
Matt Krupnick covers higher education. Contact him at 925-943-8246. Follow him at Twitter.com/mattkrupnick.


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Two upcoming meetings for the Measure L Advisory Committee have been canceled, according to a notice sent from the city's administrative secretary's desk.
The Sept. 24 and Oct. 8 committee meetings were scrubbed. The next scheduled meeting is slated for Monday, Oct. 22 at 5:30 p.m. in City Hall's council conference room Area B on the first floor.
Committee. commission and city council meetings are sometimes canceled due to a lack of agenda items or lack of quorum as some members may be absent.
For the two cancelled Measure L committee meetings, there were no apparent agenda items listed on the canceled committee agenda.
Location, ST | website.com


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// Teaching Artists //
Velocity Teaching Artists are among the best in their chosen field of practice. All our Teaching Artists are practicing artists with extensive experience in working in the professional arts sector. We invite you to meet our very talented teaching team:
Amy O'Neal is a performer, choreographer, and dance educator, sometimes making work under the name AmyO/tinyrage. From 2000-2010, she was the co-director of locust (music/dance/video). Over the past decade, she has taught and toured nationally and internationally and choreographed for theater, commercials, and music videos. Amy has been an artist in residence at Bates Dance Festival, Headlands Center for the Arts, the US/Japan Choreographer's Exchange/DTW, and Velocity Dance Center. She is an Artist Trust Fellow, Creative Capital/NPN/NDP/Mid Atlantic Arts Grantee, DanceWEB Scholar, and Stranger Genius Shortlister with a BFA from Cornish.
Ashleigh Miller is a multi-disciplinary performance artist working in dance, music, and visual multimedia. A native of Seattle, she grew up practicing art in many forms with a majority focus on dance. In 2013 she received her BFA from New York University's Tisch School of the Arts where she received scholarship and graduated with honors. In her time at Tisch she independently studied music and began creating musical scores, films, multimedia presentations, and set pieces to accompany her onstage works. In 2014 she returned to her home town and founded Faunix, a collaborative arts company aiming to advance and intermix Ashleigh's diverse practices. The company presented it's first evening-length work (an immersive installation) in the summer of 2014. Ashleigh's work has shown in New York City and Seattle, most notably at Northwest Film Forum/Next Dance Cinema Festival, the FRED Wildlife Refuge, Velocity Dance Center, Postcrypt Gallery, the Gallatin Galleries, Tisch Dance, and the NYU Cultural Studies Department. Ashleigh is also a dedicated teaching artist, catering to students of all ages. In 2013 she received her teaching certification through the Perri Institute of Mind and Body (formerly MindBodyDancer), an organization focusing on yoga, cross-training, and energetic practices for dancers and performing artists. Her classes employ elements of classical and contemporary technique, anatomy, physical therapy, and yoga to help her students find better physical and spiritual clarity within their own practices. Additional information on Ashleigh and her work is available at faunixmedia.com .
Cait Wyler is a movement artist who worked in Miami and New York before moving to Seattle. She began dancing so that her mother could have peace and quiet at home, and eventually got a degree from Texas Christian University in Modern Dance. She has studied with Tere O'Connor, Mark Haim, Jesse Zaritt, KT Neihoff, Jody Kuehner, Shannon Stewart, Jenna Riegel, and Nina Martin. Currently she works as Office + Operations Manager at Velocity and teaches at Bainbridge Dance Center.
Coleman Pester is a choreographer and dancer based in in Seattle. Coleman has built a diverse palate of work; premiering dance works in Seattle, Australia, Israel, New York, and the San Francisco Bay Area. Coleman acted as the assistant to renowned Choreographer Anouk van Dijk, Artistic Director of Chunky Move in Australia in 2012. Coleman earned a BFA from the LINES Ballet/Dominican University program in San Francisco. Coleman founded //TECTONIC MARROW SOCIETY// and continues to create and direct work through this company/project. Coleman has been commissioned and presented by Seattle Art Museum, Velocity Dance Center, On the Boards, and NEPO Arthouse. Coleman has received awards, grants, and residencies from the Seattle Office of Arts & Culture, Artist Trust, The Glenn H. Kawasaki Foundation, The University of Washington, and The Cornish Playhouse. More info: www.tectonicmarrowsociety.com.
Ellie Sandstrom is a choreographer, performer and dance educator, who is fueled by movement in many forms. She is a 2013 Velocity Dance Center Creative Residency recipient, a Seattle Magazine "Spotlight Award" winner and can be seen in a book entitled "Seattle 100″ by photographer Chase Jarvis. Since receiving her BFA from Cornish College of the Arts, she has worked with many dance makers and artists, including Scott/Powell Performance and locust (from 2000-2010), as well as Seattle Dance Project, The Three Yells, Amy O'Neal, Mark Haim, Dayna Hansen, Reggie Watts, Lynn Shelton with Karn Junkinsmith, Corrie Befort and countless others, both in live stage and film work. Her choreographic work, under the name SANDSTROMMOVEMENT, has been funded by the Office of Arts & Culture , as well as Artist Trust and has been presented by organizations such as On the Boards, Velocity Dance Center, Perpich Center for the Arts and Creative Dance Center. She has created new work through commissions from Seattle Dance Project, Stone Productions, Washington Ensemble Theater and Evoke Productions, among others. She has taught a variety of dance forms at many schools and studios in the city and beyond, including the University of Washington. She currently teaches Ballet @ Velocity and Contemporary Dance, Hip Hop and Dance Performance to middle and high school students at the Northwest School, where she is the Dance Department Chair. She is also on faculty for Seattle Theater Group's Dance This! Program for youth (since '09). sandstrommovement.com
Erin Cardinal has had the privilege of dancing her entire life. Her desire for making things, led her to creating dances for 16 years as cofounder and co-artistic director of Moving Current dance collective in Tampa, FL where she had the privilege of working with artists such as David Dorfman, Michael Foley, George Staib, Stephanie Skura and Paul Matteson. She now collaborates with her creative partner, Brian Fidalgo II under the name base//flight. In the last year, their work has been presented in Houston, New York and Seattle and have taught master classes with organizations such as Florida Dance Festival, American College Dance Association Conferences, University of Washington and Sam Houston State University. She is currently pursuing her MFA in dance at the University of Washington with a dual focus on partnering technique and dance composition. Erin has presented her research in partnering at the 2015 Graduate Research Symposium at UW and in August 2016 at the Arts and Society Conference in Los Angeles. Prior to her work at UW, she was a faculty member of Blake High School for the Arts in Tampa. She is a thankful recipient of numerous Florida county, state and regional grants in support of her work as an artist and educator. Erin holds a BA with a concentration in dance from the University of South Florida and a Professional Teaching Certificate. www.erincardinal.com
Jaret Hughes has 14 years of dance experience, with Hip Hop being his specialty along with training in Modern, Jazz, Ballet and African. Jaret has 11 years of choreographing and teaching experience with all ages, including 8 years at Elizabeth's Dance Dimensions in Bellevue, Washington. Jaret's choreography credits include the L.A. Clippers Spirit Dance Team (guest choreographer), Seattle Supersonics Dance Team for 5 years, founder of 2wisted Elegance from Seattle and LA's debut of 2wisted Elegance with the help of his good friend Joey Cooper, Modazz Competition Teams at Elizabeth's Dance Dimensions, co-choreographer and dancer for EVE in LA, and assistant choreographer / assistant Artistic Director for the "Invitation Feedback" video contest submission for Janet Jackson. Jaret Competed on Destination Stardom in Hawaii. Jaret's performances include: Seattle's Kube 93's Summer Jam for 3 years with Twisted Elegance, which included sharing the main stage with artists such as Destiny's Child, Ginuwine, Busta Rhymes, Blackstreet, Naughty By Nature and many more; various Hip Hop shows throughout Seattle including Daniel Cruz's Battle of Seattle Remix 3 and 4 and, most recently while living in LA for 2 1/2 years, performances with Breed OCLA for numerous dance competitions and guest performances for the DVD Release Party for "Step Up 2: The Streets". Jaret has shared his choreography expertise with various high school and college dance teams throughout Washington, California and Idaho.
Jody Kuehner is part dance artist and part bio drag queen named Cherdonna Shinatra. Jody is in her seventh year dancing for the Pat Graney Company. She has also been Pat's dance intern for the company's prison project "Keeping the Faith. She's in her fifth year dancing with Mark Haim and has acted as his Administrative Assistant and Rehearsal Director for various projects. She worked as Dayna Hanson's Production Coordinator for two evening length works and has been Assistant to the Director for Hanson's feature length film "Improvement Club". She is also Hanson's Assistant Director for the most recent work "The Clay Duke". From 2003-2009, Jody was a member of d9 Dance Collective and has also danced with Wade Madsen, KT Niehoff, Laura Curry, and Amy O'Neal (Tiny Rage) among others. Jody's persona Cherdonna Shinatra performs regularly with DeLouRue Productions and also performs periodically with paulanow productions and NARK Magazine. She and Lou Henry Hoover made work as "The Cherdonna and Lou Show" for five years, teaching, producing, performing. They were recognized as Seattle Magazine's 2010 Spotlight Award Winners. The Cherdonna and Lou Show also presented work and taught at the CORD conference on dance and gender in 2012. Jody currently teaches technique at Velocity Dance Center and has taught at their summer intensive Strictly Seattle as well as the Seattle Festival of Dance Improvisation. She has presented choreography at On The Boards, Velocity Dance Center, Northwest Film Forum, Bumbershoot and the Joyce SoHo NYC. She is Velocity's Artist in Residence for 2014 and is being produced by Velocity's Made in Seattle program. Jody is also in residence at KT Neihoff's space 10 Degrees. She holds a BFA in Dance Performance from the University of South Florida and has been supported by the Seattle Mayor's Office of Arts and Cultural Affairs and 4Culture.
Kaitlin McCarthy likes dance. She likes to make it, see it, direct it, teach it, think about it, talk about it, and write about it. She began dancing in her hometown of Ann Arbor, MI before attending Mt Holyoke College where she graduated summa cum laude in 2009. In Seattle she has danced with over a dozen local artists. She has choreographed work for Velocity's Fall Kick-Off, 12 Minutes Max/On the Boards, Evoke Productions' Full Tilt, BOOST Dance Festival, and her self-produced show, HOT MESS. Kaitlin is a member of the Seattle Contact Improvisation Lab and a staff writer for Seattle Dances. For more information visit kaitlinmccarthy.com.
Kate Wallich is a Seattle-based choreographer, director and teacher – named one of Dance Magazine's "25 to Watch" in 2015. She received her training from Interlochen Arts Academy and Cornish College of the Arts (Magna Cum Laude). In 2010, she founded her dance company, The YC, with co-founder Lavinia Vago. Her work has been commissioned and presented nationally and internationally by On the Boards, Velocity Dance Center, The Rauschenberg Foundation, MANA Contemporary, Springboard Danse Montréal, TOES, Bumbershoot, Conduit, City Arts Festival, The Frye Art Museum, Henry Art Gallery and Seattle Art Museum as well as by leading West Coast companies Whim W'Him, Raw Dance and Northwest Dance Project. She was a Visiting Artist at University of Washington, University of Oregon, Cornish College of the Arts and University of Utah. Kate has created two evening-length works with The YC: Super Eagle produced through Velocity Dance Center's Made In Seattle program and Splurge Land produced through On the Board's Performance Production Program. Kate has received awards and grants from 4Culture, Artist Trust, The Glenn H. Kawasaki Foundation, Seattle Magazine's "Spotlight Artist Award" and is a 2 time AIR recipient of the Rauschenberg Residency in Captiva, Florida.
Kathleen Hunt has had a lifelong passion for movement. After graduating with a BA in Dance from the University of Washington, she went on to produce/ choreograph/perform and collaborate on numerous dance productions. Kathleen owes her understanding of yoga to amazing teachers: Swami Shankarananda, Dharma Mitra, Marie Svoboda, Sri K Patabhi Jois and Aadil Palkhivala. Hunt taught yoga at Physical Culture Dance Center from 1987-1998. In 1995 she formed the 'Samadhi Yoginis' dance troupe which performed at yoga conferences, schools, senior centers and nightclubs. She founded/co-directed the Samadhi Yoga Center with Steven Davis from 1999-2014 and created the Yoga Alliance certified Samadhi Yoga Teacher Training program in 1998, training over 200 teachers.
Kokou Gbakenou has honed his professional dance and performance skills for over fifteen years. Originally from Togo, West Africa, Kokou has toured in Germany (Steptext Dance Project, Helge Letonja and Opiyo Okach), France and Belgium (Dunia Dance Theater, Harold George) with various groups, and was twice in residency at l'Ecole des Sables in Senegal (Germaine Acogny). He led an artistic association called Circuit Cinema et Arts Vivants (CCAV), and collaborated extensively with the French Cultural Center of Lome, the Goethe Institut, and with dance companies such as Woenyo and Brin de Chocolat. Prior to moving to Seattle in December 2013, he taught dance in Togo at the Lycee Fracais de Lome and Ecoles Arc-en-Ciel in Lome. Since 2010 Kokou has worked on an original movement technique called "Magan." Kokou integrates elements of Capoeira, Hip Hop, Yoga, Tai Shi and pan-African contemporary dance styles into his repertoire, inaddition to his mastery of the traditional dances of Togo. In Seattle in December 2013, he integrated Gasango Music and Dance (Etienne Codjo Cakpo) and participated at Dance This Festival in July 2014 with Seattle Theater Group, and in August 2014 he went to OMI International Dance Residency in Ghent (New York). aldance.weebly.com youtube.com/alnuzan magan.blogvie.com
Lucie Baker was raised in Seattle and moved to New York to attend the Juilliard School earning her BFA in 2008. While there Baker had the privilege of collaborating on new works with Robert Battle, Janis Brenner, Eliot Feld, Susan Marshall, and Doug Varone, as well as performing repertory by Merce Cunningham, Mats Ek, William Forsythe, José Limón, Ohad Naharin, and Paul Taylor. As a professional Baker has had the opportunity to work with both established choreographers and emerging artists. She is a 7 year veteran of Jane Comfort and Company and spent many years with Tamar Rogoff Performance Projects, Erica Essner Performance Co-op and Phantom Limb Company. She has also worked on projects with Adam Barruch, Sidra Bell, Tara Dyberg, Tiffany Mills, Bennyroyce Royon, Cindy Salgado, ilvs Strauss, and Arc Dance, among others. In complement to her classical training, Baker was raised in a folk dance tradition. In her youth she was a member of Vela Luka Croatian Dance Ensemble and continues to pursue many diverse social dance forms including House, Tango, Blues, Contact Improvisation, West African, and Balkan folk dance. Baker is also a lover of somatics and studied anatomy with Irene Dowd, Alexander Technique with Jane Kosminsky, is a Pilates instructor, and a yoga practitioner. Baker is an active choreographer, arts administrator and a committed teaching artist with Artists Striving to End Poverty and schools across the U.S.. She has taught diverse populations in universities, studios, high schools, prisons, hospitals, orphanages and disaster zones since 2005. Her choreography has been performed in New York, Seattle, Louisiana, Florida, Peru, Spain and Germany. www.luciebaker.com
Mark Chandler has always been an avid dancer since he was a child. He was taught ballroom when he was twelve. He has competed and taught social dance over the years and now promotes social dance at every opportunity. Besides ballroom – over the years he has learned Swing, Lindy Hop, Balboa, Bachata, Salsa, Tango, West Coast Swing, Blues, and Zouk amongst others. He has always been an organizer of dance and has spent the last five years being a member and host of Burn Blue. He is compassionate about Fusion dancing as it allows him to combine all the various types of dance styles he has learned over the years as well as providing accessibility to all interested in social dance.
Mark Haim has been choreographing and teaching for over 25 years. He was Artistic Director of Mark Haim & Dancers from 1984-1987, and the Companhia de Danca de Lisboa from 1987-1990. He has created new works for dance companies such as the Nederlands Dans Theater, Ballet Frankfurt, the Limon Dance Company, the Joffrey II Dancers, and the Rotterdamse Dansgroep, and has restaged his works on The Joffrey Ballet, the Bat-Dor Dance Company of Israel, Djazzex, and the Juilliard Dance Ensemble. His full evening solo project, The Goldberg Variations, has been performed at the American Dance Festival, the Danspace Project at St. Mark's Church, The John F. Kennedy Center, On The Boards and other venues in the U.S, Europe, Asia. His newest work, This Land Is Your Land, opened the ArtDanThe Festival in Paris, and has also been performed at the Joyce Theater in NYC and in the Nasher Museum of Art as part of the 2013 ADF performing series. Most recently, Mark choreographed for the Seattle Opera's productions of The Consul and Tales of Hoffmann. Mark has been on the faculty of the American Dance Festival since 1993 and was the Senior Artist in Residence at the University of Washington Dance Program from 2002-2008. He has also taught at the Reed College, NC School of the Arts, University of Illinois, Ohio University, SMU, VCU, Cornell, JMU, and for schools and companies in Belgium, Holland, Germany, Italy, Portugal, Poland, Latvia, Russia, Argentina, Chile and Japan. He is a recipient of a NYFA Choreographers Fellowship, 2 NEA Choreographers Fellowships, and grants from the NPN Suitcase Fund, ArtsLink, Inc. and the Seattle Office of Arts & Cultural Affairs. Mark is a Fulbright Senior Specialist.
PRESS 15 Artists, 15 Years, 15 Works – Haim's This Land is Your Land listed as one of the most influential works in the past 15 years. – Dance Magazine, January 2015
Mary Margaret Moore is a Guild Certified Feldenkrais Practitioner, a contemporary dance artist, and a teaching artist with Dance for Parkinson's. Her work, whether on a stage or in a classroom is cultivating environments that inspire personal inquiry, creativity, and learning, through the immediacy of movement. From a very young age, Moore found movement to be her "lens" onto the world and into herself. Moore's background and continued study include 20 years of varied movement practices, research and physical training. She has taught movement workshops at colleges, private studios, early learning centers and detention centers, and toured her performance work widely through Washington state, New Mexico and Montana. Moore is also an active collaborator within the Seattle dance and inter-media arts community.
Matt Drews is a movement artist who oscillates between the realms of dance, yoga + performance. His creative roles aqueous as choreographer, performer + teacher. He facilitates states of experience for bodies to investigate movement with a heightened lens toward healing, presence + ritual. He studied at Naropa University + holds a BFA in Dance from Cornish College of the Arts. His work has been produced at Decibel Electronic Music Festival, On the Boards + Velocity Dance Center. He has collaborated with Ate9 dANCE cOMPANY, tEEth Performance, Saint Genet, Kate Wallich + the YC, The Pendleton House + Modern Recollections. He is currently developing a new work as a 2015 Artist in Residence at Velocity Dance Center. www.mattdrews.com
PRESS Confronting the Intangible – City Arts, December 24th, 2015
Maya Soto is a choreographer, performer and award winning arts educator. Her work includes concert performance, movement installations, dance for theater and film. Maya brings together classical dance training and a sense of imaginative play. She has created 6 evening length works including Inner Galactic (2015) which was supported by creative residencies at 10 degrees in partnership with Velocity Dance Center (SEA), Exit Space (SEA) and Higher Ground (OR). Her choreography has been commissioned by numerous West Coast festivals and venues including On the Boards (SEA) and Conduit's Dance+ Festival (PDX). As a performer, she has worked with many notable artists including Amy O'Neal, Sandstrommovement and KT Neihoff. Currently, she dances for Michele Miller/Catapult Dance. Maya is a passionate advocate for arts education. She teaches dance at Velocity Dance Center, the Northwest School, Seattle Theatre Group – Disney Musicals in Schools and the EMP Museum. For 10 years, she has worked extensively as a teaching artist in the public school system and developed several successful youth dance programs. In 2014, she received a Velocity Dance Champion Award for significant contribution to Seattle dance. Maya holds a BFA in dance from Cornish College of the Arts and a Washington State Professional Teaching Certificate. mayasotodance.com
Michael O'Neal Jr. started off as self-taught Hip-Hop influenced dancer from Tacoma, WA. Now a UW graduate, he has also trained in ballet and modern techniques. O'Neal believes that to be the best dancer he can be, he should be versatile and push his own comfort zone. Since being in Seattle, O'Neal has danced for Chamber Dance Company, Jennifer Salk, Jürg Koch, Bruce McCormick, Erin Cardinal, and is currently dancing for Seattle choreographer Amy O'Neal in her latest work Opposing Forces. He is also helping in choreographing for Au Collective's first self-produced evening length show premiering September 2015. Michael O'Neal is a dance instructor at University of Washington's IMA, in addition to his subbing of Amy O'Neal's Street Styles class from August through the Fall at Velocity Dance Center. Michael O'Neal is a member of Chapter1NE and The Beat Hippies dance crews as well as Seattle's Au Collective. You can look Michael up under the moniker Choreomike on Youtube where he posts class footage, class choreography and freestyles. "Always a student, never a master."
Natascha Greenwalt is a performer, teacher, choreographer and certified GYROTONIC® trainer who has called Seattle home for the past 12 years. After earning her BFA from Cornish as a Kreielsheimer Scholarship recipient, she had the pleasure of guesting for numerous regional classical ballet companies, and performing for DASSdance and Spectrum Dance Theater before ultimately embarking on the adventure of creating Coriolis Dance with Christin Call. She's developed roles in work by notable choreographers such as Zoe Scofield, Donald Byrd and Rainbow Fletcher among many others. Her own choreography has been presented by Coriolis, Ballet Bellevue, Whitman College, Western Washington University (and others) in venues such as Chop Shop: Bodies of Work, Spotlight on Seattle, and numerous Coriolis Productions. She is thankful for the support of Velocity through the Creative Resident program and continues as a Teaching Artist for Velocity, Westlake Dance Center, guesting for programs such as Dance This, Whitman College Summer Dance Lab, Strictly Seattle and others. For more info please visit www.coriolisdance.com.
Patrick Kilbane is from Bainbridge Island, WA. He trained professionally in classical ballet and went on to become a highly skilled contemporary dancer, choreographer, teacher and performance artist. He spent 6 seasons with Northwest Dance Project in Portland, OR and is thrilled to be back in Seattle as a part of the Velocity family. Patrick is currently working with artists such as Anna Conner + Co, Dylan Ward, KT Niehoff, Coleman Pester, Kate Wallich/The YC and will be joining Whim W'him as a company member this fall.
Ratna Roy, Ph.D., started her training in Odissi dance in 1972 under Guru Govinda Chandra Pal, and from 1977 until his death in 2003, she trained under Adiguru Pankaj Charan Das. One of the guru's seniormost disciples, she has performed extensively as a soloist in India, the USA, Canada, Mexico, Great Britain, the Baltics, South Africa, Indonesia, Singapore, the Philippines, China, and Japan. Her major research work in dance has been reconstructing her guru's inherited devadasi tradition, envisioning Odissi as a healthful way of life, and situating Odissi in undergraduate interdisciplinary college curriculum. Ratna has published several articles in both Indian and US journals and a well-reviewed book, Neo-Classical Odissi Dance. Her fellowships and awards for dance and scholarship include the Advanced Fulbright Fellowship (1985), American Institute of Indian Studies Fellowship (1988), National Endowment for the Arts Choreography Fellowship (1988), Summer Fulbright Fellowship (1988), Arts International Award (2001), Fund for Folk Culture Award (2005), the Gordon Ekvall Tracie Memorial Award from Ethnic Heritage Council, Washington (2008), and Washington State Arts Commission's Fellowship Award for Lifetime Achievement in the Arts (2008), and Washington State Arts Commission's Master Apprenticeship Award (2006, 2007, 2009, 2010). Currently, she is Professor Emerita, Dance and Expressive Arts at The Evergreen State College, Washington, USA, Odissi instructor at The Velocity Dance Center (Seattle), and Artistic Director, Urvasi Dance Ensemble.
Sarah Lee Parker Mansaré graduated with honors and a Bachelor of Science degree in Health and Wellness (Exercise Science, Public Health, Youth Studies and Nutrition) from the University of Minnesota. She has been a member of the University of Minnesota Repertory and Hamanah Don Dance Companies, managed the Fitness Program at the West Seattle YMCA, and been a Personal Trainer and Life Coach. When Sarah Lee first discovered West African Dance in1993, she was hooked immediately, and spent the next decade studying with dozens of well-known instructors from various parts of West Africa. In 2004, she went to Senegal and then Guinea West Africa on a dance intensive with her primary instructor: Master Dancer Youssouf Koumbassa. She has since returned to Guinea eleven more times for multiple months at a time to dance and learn from some of the best West African dancers and instructors in the world. In June 2012 Sarah Lee completed eight months of intensive personalized study in various parts of Guinea with Alseny Bangoura, Mamadama Camara, Aly Mara and Sorel Conte, all of whom are Principal Dancers with West Africa's finest performance company Les Ballets Africains. While there, she also danced with Wassa So, an all-African 50 member high level performance company. For more information visit: www.oneworlddance.com.
Shirley Jenkins had a prolific career as a touring member and master instructor of the Evans company, performing in major cities and rural communities via the National Endowment for the Arts Dance Touring Program. Jenkins formed her own company, Strong Wind Wild Horses—which rapidly became a Seattle favorite at Bumbershoot Festivals and the Allegro series during the 80s and 90s—and collaborated with musicians, including Denny Goodhew, James Knapp, Scott Cossu, Michael Cava, Mark Seals, Steve Kim, Tom Bergersen, Fred West, the Kinetics and many others. Jenkins also founded a non-profit organization, Dance On Capitol Hill, for the Seattle community. As Artistic Director, she developed dance education programs for the novice to the professional, a performance venue featuring local and international choreographers, and a home for her dance company. She also established outreach programs by producing summer dance camps for homeless children. Jenkins has been an Artist-In-Residence at scores of universities and dance festivals throughout the U.S. and internationally. Her choreographic and teaching residencies have included the University of Washington, Cornish College of the Arts, Bill Evans Summer Institutes, Rhode Island University, Middlebury College, Pennsylvania State University, Columbia College, Alaska and Kentucky Out-Reach Programs, and international festivals in Bonn, Germany and Taipei, Taiwan. In 1997 everything changed. Jenkins sustained a severe spinal injury while dancing, followed by uterine cancer. And believe it or not… nine years later, she endured surgery and chemo/radiation therapy for breast cancer. As if that wasn't enough, in 2007 she underwent surgery for a total hip replacement. She never knew she could fight so hard to pick herself up from the ashes, and she often wondered if dancing again was a crazy idea. She decided she is crazy and embraces it! Jenkins is currently an Adjunct Instructor at Cornish College of the Arts and on the teaching staff of Velocity Dance Center. She is also a well-respected Pilates instructor at Pilates Seattle International, specializing in athletic injury and rehabilitation for seniors. In 2010, Jenkins formed a new dance company, DanceJENKINSDance. Her relentless perseverance is reflected in her works, which acknowledges all ages and walks of life with choreography that is poetic, humorous and introspective, celebrating the resiliency of the human spirit. Visit her website at www.dancejenkinsdance.com
Stephanie Liapis' career as a professional dancer, choreographer and educator spans sixteen years and includes work with Doug Varone & Dancers and Nicholas Leichter Dance, as well as Susan Marshall & Company, Nancy Bannon, the MET Ballet, Netta Yerushalmy, Faye Driscoll, the Chamber Dance Company and Aquila Theater among others. She has had the pleasure teaching at the professional studios of Gina Gibney Dance, Mark Morris Dance Center, the 92nd Street Y and Dance New Amsterdam in NYC. Stephanie served as adjunct faculty at Hunter College, Barnard College, the University of Washington and SUNY Purchase College, and as an Assistant Professor of Dance at Long Island University-Brooklyn campus. She teaches master classes and sets her work nationally and abroad. Her work has been presented in NYC, Detroit, Seattle, Phoenix, Switzerland and Singapore. Stephanie holds a B.F.A. in dance from NYU Tisch School of the Arts and an M.F.A. in dance from the University of Washington.
Stephanie Saland performed as a principal dancer with the NYC Ballet for 21 years under the direction of George Balanchine and Jerome Robbins. Based in Seattle and teaching freelance now for 21 years, she continues to explore movement in all ways and has developed a unique and multifaceted approach to dance and life at large. The myriad riches for education in New York: from teachers such as Stanley Williams, Maggie Black, and her colleague Gelsey Kirkland. She was there for the initial pangs of Gyrotonics which fed into the nuance of technique and specificity. She was and is equally inspired and informed through other non-ballet modalities and offers a class that is synthesis and creative response to the valuable aspects of these systems.
Wade Madsen was born and raised in Albuquerque, New Mexico where he attended the University of New Mexico. Wade has been in Seattle teaching, performing, and choreographing since 1977. He has toured nationally with the Bill Evans Dance Company (1978-1980) and with Tandy Beal & Company (1981 -1982). He has performed with Amy O'Neal and Amii Legendre dance groups along with Dayna Hansen, A.C Petersen, and Long Nguyen. Since 1979 Wade has been producing work with his own company, 'Wade Madsen & Dancers' along with various tours nationally and internationally.
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Five structures were damaged near Clanton, consisting of mostly minor shingle damage to roofs. Other structure that
were damage included one garage and a gazebo. One large storage storage building was totally destroyed with
debris scattered near 1 1/2 miles downstream. 8 to 10 hardwood trees were uprooted and 6 to 9 smaller hard and soft wood trees were snapped. The tornado was on the ground for about 6 minutes.
The top image is a 0.5 degree reflectivity loop and the bottom image is a storm relative velocity loop. The green indicates wind blowing toward the radar while red indicates wind blowing away from the radar.


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In this March 1, 2013 photo, a travel pillow and an alarm lay on a bed prepared for a client at "Espacio Siestario" where people can take a day time nap in Santiago, Chile. Clients enter windowless rooms lighted by a scented candle and lie down on a massage table cushioned by fresh white towels and sheets. With travel pillows hugging their necks, they get a five-minute massage on their arms, shoulders and head. Then the lights are dimmed and nearly imperceptible music helps them nod off as the w


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MAY 16, 2013 - Wall Street Journal
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Investment in Australia's resources sector should remain strong over the next three years, according to consultancy Wood Mackenzie.
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The Council for Fashion Designers of America (CFDA) and Vogue are pleased to announce the second season of the CFDA/Vogue Fashion Fund "Americans in Paris" initiative, made possible by the sponsorship of Tommy Hilfiger.
The "Americans in Paris" initiative was created as a global showcase for emerging American designers. As Paris Fashion Week attracts a wide array of international retailers, the showroom will provide invaluable global exposure for the designers as well as the sales, marketing and media support necessary to expand their respective businesses.
Ten past CFDA/Vogue Fashion Fund designers have been selected to participate in the shared space:
Albertus Swanepoel
Billy Reid
Creatures of the Wind
George Esquivel
Gregory Parkinson
Monique Péan
Ohne Titel
Pamela Love
Prabal Gurung
Simon Spurr
The showroom will be located at Galerie Joyce at the Palais Royal and will be open from March 3-5 during Paris Fashion Week. On Friday, March 2nd, US Ambassador Charles H. Rivkin and Ms. Susan M. Tolson will host a private cocktail party, at their residence, in honor of the designers and Tommy Hilfiger.
"Following the strong response from retailers and editors last September, we are excited to bring 'Americans in Paris' back for a second season. The designers are able to develop new international contacts and business opportunities that will help them further new business globally." said Steven Kolb, Chief Executive Officer of the CFDA. "I am proud to support the second season of 'Americans in Paris'," said Tommy Hilfiger, "a program that celebrates the global impact of American fashion by supporting new talent."


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SIKESTON -- Willie Jean "Billie" Martin, 82, died at 6:55 a.m. Dec. 20, 2006, at Miner Nursing Center.
Born Feb. 13, 1924, in Matthews, daughter of the late Albert and Effie Widdows Cox, she was a housewife and a homemaker. She was of the Baptist belief.
She was formerly married to Jack Martin, and he survives of Sikeston.
Other survivors include: one son, Terry Martin of Sikeston; one daughter, Diane Roach of Sikeston; two sisters and a brother-in-law, Sue and Leo Wise of Sikeston and Dorothy Helton of Puxico; and three grandchildren and three great-grandchildren.
She was preceded in death by three brothers and two sisters.
Visitation is from 9:30 a.m. Saturday until time for services at 10:30 a.m. at Nunnelee Funeral Chapel with the Rev. Rick Ramsey of First Baptist Church officiating.
Burial will follow in Garden of Memories Cemetery.
Pallbearers will be: Blake Rister, Alex Roach, Bud Adams, William Williams, Kris Heacox and Ted Martin.
Memorial contributions may be made to the charity of donor's choice


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Chimu Inca Pottery Figural Kero Effigy Vessel
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Directory: Antiques: Regional Art: Americas: Pre Columbian: Sculpture: Pre 1492: item # 1182739
Please refer to our stock # 1872 when inquiring.
Griffin Gallery Ancient Art
5501 North Federal Hwy., #4
Boca Raton, FL 33487
tel 561-994-0811
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Chimu Inca Pottery Effigy figure holding a spondylus shell and wearing a botanical headdress. Peru, ca 1200 - 1500 CE. His face in a wide grin, hands clasped in front. Deeply incised facial features, hair, and clothing, h. 9" with custom stand. The Chimu people (900-1450 CE) of Peru produced distinctive blackware pottery. The vessels were created by smoldering flames during the firing and then buffing the surface to produce a dull sheen. Many of the pottery forms were adapted from the Moche culture, which preceded the Chimu in the Andean region of Peru. Vessels were mass-produced through the use of molds. Chimu pieces were rarely painted; decoration usually took the form of sculptural additions or carved forms, particularly of animals such as cats, dogs, frogs, and birds. One type of pot originally developed by the Chimu culture is the double-chambered whistling pot, which consists of two chambers with their spouts linked together by a horizontal bar through which liquid could pass. As the fluid was rocked back and forth between the two cavities, labored breathing sounds similar to those of the dying were produced. Because of this association with death, many believe that this popular form of vessel was used as a funerary object. Music was an important part of many pre-Columbian cultures, particularly in religious ceremonies, as evidenced by the numerous instruments found in the tombs and ruins of ancient cities. Instruments were played to accompany processions of priests, to signify the climax of certain ceremonies, and to complement sacrificial rites. All of these observances were performed in the hopes of pleasing the gods who were believed to be soothed by the sound of music. Typical musical instruments included flutes and rattles made of fired clay, conch shells used as trumpets, and drums made of turtle shells or hollowed out logs.


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2010-11:Participated in the 100 butterfly (1:23.46) against UMass on Oct. 30.
2008-09: Swam season-best time of 30.65 in 50 free against Boston Univ. (11/15)... swam season-best time of 1:08.73 in 100 free against Lafayette (1/17).
2007-08: Member of the 200-yard medley relay team that finished fifth against Boston University (12/1)...finished eighth in the 50-yard freestyle against Boston (12/1)...touched eighth in the 50-yard freestyle against Fordham (11/7).
High School: Three-year letterwinner under coach Mara Galassi.
Personal: Debra Elizabeth Austin...born October 4, 1989...daughter of Susan and Brian Austin...majoring in health science.


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firstname.lastname@example.com (Ken) wrote in message news:
> I can not print to anything above com 9.
> The application sees all of the com ports, but gives an error:
> "Failed accessing printer on Com 10"
> Is this a Windows thing?
No. I've used mult-port serial io cards under NT without this problem.
I think it's the printer application's failure. Does it see ports >
> Ken


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Dec 21, 2011
Amazing moments when aircraft breaking the sound barrier, F-22, etc.
When the speed of aircraft approaching the speed of sound, there will be the increase in aerodynamic drag, so that aircraft have a strong oscillation and speed decay. This phenomenon is known as the sound barrier. As aircraft flying faster than the speed of sound and breaking the sound barrier, people will hear short and very loud explosive sound caused by the shock wave of the aircraft, which is sonic boom. Sonic booms can even break windows.
Tagged: amazing pics, awesome pictures, cool F-22 pictures, cool images, F-22 photos, impressive, sonic barrier, sonic boom, sound barrier


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An arctic surge is going to kick off this brand new year, but the forecast is not as clear cut as one might think.
The first cold front passed us on Sunday evening and that ushered in modestly cooler weather on New Years Eve and New Years Day. A second and somewhat ill-defined cold front extending from the Tennessee and Georgia mountains to near the Arklatex is going to blend in with the first front, sending us the arctic blast. A strong pressure gradient between a high over the High Plains and a low near Cape Cod will keep the wind blowing from the northwest between 8 and 15 mph tonight into Wednesday morning. The statistical models are forecasting lows between 24 and 26 degrees, but the direct gridded data from the same models are showing between 28 and 32 degrees. When the wind is blowing (especially over 5 mph), the air near the ground has a tough time cooling down to its greatest potential because of molecular mixing and compression. As a result, I am forecasting the low temperature to bottom out at 29 degrees, give or take 3 degrees depending upon your location. That means we will see a light to moderate freeze at most locations, including the coast. The National Weather Service has issued a hard freeze warning tonight, but the temperature must drop to 25 degrees or colder for at least 2 consecutive hours for the definition of a hard freeze to be met. Since I do not believe we will get that cold for that long, I am not advertising a hard freeze Wednesday morning in my broadcasts. I just wanted to clear up any possible confusion. The wind chill should get between 18 and 20 degrees by sunrise.
Wednesday will be an exceptionally cold day with a northwest wind sustained between 15 and 25 mph. Gusts could exceed 30 mph in places. The thermometer should only peak in the low to mid 40s, but the wind chill will be in the 30s most of the day.
The toughest part of the forecast is Wednesday night and Thursday morning. The center of high pressure is expected to reach middle Tennessee. That's far away and that argues against the wind going calm all night long, except for brief periods here and there. The statistical model guidance is predicting a devastating freeze not seen here in more than a decade. The GFS model is showing 13 degrees, Eta 15 degrees, and NGM 19 degrees. I believe these models to be in error. As of one my professors said at FSU, it's tough to get an epic freeze in this area when the center of high pressure is north of Dallas' latitude. Tennessee is north of Dallas. That said, I do believe we will see our first hard freeze of the season. I am forecasting a low temperature of 24 degrees on average across our area. Some out-of-town locales will almost certainly dip into the lower 20s and it's not entirely out of the question that the very coldest locations will slip below 20. However, I do not expect teens to be a widespread occurrence over our viewing area. Still, pipes can freeze when the temperature dips below 25 degrees for several hours and we do urge everyone to take the necessary precautions. We will continue to carefully monitor the situation and if the high gets farther south (resulting in a calm wind for longer than we currently anticipate), then we'll adjust the temperature forecast a little lower. The bottom line is that we do expect a hard freeze, but not a historic one as some of the stastical models indicate.
As the arctic high pressure moves toward the Atlantic coast, our airmass will gradually modify and the winds will turn more toward the east and southeast. We could manage to see another light freeze late Thursday night into Friday morning, but then morning lows should stay above freezing this upcoming weekend. Highs will get back into the 50s Friday, into the 60s Saturday, then back close to 70 degrees on Sunday. That will sure feel nice after what we're about to endure!
Have a great night and stay warm!


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Another 'Crazy Project' for Istanbul
First, Turkey's Prime Minister Recep Tayyip Erdogan announced what he called a "crazy" project to build a shipping canal parallel to the Bosporus strait. On Wednesday he outlined another one: to build two new earthquake resistant urban centers on the outskirts of Europe's biggest metropolis, Istanbul.
Mr. Erdogan's idea is to build one of the cities along the Black Sea coast, on the European side of the Bosporus. The other would go on the Asian side.
There's a big element of electioneering here. Mr. Erdogan made both announcements as his governing Justice and Development, or AK Party prepares for elections to a third term in office on June 12, a vote that opinion polls suggest the AK Party will win.
But few would write off Mr. Erdogan's grand plans entirely, in an economy that grew 8.9% last year and an earthquake prone city whose population, by official estimates, is at least 13.5 million and growing fast.
The promise is to build new, "more humane" housing and move residents to a safer area, away from "ugly buildings in neighborhoods with unsafe, narrow streets" in parts of Istanbul, Mr. Erdogan said at an election event in Istanbul. "If you think that (in an earthquake), damage of 100 billion could occur, we do not think this project would be too heavy a load for our country," Mr. Erdogan said.
In 1999, over 17 000 people were killed in an earthquake here. The epicenter was more than 100 kilometers from Istanbul, yet many of the casualties occurred in the city. Seismologists are forecasting another big one in the relatively near future.
Completing the vast project would be a long-debated third bridge across the Bosporus, close to the Black Sea coast. The highways that feed that bridge would also connect the two new urban centers, Mr. Erdogan said. Istanbul would get a new airport with a capacity of 60 million passengers a year — roughly the size of London's Heathrow.
Feasibility studies will start right after the elections, and construction a year after, according to the prime minister. But he is looking for votes from architects or city planners, Mr. Erdogan is likely to be disappointed.
"Istanbul has the capacity to grow up to 17 million, but this project could inflate it into a city of 25-30 million people. It paves way to serious and irreversible problems" such as suburban ghettos, said Eyup Muhcu, Istanbul head of the Chamber of Architects of Turkey.
Mr. Muhcu also said that Mr. Erdogan is ignoring the city's current plan, which bans construction in the forests and farmland along the Black Sea Coast. Much of the city's drinking water comes from the area.


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McDonald talks jobs, movies, 183 guidelines
Irving real estate and development director Brenda McDonald had a bit of news at today's budget retreat that is contrary to today's national headlines about rising unemployment. With inarguable joy, McDonald said so far this budget year, Irving has seen 3,940 new jobs created.
"At this point I think we should say, 'Amen and go home,' " McDonald said.
She also said the Irving Convention and Visitors Bureau is already working with dozens of possible event planners to book the planned convention center. She told council members that The Studios of Las Colinas want the city's help in increasing the visibility of what it calls "Irving's television and movie district."
And McDonald said city staffers next month will present the council with proposed guidelines for a State Highway 183 overlay district being planned in conjunction with the massive widening of that freeway.


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Materials Deposition and Device Fabrication in the Atmospheric Processing Platform
This page provides details on materials deposition and device fabrication in the Atmospheric Processing platform. The four techniques highlighted are robotic inkjet printing, large-area ultrasonic spray deposition, sputtering, and thermal evaporator deposition.
Robotic Inkjet Printing and Aerosol Spraying
This tool will greatly enhance current industry and research laboratory capabilities in printing of metal grid lines on solar cells. This technique is ideal for patterning because it is a non-contact printing process.
The robotic inkjet printing station enables the printing of inks at any point in creating a solar cell. A multi-head system makes it possible to mix inks in accurate proportions over 157-mm x 157-mm substrates in controlled ambient atmospheres. While depositing layers of the cell, the substrate can move in a controlled environment between inkjet and spray deposition units—even vacuum deposition—when appropriate.
- Printing metal fingers/grid lines and dopants for junctions
- Printing the hole-injection layer and absorber layer in organic photovoltaics
- Printing narrow and interdigitated contacts
- Performing burn-throughs (in combination with rapid thermal processing)—e.g., to n-type layers in silicon solar cells through the antireflection coating
- Printing metal top contacts (Ni, Ag lines) for CIGS cells
Special features:
- Deposited film thicknesses from 10 nm to 20 µm
- Feature width <30 µm
- Position is accurate to within <1 µm
- Access to various atmospheres (e.g., argon, nitrogen)
- Two multi-heads
- Located in a glove box, with solvent trap and dual gas purifier for atmospheric control
- Various ink materials are available:
- Metals—e.g., Ag, Cu, Ni, Al
- Semiconductors—e.g., CdTe, Cu(In,Ga)Se2 [CIGS]
- Metal oxides—e.g., BaxS1-xTiO3 [BST], ZnO, SnO2, SiOx
- Polymers—e.g., PEDOT:PSS, P3HT:PCBM
- Commercial inks
- Inkjet and spray deposition systems are interchangeable
- Universal platform, which will allow for other solution deposition techniques
Large-Area Ultrasonic Spray Deposition
At any point during deposition, the substrate can be moved in a controlled environment between the inkjet printing station and ultrasonic spray deposition chamber. In the glove box, single- or mixed-ink thin film can be deposited uniformly, across large areas—up to the 157-mm x 157-mm substrate standard. This technique is less expensive than inkjet printing for depositing uniform (i.e., non-patterned) layers.
- Depositing thin films
- Depositing absorber layers for CdTe, CIGS, or other materials
- Depositing transparent conducting oxides
Special features:
- Thicknesses are typically up to 20 µm
- Multi-head spray
- Located in a glove box, with solvent trap and dual gas purifier
- Position is accurate to within <1 µm
- Various ink materials are available:
- Semiconductors—e.g., CdTe, CIGS
- Metal oxides—e.g., BST, ZnO, SnO2, SiOx
- Metals—e.g., Ag, Cu, Ni, Al
- Polymers—e.g., PEDOT:PSS, P3HT:PCBM
- Commercial inks
- Inkjet and spray systems are interchangeable
- Universal platform, which will allow for other solution deposition techniques
Sputtering involves deposition performed in vacuum, for depositing transparent conducting oxides (TCOs), contacts, and other materials. This chamber can use a single target as well as multi-source sputtering. The capability includes research on TCOs and other layer compositions and their performance in conjunction with layers deposited at atmospheric conditions.
- Producing sputtered contacts
- Depositing TCOs, absorber materials, and antireflective coatings (e.g., SiNx)
- Using shadow masks for photovoltaic cell contacts
Special features:
- Has five sources: one large-area rectangular gun and four 3-inch circular guns
- Environment is vacuum (<10-6 torr)
- Provides uniformity over a coated area (<±6%)
- Access to process gases (Ar, O2, Ar/H2) with flow ranging from 0 to 100 sccm
- Heater well goes up to 400°C
- Multiple viewports (can be used for optical characterization)
- Layer thicknesses can be whatever is desired
Thermal Evaporator Deposition
The thermal evaporator uses evaporation to deposit layers at any point during the process of creating a solar cell. For air-sensitive source materials, the thermal evaporator source material can be loaded through the glove box.
The system uses electrical resistive heating to vaporize a source material in vacuum. The evaporated (or sublimated) material is deposited as it condenses on cooler surfaces.
This system uses thermal evaporation, where a source material is attached to a refractory-metal filament and is melted by high current flowing through the filament. An alternative approach is to use a "boat" made out of refractory metal that contains material to be evaporated; current passes through the boat to melt a source material.
- Depositing materials typically deposited by evaporation
- Depositing air-sensitive materials, such as Ca/Al or Ba/Al layers in organic photovoltaic cells
- Using shadow masks for photovoltaic cell contacts
Special features:
- Samples are under vacuum (<10-6 torr)
- Film thickness monitored by thickness monitor
- Equipped with at least two viewports (can be used for optical characterization)
- Can heat a substrate to 200°C
- Has a multi-source of four boats or coils
- Integrated glove box for loading air-sensitive sources
Contact Maikel van Hest for more details on these capabilities.


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The morbidity and mortality associated with ischemic heart disease remain health problems of major proportions and require continuous effort toward prevention. Although primary prevention is the ideal goal, secondary prevention, or that which occurs when persons with clinical manifestations modify their life style or risk factors and reduce the incidence of subsequent illness events, is also desirable. Thus, recovery, or rehabilitation, exerts preventive influences. Physicians and nurses who care for patients with ischemic heart disease have an opportunity here. The article by Stern et al in this issue (p 1680) reports that a behavioral state, characterized primarily by persistent depression, is associated with a higher rate of hospital readmission for reinfarction, coronary insufficiency, or infarct-related physical complications. Persistently depressed patients also showed a lower level of vocational and sexual function one year after infarction. This disclosure of a behavioral correlate of morbidity is not surprising in view of the considerable
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Songs of the Dying EarthGeorge R R Martin
Price $35.01 with FREE shipping!
Buy this and get 36 Nile Miles
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'The Dying Earth is one of the best and most influential fantasy works of the twentieth century' Terry Pratchett 'The world that Vance created ranks with Tolkien's Middle-earth and Robert E. Howard's Hyborian Age as one of fantasy's most unforgettable and influential settings.' George R R Martin