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The only words I have to describe this month is... tiring. Work is crazy, and if I take any time off at all, it ends up resulting in more work for me, than if I hadn't left at all, because I need to figure out what's been done, and what hasn't been done. Political, especially. It will be better once the Lakers are done with the playoffs, so I don't have to worry about sending out playoff tickets, but I know its still going to be difficult, especially starting in September- November. I'm trying to do everything, but I'm afraid that things will fall through the cracks if I'm stretched too thin. My job is such where I can't hand off projects, because it's no longer project related. Everything has to do with some knowledge in my head. It can get emotionally tiring, and by the time I get home, I feel like my brain cells are all fried. But, I am very grateful to have a job, and when its not crazy, I really like it.
Two coven sisters and I are having a joint jewelry show in July (I think its 7/10). That's going to be fun, and I'm working on making a few things for that. Yesterday I worked on two prayer bead malas, a bracelet, a car charm, and a few cell phone charms. My main goal would be 7 pieces per week. I can do one piece per day, no problem. It's nice making things while watching TV.
We had an interesting coven meeting last Saturday. I won't rehash the details here, but you can read it at http://twilightmooncoven.blogspot.com/, if you want.
I'm also looking forward to camping mid-august. Yes, its at the beginning of the political window for the general election, but I'm fine with that. I deserve a vacation every once in a while. Right? We'll most likely be going to Big Bear, which will be fun, as I've never been there before. :) I can't wait!
Tiring Month of May
Posted by Ivy at 5/24/2010 09:19:00 AM |
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Interested in learning more about Belly Dance? Join us for class! We have classes in multiple facets and stylizations of belly dance, as well as yoga and conditioning. (See the Drop-In Classes section below for more detailed descriptions and a link to the current class and event schedule.)
Class Pricing
- Drop-In Classes: (Tuesday Nights)
- Single classes are $10 or 1 card punch unless noted otherwise on the calendar.
- 6 class cards are $50 and do not expire.
- 12 class cards are $80 and do not expire.
- Pre-registered Courses: (Wednesday Nights)
- Covers specified topics or choreographies that are cumulative and need to be committed to in advance in order to run the course.
- Price varies based on content and length of course.
- Upcoming courses will typically be mentioned on the blog, and/or on our page on Facebook (or you can always contact us to ask what's coming up next!).
What to Wear and Bring
- Water (please no containers that do not seal)
- Comfy, fitted top that you can move easily in (you don't have to show your belly if you don't want to, but tops should not be baggy or obstruct the view of torso isolations and alignment)
- Comfy pants or shorts that you can move easily in, preferably something that is not baggy through the hips and thighs and does not obscure leg positioning.
- Your clothing or accessories should provide a visible horizontal line across your high hip and rib cage – this will allow the instructor(s) and you to see your movements more clearly. (A scarf or tassel belt around the hips and a layered half-top or shrug are nice options for this, however a strip of elastic, which we have available for use in the studio, in a contrasting color from your clothing works fine also.)
- Socks, dance shoes, or bare feet, depending on personal preference.
- Zills, if you have them (we keep a few pairs available for students to borrow during class as needed – optional for introductory level students, but will be required to advance to more complex material)We have links to online sources for practice and performance wear as well as some examples here.
Drop-In and Preregistered Classes
Ongoing drop-in classes do not require preregistration – you can join in at any time that you are available. Class cards and unlimited passes may be used to pay for any of our drop-in classes. Drop-In classes are generally appropriate for beginner to advanced students, with progressions offered for those interested in additional challenges.
Pre-registered courses have set start and end dates, cover specific content, and require students to sign up and pay for the course in advance. Once a minimum number of students have enrolled, the course will be held. If a course is already running, dropping in may be appropriate, depending upon the material covered – please contact us if there is an active course you are interested in joining.
Classes will note whether they are drop-in or preregistered on the studio calendar.
Private Classes
We do offer classes that are private (one on one), semi-private (maximum of 3 students), and small group (3-6 students). These must be preregistered (contact us to schedule a time for you or your group). You may schedule a single lesson (a good activity for a party or community event), or a course with multiple lessons (good for social groups that meet regularly).
Use the contact form to tell us about the event or group you'd like lessons for.
- Private (1): $40/hour
- Semi-Private (2-3): $60/hour
- Small Group(4-6): $75/hour

subset: commoncrawl


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On Monday, Indianapolis Colts punter Pat McAfee got drug tested by the NFL the morning after he made a spectacular hit on a punt returner–Denver's Trindon Holliday–the night before on national television. The Colts defeated the Broncos in Peyton Manning's homecoming to Indianapolis.
Guys… Make one random tackle… And end up on a "Random" steroid test.. Must be my bod #UpperBodyOfAnAdolescent pic.twitter.com/s9B7LrS89Y
— Pat McAfee (@PatMcAfeeShow) October 21, 2013


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Internet of Things (IoT) security company ForeScout Technologies has announced it has acquired operational technology (OT) network protection company SecurityMatters for approximately US$113 million in cash, subject to customary adjustments.
The acquisition will bolster ForeScout's global leadership position in agentless device visibility and control across the extended enterprise with expanded capabilities and advanced features to secure OT and industrial environments. "ForeScout's acquisition of SecurityMatters is a natural fit as it takes us deeper into a market where we have a foothold and are seeing customer demand," says ForeScout Technologies CEO and president Michael DeCesare.
"SecurityMatters' technology and talent will allow us to secure OT, expand our total addressable market and reinforce our solution as an end-to-end agentless device visibility and control platform." The convergence of IT and OT is driving a rapid rise of interconnectivity and introducing new risks for enterprises as OT networks may no longer be physically segregated from the IT network.
Recent cyber attacks, such as WannaCry, NotPetya and Triton, demonstrated how vulnerable OT networks can result in significant business disruption and financial loss.
According to Forrester research, 79% of organisations with a SCADA/ICS network have suffered a breach in the past 24 months. "Virtually every company with OT needs to rethink its cybersecurity strategy," says SecurityMatters founder and CEO Damiano Bolzoni.
"After partnering with ForeScout for the last year, it became clear that we shared the same vision.
"Now as a single company, we will be able to accelerate our momentum and create the industry's first capability to truly segment IT and OT environments." Founded in 2009, SecurityMatters provides organisations with device visibility, continuous network monitoring, and threat and anomaly detection specific to operational technology and industrial environments using passive collection techniques that don't impact operations.
Its solution protects networks from the widest range of threats utilising patented technology and with a library of over 1600 ICS-specific threat indicators. ForeScout's acquisition of SecurityMatters aims to further its vision to:


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It has been a while since we had any posts with proper content on this blog. Lest my readers become convinced that this blog has become a links-only intellectual wasteland, I hereby want to commence a new series on algorithms for dynamical fermions (blogging alongside our discussion seminar at DESY Zeuthen/Humboldt University, where we are reading this review paper; I hope that is not too lazy to lift this blog above the waste level...).
I will assume that readers are familiar with the most basic ideas of Markov Chain Monte Carlo simulations; essentially, one samples the space of states of a system by generating a chain of states using a Markov process (a random process where the transition probability to any other state depends only on the current state, not on any of the prior history of the process). If we call the desired distribution of states Q(x) (which in field theory will be a Boltzmann factor Z-1e-S(x)), and the probability that the Markov process takes us to x starting from y P(x,y), we want to require that the Markov process keep Q(x) invariant, i.e. Q(x)=Σy P(x,y) Q(y). A sufficient, but not necessary condition for this is the the Markov process satisfy the condition of detailed balance: P(y,x)Q(x)=P(x,y)Q(y).
The simplest algorithm that satisfies detailed balance is the Metropolis algorithm: Chose a candidate x at random and accept it with probability P(x,y) = min(1,Q(x)/Q(y)), or else keep the previous state y as the next state.
Another property that we want our Markov chain to have is that it is ergodic, that is that the probability to go to any state from any other state is non-zero. While in the case of a system with a state space as huge as in the case of a lattice field theory, it may be hard to design an ergodic Markov step, we can achieve ergodicity by chaining several different non-ergodic Markov steps (such as first updating site 1, then site 2, etc.) so as to obtain an overall Markov step that is ergodic. As long as each substep has the right fixed-point distribution Q(x), e.g. by satisfying detailed balance, the overall Markov step will also have Q(x) as its fixed-point distribution, in addition to being ergodic. This justifies generating updates by 'sweeping' through a lattice point by point with local updates.
Unfortunately, successive states of a Markov chain are not really very independent, but in fact have correlations between them. This of course means that one does not get truly independent measurements from evaluating an operator on each of those states. To quantify how correlated successive states are, it is useful to introduce the idea of an autocorrelation time.
It is a theorem (which I won't prove here) that any ergodic Markov process has a fixed-point distribution to which it converges. If we consider P(x,y) as a matrix, this means that it has a unique eigenvalue λ0=1, and all other eigenvalues λi (|λi+1|≤|λi|) lie in the interior of the unit circle. If we start our process on a state u=Σi civi (where vi is the eigenvector belonging to λi), then PNu = Σi λiN civi = c0v0 + λ1Nc1v1 + ..., and hence the leading deviation from the fixed-point distribution decays exponentially with a characteristic time Nexp=-1/log|λ1| called the exponential autocorrelation time.
Unfortunately, we cannot readily determine the exponential autocorrelation time in any except the very simplest cases, so we have to look for a more accessible measure of autocorrelation. If we measure an observable O on each successive state xt, we can define the autocorrelation function of O as the t-average of measurements that are d steps apart: CO(d)=<O(xt+d)O(xt)>t/<O(xt)2>t, and the integrated autocorrelation time AO=Σd CO(d) gives us a measure of how many additional measurements we will need to iron out the effect of autocorrelations.
With these preliminaries out of the way, in the next post we will look at the Hybrid Monte Carlo algorithm.


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Interlog China 2005
Venue: Howard Johnson Plaza Hotel
|Event Date/Time: Nov 15, 2005
|End Date/Time: Nov 16, 2005
The 2 day conference, plus exclusive visit behind the scenes of key distribution facilities and workshops, features case-study experiences from leading international and major Chinese companies. Honeywell, Hewlett-Packard, Kodak, Agilent, Electrolux, Midea and many more will be discussing, debating and delivering the latest tips and tools to optimize your aftermarket logistics operations.


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Updated information about the San Bernadino shooting has verified that one of the shooters was indeed Syed Farook who worked for the Inland Regional Center and the other was his wife Tashfeen Malik.
There are rumors that Malik, who was Pakistani and met Farook in Saudi Arabia, had "pledged allegiance" to Islamic State leader Abu Bakr al-Baghdadi in a Facebook posting Wednesday.
Other reports claim that Farook destroyed computer hard drives and other electronics prior to the attack and had left the party at the social services center after an argument with someone who supposedly denounced the "inherent dangers of Islam."
Now, let's note that none of these reports have been substantiated regardless of the fact they are claimed to be from US government sources but Fox News is already broadcasting the Malik pledge as fact.
Assuming that these reports if not 100% accurate are at least close to the truth, then we have a case of radicalized Muslims at least sympathetic to ISIS possibly being set off by a workplace argument.
Whether there was any formal contact between Malik and ISIS is yet to be seen.
This is an attack on a soft target consistent with the attacks in Paris so it wouldn't particularly surprise me if it was at least indirectly related to an ISIS campaign even though the precise target and timing may have been triggered by the argument.
You cannot protect all of the soft targets. There are simply too many of them. You have to focus on not allowing potential terrorists to amass the means to make such an attack.
Unfortunately that's a lot easier said than done.
Friday, December 04, 2015
An ISIS Connection?
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[On 26 January, I published an article by Kirk Woodward, a frequent contributor to ROT, on "Frank Kermode on Shakespeare's Language." Kirk took off from an announcement by the Oregon Shakespeare Festival in Ashland that they were commissioning modern-English translations of all of Shakespeare's plays; that dovetailed into a book report/review of Kermode's Shakespeare's Language (2000, Farrar Straus Giroux). As a follow-up (and prequel) to Kirk's discussion, I thought I ought to post OSF's original news release of 29 September 2015 (Oregon Shakespeare Festival [website]; https://www.osfashland.org/press-room/press-releases/play-on.aspx) and several articles from the press reporting or commenting on the project. Below are the OSF release, three New York Times articles (including an op-ed column and a report aimed at children), and the New Yorker article Kirk mentions in his piece, Daniel Pollack-Pelzner's "Why We (Mostly) Stopped Messing With Shakespeare's Language."]
Play On! 36 Playwrights Translate Shakespeare; playwrights and dramaturgs paired for 39 plays
Ashland, Ore.—The Oregon Shakespeare Festival announced today the launch of a 39-play, three-year commissioning project, Play On! 36 Playwrights Translate Shakespeare. Supported by a generous grant from the Hitz Foundation and inspired by long-time OSF patron Dave Hitz's passion for Shakespeare, the project is led by Lue Morgan Douthit, OSF's director of literary development and dramaturgy.
Play on! has engaged many of the nation's leading playwrights, dramaturgs, theater professionals, expert advisors and emerging voices in the field. Among the goals of the project is to increase understanding and connection to Shakespeare's plays, as well as engage and inspire theatergoers, theater professionals, students, teachers and scholars. Play on! also will provide translated texts in contemporary modern English as performable companion pieces for Shakespeare's original texts in the hope they will be published, read and adapted for stage and used as teaching tools.
Play on! has engaged many of the nation's leading playwrights, dramaturgs, theater professionals, expert advisors and emerging voices in the field. Among the goals of the project is to increase understanding and connection to Shakespeare's plays, as well as engage and inspire theatergoers, theater professionals, students, teachers and scholars. Play on! also will provide translated texts in contemporary modern English as performable companion pieces for Shakespeare's original texts in the hope they will be published, read and adapted for stage and used as teaching tools.
"We began this project with a 'What if?,' Douthit said. "There are differences between the early modern English of Shakespeare and contemporary English. What if we looked at these plays at the language level through the lens of dramatists? What would we learn about how they work? Would that help us understand them in a different way? 'Translate' is an inadequate word because it implies a word-for-word substitution, which isn't what we're doing. I'm going for something much more subtle. But I like the rigor that 'translate' implies. What excites me the most about this is who will dig into these texts. We have paired 36 playwrights with dramaturgs, and we are asking them to go in and look at what the plays are made of. The writers get the great joy of tagging along with the world's best poetic dramatist. It will be the geekiest exercise ever."
The project has commissioned a playwright and dramaturg for each of the 39 plays attributed to Shakespeare (including Two Noble Kinsman and Edward III). By commissioning diverse playwrights (more than 50 percent women and more than 50 percent writers of color), OSF will bring fresh voices and perspectives to the work of translation.
In approaching the task OSF has established two basic rules. First, do no harm. There is language that will not need translating and some that does. Each team is being asked to examine the play line-by-line and translate to contemporary modern English those lines that need translating. There is to be no cutting or editing of scenes and playwrights may not add their personal politics. Second, put the same kind of pressure on the language as Shakespeare put on his. This means the playwright must consider the meter, rhyme, rhythm, metaphor, rhetoric, character action and theme of the original. These translations are not adaptations. Setting, time period and references will remain unchanged.
OSF will continue its commitment to producing all of Shakespeare's plays between 2015 and 2025, and all these productions will use the original texts. One or more of the Play on! translations may be produced at OSF along with the complete original canon. It is the hope and expectation that a production will inspire audience members to return to Shakespeare's original texts, ideally with much greater understanding and enjoyment.
"My interest in the question of how to best create access to these remarkable works is life-long," OSF Artistic Director Bill Rauch said. "As a seventh grader, I translated Shakespeare's A Midsummer Night's Dream into contemporary English for my classmates to better understand it. I am delighted that the Play on! translations will give dramatists a deep personal relationship with Shakespeare's words and that they will give artists and audiences new insights into these extraordinary plays."
"I've been seeing Shakespeare plays since I was a child," Dave Hitz said. "I love reading a play before the show, especially out-loud with friends, in order to understand the performance better. When I learned that foreign translations of Shakespeare are in modern language, I was jealous. I fantasized about seeing Shakespeare performed in contemporary modern English. I'm thrilled that OSF is taking on this project. No translation can replace the original, but it can broaden the audience and provide new understanding even for those of us who love the original language. I hope these translations will attract a new audience to Shakespeare and lead them back to his original words as well."
Each play will have a reading and workshop with a director and actors to provide further insight into the work before the final drafts are submitted. OSF will produce readings and workshops of these translations all over the country. In addition, an annual convening will be held to facilitate dialogue and shared discovery among the writers.
Kennenth Cavandar's translation of Timon of Athens, a pilot for this project, was produced at the Alabama Shakespeare Festival in 2014. At this point in time three translations are scheduled for production: Pericles at Orlando Shakespeare, Two Noble Kinsmen at University of Utah, and The Tempest at Alabama Shakespeare Festival.
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[Jennifer Schuessler posted the following report on the New York Times' blog ArtsBeat on 1 October 2015 (http://artsbeat.blogs.nytimes.com/2015/10/01/oregon-shakespeare-festival-plans-shakespeare-translation-project/). A version of the blog article appeared in print on 2 October 2015, in the "Arts, Briefly" column in "The Arts" section of the paper with the headline: "A Plan to 'Translate' Shakespeare Into English."]
By Jennifer Schuessler
Taylor Mac, Kwame Kwei-Armah, Lloyd Suh, Lisa Peterson and Naomi Iizuka are among the diverse group of playwrights the Oregon Shakespeare Festival has enlisted in a three-year effort to "translate" Shakespeare's plays into contemporary modern English, with the goal of making the sometimes difficult plays more accessible to contemporary audiences while also "bringing fresh voices and perspectives."
"Play On! 36 Playwrights Translate Shakespeare" pairs playwrights and dramaturges to work on 39 plays attributed to Shakespeare, including "Edward III" and "The Two Noble Kinsmen." More than half of the playwrights are women and more than half are minorities, according to a news release.
Lue Morgan Douthit, the festival's director of literary development and dramaturgy, said in a statement that while the new versions would not be translations in the strictest sense, the word captured what she characterized as "the rigor" of the project. Unlike free literary adaptations of the sort included in projects like the Hogarth Shakespeare [a project of Penguin Random House in which Shakespeare's plays are retold by contemporary bestselling novelists], the Oregon effort allows no cutting or editing of scenes, no changes to a play's setting or references, and no insertion of a playwright's "personal politics."
"The writers get the great joy of tagging along with the world's best poetic dramatist," Ms. Douthit said. "It will be the geekiest exercise ever."
A pilot for the project, Kenneth Cavandar's translation of "Timon of Athens," was produced at the Alabama Shakespeare Festival in 2014. The Oregon Shakespeare Festival, in Ashland, Ore., said it may produce one or more of the modern translations, while also continuing its commitment to staging original-text versions of all of Shakespeare's plays between 2015 and 2025.
[Jennifer Schuessler is an editor at the New York Times Book Review and a reporter for the ArtsBeat blog.]
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[Here is the New Yorker article by Daniel Pollack-Pelzner that Kirk Woodward mentions in "Frank Kermode on Shakespeare's Language," published on 6 October 2015 (http://www.newyorker.com/books/page-turner/why-we-mostly-stopped-messing-with-shakespeares-language).]
by Daniel Pollack-Pelzner
Critics of a project that will translate Shakespeare's plays into modern English may have forgotten the long history of the Bard's scripts undergoing heavy editing for the stage.
Last week, the Oregon Shakespeare Festival announced that it had commissioned thirty-six playwrights to translate all of Shakespeare's plays into modern English. The backlash began immediately, with O.S.F. devotees posting their laments on the festival's Facebook page. "What a revolting development!" "Is there really a need to translate English into Brain Dead American?" "Why not just rewrite Shakespeare in emoticons and text acronyms?" Beneath the opprobrium lay a shared assumption: that Shakespeare's genius inheres not in his complicated characters or carefully orchestrated scenes or subtle ideas but in the singularity of his words. James Shapiro, a professor of English at Columbia University, used a regionally apt analogy to express this opinion: "Shakespeare is about the intoxicating richness of the language," he told Oregon Public Broadcasting. "It's like the beer I drink. I drink 8.2 per cent I.P.A., and by changing the language in this modernizing way, it's basically shifting to Bud Light. Bud Light's acceptable, but it just doesn't pack the punch and the excitement and the intoxicating quality of that language."
I don't disagree with Shapiro, but, as a literary historian who studies the way Shakespeare has been reinvented, I'm struck that so many serious Shakespeareans over the centuries have argued the opposite: that Shakespeare's genius had to be salvaged from the obscure, indecorous, archaic, quibbling mess of his language. For poets, playwrights, editors, and actors from the seventeenth century through much of the nineteenth, Shakespeare's language wasn't intoxicating so much as intoxicated: it needed a sobering intervention. These days, we tend to assume that productions can change anything about Shakespeare (the setting, the period, the characters' race or gender), as long as the script stays intact—cut or reordered, perhaps, but not rewritten. This is a fairly recent notion. Until the late Victorian era, stage performances usually observed the setting and period implied in the play, but they transformed the language. Shakespeare's script was the first problem that a production had to remedy.
At the end of the English Civil War, when the restoration of the monarchy reopened the theatres, Shakespeare's fifty-year-old plays looked, to many, out of date. Playwrights polished up his rusty parts for performance, pruning his unruly plots to fit a French-fuelled demand for dramatic unities, tweaking his politics to suit an age wary of further unrest, recasting his roles to accommodate newly licensed female actors, and rewriting the rough bits that violated neoclassical decorum. John Dryden and William Davenant introduced their adaptation of "The Tempest," in 1667, as Shakespeare resurrected for the present: "from old Shakespear's honour'd dust, this day / Springs up and buds a new reviving Play." Restoration playwrights treated Shakespeare much as he had treated his sources: as fertile soil ripe for tilling. John Crown found "Henry VI" full of "old gather'd Herbs"; he added a dressing of "oyly Words" along with "a little vinegar against the Pope" to pique the taste of his Protestant audience. Shakespeare was seen as an untutored poet of nature who was, as John Milton memorably put it, apt to "warble his native wood-notes wild," and who lacked the art—and knowledge of classical precedent—to shape his fancy. (The prohibition against ending a sentence with a preposition stems, in part, from Dryden's attack on this "common fault" in Shakespeare and his contemporaries.) "There are Lines that are stiff and forc'd, and harsh and unmusical," the playwright John Dennis complained as he tuned up "Coriolanus." "There are Lines in some Places which are very obscure, and whole Scenes which ought to be alter'd." The Irish poet Nahum Tate cast "King Lear" as "a Heap of Jewels, unstrung and unpolisht"; his notorious resetting of those smudged gems modernized the language, cut the Fool, and added a happy ending in which Lear survives to see Cordelia marry Edgar—an anathema to our current judgment, but popular enough to hold the stage for the next hundred and fifty years.
Even the eighteenth-century vogue for printed editions of Shakespeare, which often sought to rescue the plays from the perceived travesties of the playhouse, found his work faulty. Nearly all the editions modernized the plays' spelling and punctuation; some went further. Striving to refashion Shakespeare as a more genteel poet, Alexander Pope, in the preface to his 1725 edition, acknowledged his subject's shortcomings: "It must be own'd that with all these great excellencies he has almost as great defects; and that as he has certainly written better so he has perhaps written worse than any other." Pope's solution was to flag the excellencies with a comma in the margin—or, if they were particularly "shining" examples, with a star—whereas "excessively bad" passages were "degraded to the bottom of the page." Although Pope blamed these faults on Shakespeare's need to please the debased taste of his audience, another poet-editor, Samuel Johnson, thought Shakespeare's defects could not be excused by the "barbarity of his age." He disdained the comic characters, whose "jests are commonly gross, and their pleasantry licentious"; he deplored the labored tragic writing where "the offspring of his throes is tumour, meanness, tediousness, and obscurity"; he criticized narrative scenes for "a disproportionate pomp of diction and a wearisome train of circumlocution"; and he lamented Shakespeare's wordplay, sighing that a pun or "quibble was to him the fatal 'Cleopatra' for which he lost the world, and was content to lose it." Although Johnson regarded Shakespeare as the greatest modern writer to depict our "general nature," he preferred Tate's "King Lear" for the poetic justice of its ending.
As the scholar Michael Dobson has argued, canonization fuelled adaptation: if Shakespeare was the newly minted national poet, his plays had to be improved to be worthy of his stature. (That impulse spurred Henrietta and Thomas Bowdler's expurgated "Family Shakespeare" edition, which advertised that it removed "from the writings of Shakespeare some defects which diminish their value.") In 1838, the great actor-manager William Macready restored Shakespeare's "King Lear," complete with the Fool and the original body count, but he could not persuade his audiences to accept Shakespeare's "Richard III." Colley Cibber's trim Restoration adaptation, with its popular lines like "Off with his head! So much for Buckingham," was preferred until 1877, and even Laurence Olivier's 1955 film kept some of Cibber's alterations. "The Taming of the Shrew," frequently revived in adaptations throughout the seventeenth and eighteenth centuries, was not performed in Shakespeare's version until 1887, almost three hundred years after its Elizabethan début.
So what changed? How did Shakespeare's original texts regain their popularity? German Romantics had something to do with it. They rebelled against French neoclassical restraint and cited Shakespeare's unruliness as a liberating precedent. British critics in the nineteenth century followed suit, celebrating Shakespeare's capacious characters and poetic imagination instead of worrying whether his plots fit Aristotelian unities or if his style matched Augustan decorum. Rather than subject Shakespeare to critical standards, Shakespeare became the standard. (Samuel Taylor Coleridge apologized for importing the clunky term "psychological" from the German, but he said that English lacked a word to capture Shakespeare's "Philosophy of the Human Mind.")
Then, with the rise of English as an academic discipline in the Victorian era, scholars took over the business of editing Shakespeare, working to establish more historically authentic texts, rather than correcting poetic defects—-an editing goal matched by the nineteenth-century taste for spectacular antiquarian stage productions. (John Philip Kemble inaugurated a tradition of playing Macbeth in a Scottish kilt.) Shakespeare's plays entered the new compulsory public education system in 1870; the national assessment standards required classes to recite Shakespeare passages for an examiner. Shakespeare stocked the cultural arsenal for Britain's overseas campaign as well, getting a push in the colonies from the British Empire Shakespeare Society, whose motto read, "Using no other weapon but his name." Even the Oxford English Dictionary helped secure Shakespeare's status as the source of the imperial tongue; one editor instructed researchers to stop looking for earlier instances once they found a word listed in the concordance to Shakespeare. George Bernard Shaw feared that the Victorian tendency to see Shakespeare as immune from criticism verged on "Bardolatry," warning that "it is false admiration to worship him as an infallible demi-god." But Shakespeare was well on his way to becoming secular scripture. In the twentieth century, New Critics enshrined Shakespeare's plays as complex poetic art, unified through patterns of metaphor, irony, and paradox, and generations of students were compelled to write exegeses of his linguistic richness. If witty intricacies appeared opaque, that was the fault not of the poet but of the audience who failed to grasp his genius.
Even in a climate of reverence for Shakespeare, the authentic text of his plays remains elusive. No manuscripts for the plays survive, so contemporary editions and performance scripts cobble together the most plausible passages from early quartos and folios, modernizing the spelling and punctuation and relying on the history of editorial emendations to clarify obscure cruxes. (There is also the tricky business of attribution for scripts that appear to be collaborations between Shakespeare and other playwrights.) Most editors of "Hamlet," for instance, silently translate "porpentine" to "porcupine" without incurring outrage, though whether the porcupine is "fretful" or "fearful" depends on whether you follow the folio or the second quarto. Every printing of an early modern book was slightly different; hence the oddity of the Norton Facsimile edition of the First Folio, which reproduced the cleanest version of each page from different copies, generating the facsimile of a volume that never existed. The Norton edition of Shakespeare's complete works that I helped edit when I was a graduate student printed three different texts of "King Lear" (the quarto, the folio, and a conflated version of the two). At the Internet Shakespeare Editions, you can find seven different texts of "King Lear," along with ten facsimiles. If Samuel Johnson were asked today whether he preferred Nahum Tate's version to Shakespeare's, he would have to answer: Which one?
In light of this history, the Oregon Shakespeare Festival's translation project seems fairly conservative. The translations are billed as "companion pieces" for Shakespeare's originals, not replacements. According to the O.S.F. Web site, the playwrights are charged not to cut, not to edit, not to add personal politics, not to change the setting or time period or references. "First, do no harm," the commission states. Instead, O.S.F. wants its writers to "limit their efforts to updating the more antiquated language in the plays" while putting the "same kind of pressure on the language"—rhyme, rhythm, metaphor, rhetoric—"as Shakespeare put on his." Although accessible, stylish play scripts could offer handy entry points for Shakespeare newbies, one almost wonders why O.S.F. needs thirty-six playwrights (and supporting dramaturgs) to do the sort of clarifying work that annotations to modern editions have been doing for years. In its combination of updating and deference, O.S.F.'s commission looks like an eighteenth-century project couched in nineteenth-century terms.
What is genuinely radical in the commission is not the process but the people involved. Under the leadership of O.S.F.'s director of literary development and dramaturgy, Lue Morgan Douthit, more than half of the selected playwrights will be women, and more than half will be writers of color. Shakespeare's scripts have always resulted from collaborations among playwrights, actors, and editors. For most of the history I have traced, those collaborators were white men. Updating Shakespeare isn't a new business, but now its ranks will reflect the rich diversity of artists who, four centuries later, both relish and renew his language.
[Daniel Pollack-Pelzner, who trained at Yale University as a Shakespearean actor, teaches Shakespeare, Renaissance drama, and British literary history at Linfield College in McMinnville, Oregon. His research focuses on Shakespeare adaptations—how writers have transformed Shakespeare's plots, characters, and style into literary forms that speak to their own cultural moment. He has published numerous articles on Shakespeare and other English literary figures, has assisted in editing the new Norton Shakespeare, and is completing a book on Shakespeare and the Victorian novel. He has appeared on Oregon Public Broadcasting and given public presentations at the Oregon Shakespeare Festival.]
* * * *
[This Op-Ed column by James Shapiro appeared on 7 October 2015 (http://www.nytimes.com/2015/10/07/opinion/shakespeare-in-modern-english.html). A version of this column appeared in print on the Opinion Pages of the New York edition on the same date, with the headline: "Modernizing the Bard?"]
by James Shapiro
The Oregon Shakespeare Festival has decided that Shakespeare's language is too difficult for today's audiences to understand. It recently announced that over the next three years, it will commission 36 playwrights to translate all of Shakespeare's plays into modern English.
Many in the theater community have known that this day was coming, though it doesn't lessen the shock. The Oregon Shakespeare Festival has been one of the stars in the Shakespeare firmament since it was founded in 1935. While the festival's organizers insist that they also remain committed to staging Shakespeare's works in his own words, they have set a disturbing precedent. Other venues, including the Alabama Shakespeare Festival, the University of Utah and Orlando Shakespeare Theater, have already signed on to produce some of these translations.
However well intended, this experiment is likely to be a waste of money and talent, for it misdiagnoses the reason that Shakespeare's plays can be hard for playgoers to follow. The problem is not the often knotty language; it's that even the best directors and actors — British as well as American — too frequently offer up Shakespeare's plays without themselves having a firm enough grasp of what his words mean.
Claims that Shakespeare's language is unintelligible go back to his own day. His great rival, Ben Jonson, reportedly complained about "some bombast speeches of 'Macbeth,' which are not to be understood." Jonson failed to see that Macbeth's dense soliloquies were intentionally difficult; Shakespeare was capturing a feverish mind at work, tracing the turbulent arc of a character's moral crisis. Even if audiences strain to understand exactly what Macbeth says, they grasp what Macbeth feels — but only if an actor knows what that character's words mean.
Two years ago I witnessed a different kind of theatrical experiment, in which Shakespeare's "Much Ado About Nothing," in the original language, trimmed to 90 minutes, was performed before an audience largely unfamiliar with Shakespeare: inmates at Rikers Island. The performance was part of the Public Theater's Mobile Shakespeare Unit initiative.
No inmates walked out on the performance, though they were free to do so. They were deeply engrossed, many at the edge of their seats, some crying out at various moments (much as Elizabethan audiences once did) and visibly moved by what they saw.
Did they understand every word? I doubt it. I'm not sure anybody other than Shakespeare, who invented quite a few words, ever has. But the inmates, like any other audience witnessing a good production, didn't have to follow the play line for line, because the actors, and their director, knew what the words meant; they found in Shakespeare's language the clues to the personalities of the characters.
I've had a chance to look over a prototype translation of "Timon of Athens" that the Oregon Shakespeare Festival has been sharing at workshops and readings for the past five years. While the work of an accomplished playwright, it is a hodgepodge, neither Elizabethan nor contemporary, and makes for dismal reading.
To understand Shakespeare's characters, actors have long depended on the hints of meaning and shadings of emphasis that he embedded in his verse. They will search for them in vain in the translation: The music and rhythm of iambic pentameter are gone. Gone, too, are the shifts — which allow actors to register subtle changes in intimacy — between "you" and "thee." Even classical allusions are scrapped.
Shakespeare's use of resonance and ambiguity, defining features of his language, is also lost in translation. For example, in Shakespeare's original, when the misanthropic Timon addresses a pair of prostitutes and rails about how money corrupts every aspect of social relations, he urges them to "plague all, / That your activity may defeat and quell / The source of all erection." A primary meaning of "erection" for Elizabethans was social advancement or promotion; Timon hates social climbers. The wry sexual meaning of "erection," also present here, was secondary. But the new translation ignores the social resonance, turning the line into a sordid joke: Timon now speaks of "the source of all erections."
Shakespeare borrowed almost all his plots and wrote for a theater that required only a handful of props, no scenery and no artificial lighting. The only thing Shakespearean about his plays is the language. I'll never understand why, when you attend a Shakespeare production these days, you find listed in the program a fight director, a dramaturge, a choreographer and lighting, set and scenery designers — but rarely an expert steeped in Shakespeare's language and culture.
A technology entrepreneur's foundation is bankrolling the Oregon Shakespeare Festival's new venture. I'd prefer to see it spend its money hiring such experts and enabling those 36 promising American playwrights to devote themselves to writing the next Broadway hit like "Hamilton," rather than waste their time stripping away what's Shakespearean about "King Lear" or "Hamlet."
[I agree in principle with Shapiro, especially with respect to actors and directors assuring that they understand the content of Shakespeare's words. (See my articles "Acting Shakespeare" and "Staging Shakespeare," posted on ROT on 5 and 21 September 2009, which treat both endeavors.) Further, in "Frank Kermode," Kirk Woodward addresses the idea that Shakespeare meant for some of his lines to hard to understand, asking "Did they try to straighten out passages that Shakespeare left obscure . . ."? (I responded in my closing remarks with an anecdote about a play by Heather McDonald of a production of which a dramaturgy teacher of mine complained that the director "ironed out all the quirks.")
[James Shapiro, a professor of English at Columbia, is the author, most recently, of The Year of Lear: Shakespeare in 1606 (Simon & Schuster, 2015).]
* * * *
[The following article, directed to young readers, was posted on the Learning Notebook, a New York Times blog, on 14 October 2015 (http://learning.blogs.nytimes.com/2015/10/14/is-shakespeare-too-hard/).]
by Michael Gonchar
Reading Shakespeare is pretty much a rite of passage in many high school English programs. Students are expected to stumble through centuries-old dost's and thou's to discover the beauty of Shakespeare's language and explore the twists of his classic plots. After all, Shakespeare is generally thought of as the greatest writer in the English language.
But is Shakespeare just too hard for today's students — and today's audiences?
In "Shakespeare in Modern English?," James Shapiro writes about changes at the Oregon Shakespeare Festival to make the bard more accessible:
The Oregon Shakespeare Festival has decided that Shakespeare's language is too difficult for today's audiences to understand. It recently announced that over the next three years, it will commission 36 playwrights to translate all of Shakespeare's plays into modern English.
Many in the theater community have known that this day was coming, though it doesn't lessen the shock. The Oregon Shakespeare Festival has been one of the stars in the Shakespeare firmament since it was founded in 1935. While the festival's organizers insist that they also remain committed to staging Shakespeare's works in his own words, they have set a disturbing precedent. Other venues, including the Alabama Shakespeare Festival, the University of Utah and Orlando Shakespeare Theater, have already signed on to produce some of these translations.
However well intended, this experiment is likely to be a waste of money and talent, for it misdiagnoses the reason that Shakespeare's plays can be hard for playgoers to follow. The problem is not the often knotty language; it's that even the best directors and actors — British as well as American — too frequently offer up Shakespeare's plays without themselves having a firm enough grasp of what his words mean.
Claims that Shakespeare's language is unintelligible go back to his own day. His great rival, Ben Jonson, reportedly complained about "some bombast speeches of 'Macbeth,' which are not to be understood." Jonson failed to see that Macbeth's dense soliloquies were intentionally difficult; Shakespeare was capturing a feverish mind at work, tracing the turbulent arc of a character's moral crisis. Even if audiences strain to understand exactly what Macbeth says, they grasp what Macbeth feels — but only if an actor knows what that character's words mean.
Students: Read the entire article, then tell us . . .
— Is Shakespeare too hard for today's students and audiences? Does the difficulty of Elizabethan vocabulary get in the way of appreciating the rich and colorful language, plot lines and characters?
— Is adapting Shakespeare to modern English a good way to engage students and audiences with these classic texts?
— Or do students and audiences lose the essence of Shakespeare's plays if they read or see them in modern English? Is something lost in translation?
— Have you ever read or watched a Shakespeare play in the original language? Do you have a favorite play? Did you enjoy the experience? How did you cope with the difficult vocabulary?
— Have you ever read or watched a Shakespeare play translated into modern English? Did the adaptation enhance or detract from the experience?
[On the website (the link for which is above), 34 students 13 and older had commented at the time I uploaded this post. Have a look at what some young Shakespeare students had to say about OSF's project.
[Michael Gonchar started teaching in 1996 as a humanities teacher at East Side Community High School in Manhattan. He joined the Learning Network in 2012 after spending ten years as a school coach, instructional coach, and teacher-mentor in over two dozen New York City public middle and high schools.]
* * * *
[OSF's "translation" project is dubious in my view, but if it "does no harm" (a dramaturg's pledge, by the way—borrowed from the medical profession; I bet OSF's literary manager had a hand in writing the release), I suppose it's innocuous. I note that of the four translations being staged, three are among Shakespeare's less-frequently produced plays: Timon of Athens, Pericles, Two Noble Kinsmen. The rationale might be that a script that's easier to follow might make them more appealing to general audiences. That's at least a laudable goal on the theaters' part (OSF's and ASF's). That was principally the thinking of Classic Theatre for Schools, an outfit I did some work for in the '80s, and the Classroom Classics modern-language adaptations they published. It was also the reason I started reading the Charles and Mary Lamb Tales from Shakespeare (which, of course, were early 19th-century texts rather than 21st) back in the 1950s: I could follow the story without having to slog through what was very difficult language for a middle-schooler. (It worked, too: from that time on, I have loved Shakespeare's plays.) As Kirk quoted from the New Yorker's Pollack-Pelzner above, if it gets some "newbies" into the theater or a Shakespeare text, then it's all good.
[Here is a list of the playwrights and dramaturgs OSF has commissioned to make the Shakespearean translations:
All's Well That Ends Well: Virginia Grise (playwright), Ricardo Bracho (dramaturg); Antony and Cleopatra: Christopher Chen (p), Desdemona Chiang (d); As You Like It: David Ivers (p), Lezlie C. Cross (d); The Comedy of Errors: Christina Anderson (p), Martine Kei Green-Rogers (d); Coriolanus: Sean San Jose (p), Rob Melrose (d); Cymbeline: Andrea Thome (p), John Dias (d); Edward III: Octavio Solis (p), Kimberly Colburn (d); Julius Caesar: Shishir Kurup (p), Nancy Keystone (d); Hamlet: Lisa Peterson (p), Luan Schooler (d); King Henry IV, Part One: Yvette Nolan (p), Waylon Lenk (d); King Henry IV, Part Two: Luis Alfaro (p), Tanya Palmer (d); King Henry V: Lloyd Suh (p), Andrea Hiebler (d); King Henry VI, Parts One, Two, Three: Douglas Langworthy (p), Mead Hunter (d); King Henry VIII: Allison Moore (p), Julie Felise Dubiner (d); King John: Brighde Mullins (p), Katie Peterson (d); King Lear: Marcus Gardley (p), Nakissa Etemad (d); King Richard II: Naomi Iizuka (p), Joy Meads (d); King Richard III: Kwame Kwei-Armah (p), Gavin Witt (d); Love's Labor's Lost: Josh Wilder (p), Jeanie O'Hare (d); Macbeth: Migdalia Cruz (p), Ishia Bennison (d); Measure for Measure: Aditi Brennan Kapil (p), Liz Engelman (d); The Merchant of Venice: Elise Thoron (p), Julie Felise Dubiner (d); The Merry Wives of Windsor: Dipika Guha (p), Christine Sumption (d); A Midsummer Night's Dream: Jeff Whitty (p), Heidi Schreck (d); Much Ado About Nothing: Ranjit Bolt (p), Lydia G. Garcia (d); Othello: Mfoniso Udofia (p), Ayanna Thompson (d); Pericles: Ellen McLaughlin (p), Alan Armstrong (d); Romeo and Juliet: Hansol Jung (p), Aaron Malkin (d); The Taming of the Shrew: Amy Freed (p), Drew Lichtenberg (d); The Tempest: Kenneth Cavander (p), Christian Parker (d); Timon of Athens: Kenneth Cavander (p), Lue Morgan Douthit (d); Titus Andronicus: Taylor Mac (p), Jocelyn Clarke (d); Troilus and Cressida: Lillian Groag (p), James Magruder (d); Twelfth Night: Alison Carey (p), Lezlie Cross (d); The Two Gentlemen of Verona: Amelia Roper (p), Kate McConnell (d); Two Noble Kinsmen: Tim Slover (p), Martine Kei Green-Rogers (d); The Winter's Tale: Tracy Young (p), Ben Pryor (d).]


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Home › magazine › latest news › EU citizens satisfied with life, but reveal low confidence in national economies
EU citizens satisfied with life, but reveal low confidence in national economies4th of November 2011
A survey published by the European Commission on the EU's social climate suggests that although EU citizens remain negative when evaluating the general situation of their country, they feel the economy is recovering and are largely satisfied and positive regarding their personal situation.
László Andor, EU commissioner for employment, social affairs and inclusion commented: "The European Union is going through particularly challenging times with hard choices and priority shifts that influence people's everyday life."
He stressed how the survey results highlighted the growing gap between countries compared to 2010, with the situation in wealthier countries improving and the countries at the bottom of the scale worsening. Andor added: "Putting growth, employment and social cohesion on an equal footing is vital for Europe's recovery because achieving real prosperity also means taking well-being into account when measuring our progress."
Europeans' perception about the general situation in their countries is, overall, much more pessimistic than that of their personal situation. But optimism that things will improve in the next 12 months has progressed since the previous survey last year.


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Feb 23 2011
PRE CLASS: Students present any work done during last week for review.
WARM UPS: "W" patterns making tops and bottoms of the "W" even. Tornados that are darker at the bottom. Using only straight lines draw a farm.
QUICK SKETCH CHALLENGE: We will draw an item in 5 minutes
CLASS PROJECTS: We will draw still life items. We will practice skills from previous lessons.
LONG TERM PROJECT: on this page write "I yelled noooo!" and attacked. Draw a picture of your avatar battling your enemy.
Next page write. "The guards separated us and held us back." Draw a picture of that showing the guards holding the enemy and your avatar.
Next page write. "A priest came in and said, "The one who brings the sacred (name of your heirloom)' Becomes the high king of all the lands.
(c)Adron Dozat


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I haven't seen a hockey player make a move this fabulous since D.B. Sweeney's one-footed salchow in The Cutting Edge.
Columbus Blue Jackets forward (and NHL2K9 coverboy) Rick Nash went with an unorthodox move in last night's 3-2 shootout victory over the Anaheim
Mighty Ducks. As he approached Franco-Canadianophile goaltender Jean-Sébastien Giguère, Nash lifted up his left leg and apparently that was enough to completely baffle Giguère since Nash easily snuck the puck in the corner of the net.
It was an inspiring victory for the Blue Jackets, as they responded nicely and appeared no worse for wear after getting thumped 9-1 by the Detroit Red Wings on Wednesday. And if you're not a keen hockey mind like myself, you should know that nine goals in one game is like, a lot of goals.
Columbus 3, Anaheim 2 (SO): Jackets climb out of their rut [The Columbus Dispatch]


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Spain euro crisis: Rajoy rejects bailout conditions
Spain's Prime Minister Mariano Rajoy has said he will not accept outside conditions over a possible bailout.
Mr Rajoy made the pledge in his first television interview since taking office. But he said no decision to request a bailout had been taken.
Last week, the president of the European Central Bank (ECB) unveiled plans to buy bonds from indebted countries - under bailout conditions.
Mario Draghi said the ECB would provide a "fully effective backstop".
The aim of the programme was to cut the borrowing costs of debt-burdened eurozone members by buying their bonds.
The Spanish government's implied borrowing costs fell sharply after the announcement.
Pensioners reassured
"I am absolutely convinced that everyone will be reasonable but I insist that we haven't taken a decision," Mr Rajoy told Spanish state television.
"I will look at the conditions. I would not like, and I could not accept, being told which were the concrete policies where we had to cut," the prime minister added.
And he promised that pensioners would not be affected by any decisions.
Under Mr Draghi's plan, the ECB would agree to buy a potentially unlimited amount of bonds of debt-stricken eurozone members on the condition that these countries made a formal request for bailout funds and stuck to the terms of any deal.
Mr Draghi said the ECB would engage in outright monetary transactions, or OMTs, to address "severe distortions" in government bond markets based on "unfounded fears".
OMTs will be carried out only in conjunction with European Financial Stability Facility or European Stability Mechanism programmes, he said.
In other words, countries will still have to request a bailout before the OMTs are triggered.
The maturities of the bonds being purchased would be between one and three years and there would be no limits on the size of bond purchases, he added.
The ECB will ask the International Monetary Fund to help it monitor country compliance with its conditions.


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Watch The Best Moments From This Year's Formula 3 Season
Here are the most memorable moments from another exciting season in European F3
This year saw another thrilling season of the FIA F3 European Championship, with upcoming drivers looking to become the next Sebastian Vettel and Lewis Hamilton. 2017 saw Rookie Lando Norris become the first driver to win the title driving for a team other than Prema since 2010, and the first rookie to win the overall championship since the F3 Euro Series began in 2003. Not bad!
Here are the best moments from the season in a handy 6 minute video.


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You can start watching a broadcast on one device, and transition to watching it on another. Simply ensure both are running iOS 8+ or OS X, have Bluetooth turned on, and are logged in to the same iCloud account.
To log into your iCloud account:
On OS X - System Preferences -> iCloud
On iOS - Settings -> iCloud
Handoff is great for when you're using our web view to watch a broadcast on your Desktop, and want to quickly switch to watching on your iOS device (or vice versa).


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Not included
Not included
Experience an Island Oasis in The Grand Sunset
At the Grand Sunset, paradise and luxury is within your reach. Situated in Gili Air, a small island on the northwestern shores of Lombok, Indonesia and quick boat ride away from Bali, the Grand Sunset is an oceanfront resort hotel where azure waters and curving coastlines of white sand beaches intertwine with contemporary design and architecture, including all the modern conveniences you find in top hotels.
The Grand Sunset takes comfortable island living to a whole new level, offering a variety of world-class accommodations that cater to different types of travelers.
Guests who want a spacious and inviting place to unwind and get some sleep after a day of snorkeling or diving the waters of Gili Air would feel at home in our Deluxe rooms. Each unit has a partial scenic view of the Bali Sea, as well as a relaxing pool view. Elegant marble floors and walls with open-air bathrooms make this a contemporary haven in the middle of a tropical island paradise. Prices vary according to season.
Basic Amenities
Luxury Amenities
About the area
Grand Sunset Gili Air - Deluxe Room (Partial Ocean View)
Cancellation policy


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I thought this year it would be fun to show you some pics from my real house for Christmas. This year it is all red and white with a candy cane theme.
Decorating you bike is a Key West must! All over town you see people riding bikes that are so decorated they could almost be parade floats. They use battery pack lights and run them through the wheel spokes. They really go overboard, so I had to decorate my mini bike. Poinsettias in the basket, ribbon in the wheels and a tree in the back.
These pics are from the house directly across the alley from my husband's parent's home. They do the ribbon through the fence that is so popular. I love that they did a wreath on the cat door in the fence.


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*****Applications for 2019/2020 Academic Year are now being taken. Click Application above*****
The School of Computer Science at the TU Dublin - City Centre Campus, offer this part time degree programme in Information Systems and Information Technology leading to the following awards:
- Higher Certificate in Information Systems and Information Technology
- B.Sc.(Ordinary) in Information Systems and Information Technology
- B.Sc.(Honours) in Information Systems and Information Technology
The programme has been accredited by BCS, The Chartered Institute for IT elevating its recognition internationally, and facilitating graduates in gaining recognition for their academic and professional achievements in the global marketplace.
Information Systems and Information Technology are significant growth areas in Ireland and globally. It is widely expected that the supply of qualified professionals in these areas will fall far short of demand in the immediate and long term future. This programme is specifically designed to meet the requirements of industry, with its graduates expected to become important players in the future of ICT in Ireland.
The programme is delivered part-time through lectures on selected evenings with supporting laboratory and tutorial sessions. It is aimed at individuals who are or wish to become professionals in the ICT industry. As the industry has many and varied career paths, graduates of this programme will be equipped with the skills necessary to function as an ICT professional in a broad range of environments.
The programme is offered in the Kevin Street Campus of TU Dublin.


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McCabe, AM (2008) Glacial Geology and Geomorphology: The landscapes of Ireland. Dunedin Academic Press, Edinburgh. 274 pp ISBN 978-1903765876 [Book (authored)]
Full text not available from this repository.
|Item Type:
|Book (authored)
|Faculties and Schools:
|Faculty of Life and Health Sciences > School of Geography and Environmental Sciences
Faculty of Life and Health Sciences
|Research Institutes and Groups:
|Environmental Sciences Research Institute > Quaternary Environmental Change
Environmental Sciences Research Institute
|ID Code:
|Deposited By:
|Mrs Linda Allen
|Deposited On:
|22 Aug 2012 12:09
|Last Modified:
|22 Aug 2012 12:09
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Ben H. & Kitty King Powell Chair in Business and Commercial Law
Co-Director – Center for Law, Business, and Economics
JD 1985, University of Texas at Austin
BA 1982, Rice
Ronald Mann is a nationally recognized scholar and teacher in the fields of commercial law and electronic commerce. He received his J.D. from the University of Texas School of Law, where he graduated first in his class and was the managing editor of the Texas Law Review. After graduation, he clerked for Judge Joseph T. Sneed on the Ninth Circuit of the U.S. Court of Appeals and Justice Lewis F. Powell, Jr. of the U.S. Supreme Court. After three years in private practice, he worked for the Justice Department as an Assistant for the Solicitor General of the United States. He joined the faculty in January 2003 after six years at the University of Michigan Law School, where he was the Roy F. & Jean Humphrey Proffitt Professor of Law. Prior to that, he taught at Washington University in St. Louis. In the fall of 2000, he was a visiting scholar at the Institute for Monetary and Economic Studies at the Bank of Japan. In the spring of 2005, he was the Bruce W. Nichols Visiting Professor of Law at Harvard Law School.
Mann founded the Texas Center for Law, Business and Economics, where he currently serves as co-director. He also is a member of the American Law Institute and recently served as the reporter for the amendments to Articles 3 and 4 of the Uniform Commercial Code.
Mann's book on the global credit card industry (Charging Ahead: The Growth and Regulation of Payment Card Markets Around the World) recently was published by Cambridge University Press. He also has published two widely used commercial law casebooks: Commercial Transactions: A Systems Approach (with Lynn LoPucki, Elizabeth Warren & Daniel Keating, 2nd ed. 2003); and Payment Systems and Other Financial Transactions: Cases, Materials, and Problems (2nd ed. 2003). He also co-authored the first American legal casebook in electronic commerce: Electronic Commerce (with Jane Winn, 2nd ed. 2005). He has delivered numerous papers and published extensively in leading law journals. Representative publications include: Making Sense of Payments Policy in the Information Age, 93 Geo. L.J. 633 (2005); Regulating Internet Payment Intermediaries, 82 TEXAS L. REV. 681 (2004); Explaining the Pattern of Secured Credit, 110 HARV. L. REV. 625 (1997); Credit Cards and Debit Cards in the United States and Japan, 55 VAND. L. REV. 1055 (2002); Secured Credit and Software Financing, 85 CORNELL L. REV. 134 (1999); The Role of Letters of Credit in Payment Transactions, 99 MICH. L. REV. 2494 (2000); Strategy and Force in the Liquidation of Secured Debt, 96 MICH. L. REV. 159 (1997).


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Red Bird Memoirs
Your stories, your legacy
The Process
Every project is unique, but the process will normally follow these steps:
Free Initial Consultation
Ideally our initial consultation will take place in person, but it can also happen by email, phone, or on-line. We'll discuss the details and scope of what you're looking for, and determine if my services are a good fit.
If you'd like to go ahead, I will follow up with a written contract outlining all pre-agreed fees and services, as well as a payment schedule and a timetable for the project.
Recorded Interviews
We will meet in your home or office for a pre-arranged number of sixty to ninety-minute sessions, scheduled at your convenience. A full life story will normally require a minimum of eight interview hours. Each interview will be digitally recorded on professional equipment, and then transcribed.
These sessions are meant to be relaxed and enjoyable. You have the final say over what ends up in your project.
First Draft
Your personal history will normally be written in the first person: your story, told in your words. To accomplish this, the printed transcriptions of your interviews are reorganized, shaped, and edited, so that the end product is engaging and well-written but still reflects your voice. The first draft then goes to you for your input. You can add, subtract or change anything you wish. The finished work should reflect your story and your wishes.
Second Draft
The second draft will incorporate any changes or additions you've requested. It will also include scanned copies of the photos or documents you've chosen, and any other elements you'd like in the final document. Once again the second draft will go to you for feedback.
Final Draft and Printing
After making any required changes, I will proofread the entire document and send it to you for approval. We will then finalize your book design and discuss your printing and/or e-book options.
The work is done. You have copies of the finished project in your hands. It's time to share your story with friends and family, and to enjoy the well-deserved attention and praise you receive for your accomplishment.


text: I don't see a thread yet listed. So, let's make this the Santa Barbara Supercharger Thread. I understand that there will be a Supercharger up and working in about 6 months or less at the Santa Barbara Tesla Store and Service address. 400 Hitchcock Way. Directly across the street from BMW dealer, hmm....those shiny Model S's are going to be tempting!


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Monday, October 15, 2012
Update time and September WIPocalypse
First up, The Ghost, by Rebecca Sinz. Now at 13% complete. Love how the detail is starting to come through...forgive the green leaf in the pic, forgot to move the flower vase!
Next is TowMater, who is slowly but surely coming along...I am hoping (praying!) to have him finished by the end of the year, as that would give me 5 kit finishes for the year, and 5 more things out of my stash!
Sadness has been getting most of the attention lately...she is now up to 35% completion, only 15% more to reach my WIPocalypse goal for her, and finish my last (official) goal for the year.
Finally, as I mentioned in my last post, I just couldn't resist one of the new Matt Stewart charts from HAED. As a reminder, here is what the original artwork looks like:
And here is my (tiny!) start... believe it or not, this is almost 3000 stitches complete, but seeing as the chart has 450 000+ stitches, its just a drop in the bucket! The colours in this chart are fantastic, and I am loving the coverage on the 28 count fabric I chose. Can you tell its the start of a wing?!
So that's my progress since the last time I posted...I was so used to getting so much more time to stitch while I was off work, it doesn't feel like I am getting anything done lately. But.....I am so excited, it's the perfect weekend for IHSW! I am off this Friday to dog sit, as my parents are away, so an extra long stitchy weekend for me! The only thing I don't know is what I am going to work on...any suggestions?
8 comments:
- Melinda said...
That's a tough question. I am loving watching Ghost - as it is one of my favorites, but I might choose Mater, in an effort to finish him. Good luck with making that choice.. Enjoy your weekend
- October 15, 2012 at 10:19 PM
- Patches said...
lovely. I may have to look for Towmater, my son loves him
- October 15, 2012 at 10:36 PM
- sharine said...
I'll vote for your new Matt Stewart chart. It looks awesome:)
- October 15, 2012 at 11:30 PM
Your new start looks amazing =) The colors are so lovely and I'll be happy to watch the remaining 447000+ stitches =)
You made great progress on your other projects, too =)
- October 16, 2012 at 12:13 PM
- Emma said...
You've got loads done! Well done! :)
- October 16, 2012 at 4:24 PM
- ♥ Nia said...
3000 stitches?! wow! and looks so tiny =) You have a lot to stitch there ;) ehehehhe
I would suggest you continue stitching Sadness :) just because I want to see more!!! heheheh :D So pretty!
Hugs to you
- October 16, 2012 at 7:49 PM
- Joysze said...
At least you're still doing WIPocalypse posts... I'm months behind on mine. :S
Oooooh, everything looks so good, Nikki!!! I vote for Mater!!! Stitching AND a finish. Can't beat that. ;)
- October 17, 2012 at 1:30 PM
- Tama said...
Everything looks incredible! Congrats on all your progress!
- October 18, 2012 at 11:17 PM


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If you're beginning a company then it's likely that you'll want to locate some small company tax services. But exactly how for you start finding them? The majority of us will start by searching from our phone book. To bad their email list could be such a long time that you will get confused which someone to choose. Among the best ideas would be to request other companies to determine what will they prefer. They're going to have already done all of the research and may limit your list fast. You'll be able to discover the tax service that meets your needs.
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For More Information please visit Modern Lawyer Blog


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Critical Section
You know how when you buy a new car, you suddenly see them everywhere? Maybe it's because I've been paying more attention to space, but it seems like space stories are everywhere...
NASA have a new blog, a Tumblr, and of course you should subscribe. Or you could rely on the Ole filter, because I'll definitely be linking away...
So ... greens grown in space are now on the Space Station astronaut menu. Excellent. It is no accident that The Martian is a botanist; think about it and you'll realize growing (and raising!) food in space will be a critical need. It is SO expensive to send stuff out of Earth's gravity well, that synthesizing it on the fly is well worth it.
Among the amazing pictures taken by the Hubble Space Telescope, this one, of the Lagoon Nebula in Sagittarius. "Hubble can see astronomical objects with an angular size of 0.05 arc seconds, which is like seeing a pair of fireflies in Tokyo from your home in Maryland." This is not false color by the way. Click through to enbiggen amazingly!
From Engadget: Watch live as two ISS cosmonauts perform a spacewalk. Yeah, every part of that sentence is surprising, but remember, Russia is currently the only country that can fly astronauts into space. (I think the correct term is "EVA", however, technically a spacewalk only occurs on a surface :)
Here's a cool video from astronaut Scott Kelly, also on the ISS, showing our "galactic home". Kelly is there for a year, as part of a twin study; he has an identical twin brother, also an astronaut, who is not on the ISS.
In a NASA video, they ask: Why do we explore? "Simply put, it is part of who we are, and it is something we have done throughout our history. In "We Are the Explorers," we take a look at that tradition of reaching for things just beyond our grasp and how it is helping us lay the foundation for our greatest journeys ahead."
The design story behind NASA's "worm" logo, sadly retired. Sadly is right, this was cool. Nothing looked better on the side of a huge rocket, either...
To infinity, and beyond!
Greatest Hits


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Saturday, April 03, 2010
Sneak Peek!
How the front room is coming along..
Gone are the tobacco-stain yellow walls with the brothel red&gold trim on the architraves .. the transformation so far is stunning - so light, so clean, I love this room!
Still have decisions to make - such as that dark block of colour on the far right, behind the chair .. it's supposed to be a feature colour on the wall behind the fireplace .. but i've put it on hold for the time being, as I might let my drama lie in my furnishings, so it depends on the two wing chairs I will get for each corner of the room and their colour. I've got a few things in mind, but we'll see what's out there, in my budget, etc.
Um, what else? Oh yes, so i've been putting this room together forever, picking paint, imagining how things should be.. and then yesterday, I remembered a magazine i'd saved since 2001 .. the cover was delicious and I find it every so many years and still swoon over it.
But i'd forgotten all about it.
Well, it turns out that was the look I was subconciously creating. The memory of this mag, coming to be in a flash yesterday, made me immediately seek it out, and looking at it once again, filled me with happiness.
Beige and White and Red and Black.
And stripes.
Hope you like it so far ! x
15 comments:
- Melody said...
- 2:01 pm
- Julie-Ann said...
It looks great so far. I love the colours you have in mind. How hilarious that you have ended up creating the same room lol.
- 2:08 pm
- Mookah said...
Looks very lovely....as I knew it would.
- 6:50 pm
Love the wall colour with the trim, which Dulux colours have you gone with?
Can't wait to see the end result, looks gorgeous so far!
- 10:49 pm
- muser said...
very special. Can't wait to see the final real-life version.
- 7:29 am
- Uli said...
Very impressive so far, look forward to seeing the final pics.
- 7:54 am
- melissa said...
I like the wall shade you have used. What colour is it?
- 10:45 am
- h&b said...
Thanks peeps!
The colours are rather boring in name:
Ceilings, skirtings, architraves & fireplace: Dulux White on White
Walls: Dulux Beige Royal
And the feature/highlight colour, if I go with it, depending on furnishings .. is: Dulux Bearsuit
- 11:29 am
- Aunty Evil said...
I love that colour scheme! We are on the verge of painting our house, I have picked something similar but am now rushing off to get the colour chart to have a look at that Beige Royal close up!
- 10:09 pm
- Stacey said...
It's looking really lovely. But, don't take to much notice of my opinion. If you remember, I quite liked the red trim.
- 11:03 am
- MissyBoo said...
Looking good... okay it looks fantastic :)
- 11:28 pm
- SweetPeaknits said...
Tall ceilings *swooning*. Sash windows? Looks stunning so far.
- 9:51 pm
- Fairlie said...
It's looking great. Amazing how you can subconciously hold something in your memory all that time. I guess we're taking on influences everyday, and some are bound to resurface at a later date.
- 9:42 am
- tiff(threeringcircus) said...
It's looking lovely.
Come do my house next, okay? :D
- 11:38 am
Looks gorgeous so far, can't wait to see the final pics.
- 12:01 pm


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After its failed merger with AT&T, T-Mobile USA is urging the federal government to block Verizon Wireless's planned purchase of wireless spectrum from cable companies.
The proposed spectrum deal with Verizon involves Comcast, Time Warner, Bright House Networks and Cox Communications. In its filing late Tuesday, T-Mobile, the No. 4 cellphone carrier in the United States, told the Federal Communications Commission that the deal would leave too much spectrum in the hands of Verizon, the No. 1 carrier.
The spectrum in question "is unlikely to provide any near-term benefits to Verizon Wireless customers," T-Mobile said in its filing. "Rather, the principal impact of the acquisition would be to foreclose the possibility that this spectrum could be acquired by smaller competitors — such as T-Mobile — who would use it more quickly, more intensively, and more efficiently than Verizon Wireless."
Verizon did not respond to requests for comment. A commission spokesman declined to comment because the agency is considering whether to approve the spectrum transfer, as is the Justice Department. The two agencies blocked a merger between AT&T and T-Mobile after concluding that the partnership would reduce competition and eliminate jobs.
MetroPCS, a smaller wireless company, also filed a petition urging the commission to block the transaction. It said Verizon and the cable companies had not proved that the deal was in the public interest.Continue reading the main story
Buying spectrum allows wireless carriers to build their networks and handle more customer traffic. Verizon reached an agreement in December to buy wireless spectrum from the cable companies for $3.6 billion. The carrier also made a separate agreement that would allow the cable companies to market Verizon services, and vice versa.
These agreements had already raised concerns among some politicians, who noted that Verizon and Comcast, in particular, would essentially be on the same team.
"These joint-marketing agreements will turn these rival companies into partners, rather than competitors," Senator Al Franken, Democrat of Minnesota, wrote in a letter to the commission this month. "I fear this will ultimately mean less competition, less choice, and higher prices for consumers."
In some ways Verizon and the cable companies have agreed to stay out of each other's businesses, and the spectrum transfer does not raise the same antitrust concerns as the proposed merger between AT&T and T-Mobile, said Chetan Sharma, an independent telecom analyst. He said that the transfer would allow the wireless spectrum to be put in the hands of someone who needs it most: a cellphone carrier.
The cable companies bought the spectrum at an F.C.C. auction in 2006 with plans to possibly start a wireless business, but then never used it, said Mark A. Winther, a telecommunications analyst at IDC, a research firm. He said the wireless business was a bad fit for cable companies, which sell services like television and high-speed Internet to entire households, whereas mobile services are sold to individuals.
In its filing, T-Mobile warns that the spectrum transfer would limit the ability for competitors to build so-called fourth-generation LTE networks. But if the transfer were blocked, it is unclear whether T-Mobile would even be able to buy and use the spectrum. T-Mobile USA has not formally announced plans for LTE networks, and Deutsche Telekom, which owns T-Mobile USA, has shown a lack of interest in investing in the troubled carrier, Mr. Winther said.
In light of T-Mobile USA's uncertain future, the carrier's move against Verizon and the cable companies is an odd one, Mr. Winther said.
"It almost feels like, because they couldn't join up with AT&T, they're not going to let Verizon solve a spectrum problem," he said. "It's a weird position."
But Mr. Sharma said T-Mobile's petition may simply be a competitive move to keep Verizon, the stronger player in wireless, from becoming even stronger.
"They want to keep their options open if they do go down the path of LTE," he said.Continue reading the main story


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Meg A. Feather and The Forest Games
About the book
Only AUD20.00
Meg A Feather and the Forest Games Published by Moving Canvas
Copyright @ Kaye Fox and Mike Banks 2007
All rights reserved, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publishers.
Fox, Kaye (Kaye Eliza).
Meg A. Feather and the Forest Games
For Primary school aged children.
1. Kiwis - juvenile fiction. 2. Intercession - juvenile fiction
I. Banks, Mike (Michael John) 1958 - , II. Title A823.4
Illustrations created using watercolour.
© banx 2005-2007
Printed at 3e Innovative
Site maintained by Banx
Contact meg for more information or to purchase her book


text:
We Are a Part of The World That We Live In
During the past few years, Intango has been supporting the activities of organizations that are involved in helping children, adolescents, and adults with special needs, to become better integrated with society.
The Shema association
Breaking through the silence
The Shema association whose goal is to provide answers to the unique needs of children and adolescents with hearing problems. This association was established in 1968 by parent and volunteers. It provides assistance in everything related to learning, hearing rehabilitation, integration within formal educational institutions as well as social settings, welfare activities etc. the activities of Shema empowers the children and provides them with the tools required for better development and independent living.
Beit Izzi Shapira
All people have the right to live with dignity
Beit Izzi Shapira is involved in improving the quality of life for people with developmental disabilities as well as their family members. Beit IzziShapira was established in 1981. It helps improve the quality of life for people with developmental disabilities in Israel and throughout the world. The organization's activities include educational and treatment services. The community division promotes social change and awareness within the community. It includes a research development institute, which provides training.


text:
From Telegraph.co.uk:
As scientists prove that faith can relieve pain, distinguished psychologist Dorothy Rowe examines the case for and against religion
I'm not religious, but I have thought about religion all of my life. My mother never attended church but she insisted that I went to St Andrew's Church, a cold, unfriendly place filled with cold, unfriendly people. At home, my father, an atheist, would read aloud to us from the essays of Robert Ingersoll, the 19th-century militant atheist.
Ingersoll's prose had the music and majesty of King James's Bible. I loved the language of them both. I learned how to use Ingersoll's logic to examine the teachings of the Bible. My disapproval of the cruelty and vanity of the Presbyterian God knew no bounds, but I felt at home with Jesus, whom I saw as a kind, loving man like my father.
God had not been in the trenches, or anywhere else, with the ex-Servicemen whom I met at university. When religion was discussed, we listed the cruelties and stupidities of religion throughout history, just as Richard Dawkins and Christopher Hitchens were to do 40 years later.


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For our children -
if you are worried about the consequences of global warming, or you are worried about the decrease in revenue due to the rising oil prices, then you will know that Aleees is currently endeavoring day after day for the future of your children to strive for a better living environment.
- November 2014 Aleees (Taiwan)'s low floor electric swap battery bus was on broad in Taroko National Park, and become the first green electric bus route of nation parks, in addition, it is the new bright spot of low carbon Taiwan.
- November 2014 Aleees was invited to have the 25th "Modern Engineering and Technology Seminar", and took charge of the subject and had the discussion about sustainable green transportation, exchanged industry technology and to enhance the innovation capability, moreover, promoted low-carbon energy saving transportation for the global logistic management.
- September 2014 Aleees (Taiwan) passes CSR AA1000 international certifaction.
- September 2014 our group has established Aleees electric bus (Ninbo) Co., Ltd, and enters the China market formally.
- September 2014 Aleees (Taiwan) signed electric vehicle and lithium battery cooperation MOU with Japan SONY, and established the advanced lithium battery manufacturer in the world. August 2014, our group has established CSR committee.
- July 2014 Our group signed "Cooperation Agreement " with the biggest vehicle factory in Heilongjiang, and arrange the China electric bus market at the same time.
- July 2014 our group hold "2014 Both sides arose the Taiwan Strait Green Industry Seminar".
- July 2014 Aleees Eco Ark (Taiwan)'s low floor swap electric bus was on broad in Hualien, and creates the brand new back yard in Taiwan.
- June 2014 Our group attended to 11th China International Battery Fair (CIBF) and exhibited the highest standard of LFP cathode masteries.
- May 2014 Aleees (Taiwan ) was invited to join "Eliminating the service sub-group with lithium Industry Alliance" and to implement the secondary battery.
- April 2014 Aleees responded World Earth Day, we not only had the "Lady Run" activity and but also open an "electric bus low-carbon rest area".
- April 2014 Our group have established Research and Development Center in Bade.
- March 2014 Aleees Eco Ark (Taiwan) 's electric low-floor bus operates over million miles in Taiwan.
- March 2014 Aleees Eco Ark (Taiwan) cooperates with the government of Yuyao, Zhejiang.
- March 2014 Aleees Eco Ark (Taiwan) cooperates with Bonluck in Jiangxi.
- January 2014 Our group hold "Let's Have Fun Together" as end-of-year party, we donated materials and care about the disadvantaged, we lead our employees to be the volunteer, and create a outstanding culture.
- December 2013 Aleees is officially listed in Taiwan OTC as openly traded stocks, trading code "5227"
- November 2013 Aleees is awarded the highest honour award "National Sustainable Enterprise Award"
- October 2013 Aleees is awarded "National Brand Yushan Award" in "Outstanding Enterprise" and "Outstanding Product" two categories
- March 2013 Aleees' large/medium electric buses have passed the certifications by Automotive Research & Testing Center (ARTC) and Vehicle Safety Assurance Center (VSCC)
- December 2012 Aleees is awarded the EPA "Energy Savings Plan Marks"
- December 2012 Aleees is awarded the 2012 best enterprises - "Environment Protection Green Energy Excellence Award" by Taoyuan County
- November 2012 Kinmen Low-Carbon Island - The low-carbon tourist electric bus is launched.
- October 2012 Aleees participates the ceremony when "Taiwan electric bus industry cross-industry alliance" is established.
- October 2012 The Lucky246 free electric shuttle bus demonstration project is launched in Taipei.
- September 2012, Aleees provides 922 shuttle service on Car Free Day for Taipei City, Taoyuan County, and Novotel Airport Hotel
- August 2012, Aleees launches free electric shuttle bus in Chungli City of Taoyuan
- July 2012, Aleees participates 2012 CIBF Exhibition in China; Aleees launches free electric shuttle bus in Daxi, Taoyuan
- July 2012, Aleees Green Energy Mobile completes ISO 14064-3:2006 certification.
- April 2012, International Electric Motor Show in 2012 and provides inter-connection shuttle service between TWTC and Nangang Exhibition Hall.
- January 2012, Aleees obtains OHSAS18001 certification.
- January 2012, Aleees launches the free shuttle demonstration project for Taoyuan county government.
- October 2011, Aleees passes the ARTC (ARTC) safety tests and verification.
- October 2011, Aleees announces the innovative double-layer nano-carbon-coating technology.
- July 2011, Aleees acquires worldwide patent licensing.
- May 2011, Aleees establishes the "Electric Bus and Battery Exchange System Demonstration Alliance" to cooperate with Siemens and ZF.
- May 2011, Aleees achieves the total shipments up to 1,000 tons.
- December 2010, Aleees completes the manufacturing of Taiwan's first battery exchange type electric bus.
- November 2010, Aleees introduces TS16949.
- May 2010, Aleees announces the research results of neutron diffraction.
- May 2010, Aleees established the SEM/EDS Lab.
- April 2009, Aleees established the UL cell laboratory.
- December 2008, Aleees obtains LFP-NCO (lithium ferrous phosphate nano metal oxide co-crystalline olivine compounds) Patent Insurance
- November 2008, Aleees completes the production of M12/M13.
- July 2008, ISO 14064-3:2006 completes the certification.
- January 2008, Aleees announces the three-year development program on lithium ion basic material development with National Synchrotron Radiation Research Center.
- December 2007, Aleees passes ISO 14001 certification.
July 2007, Aleees announces the lithium ferrous phosphate nano metal oxide co-crystalline olivine technology
(LFP Nano-Co-crystalline Olivine Technology - LiFePO4·zM'O)
- June 2007, Aleees completes four world-class LFP patent portfolios in Taiwan, Japan, USA, Canada, European Union, South Korea, China and India.
- January 2007, Aleees pass the ISO 9001: 2000 certification.
- October 2006, at the Kyoto Electrochemical Conference Aleees announces that Aleees' core patent complies with the specifications in Kyoto Protocol issued in November 1997.
- October 2006, Aleees launches the first production line of lithium ferrous phosphate in Taoyuan, Taiwan.
- May 2005, Aleees files four world-class LFP patent portfolios in Taiwan, Japan, USA, Canada, European Union, South Korea, China and India.
- April 2005, Advanced Lithium Electrochemistry Co., Ltd. (Aleees) starts up in Taiwan.


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Here are some cool things we read about this past week:
LinkedIn Shows You Who Visits Your Profile – and Then Some
LinkedIn updated the "who's viewed your profile" section of its platform this week, adding personalized tips for how users can generate more profile views. The new layout includes more detailed analytics about which LinkedIn members visit your page. Now users will be able to see which industries their viewers work in, and whether or not those who view their profile share the same job title.
Twitter Brings Ad Amplify Program to Movie Screens
Twitter is partnering with NCM Media Networks – a cinema network that shows ads to movie-goers before their film starts – to produce a branded entertainment series that will be fueled by Twitter data with insights about movies and stars that users are buzzing about. The minute-long segment will run prior to every movie on the 20,000 screens in 1,700 theaters within NCM's network, once it secures a sponsor.
Facebook Showing Unsolicited Page Posts in the News Feed
Effective immediately, Facebook users are going to start seeing posts in their News Feed from Pages they don't follow. Facebook said this week that it tweaked its News Feed formula yet again, this time to include posts that Pages you've "liked" are tagged in. The alteration means that you'll find stories from Pages you don't follow mentioning those that you do. Specifically, when a Page tags another Page in a post, Facebook may show that post to you if you like or follow the tagged Page. For example – if you follow a celebrity on Facebook and that celebrity is tagged in a photo of a Page you don't follow, Facebook may show you that post in your News Feed with the "celebrity mentioned in a photo" header.
Twitter Builds Search Relevancy With Promoted Accounts
Twitter released Promoted Accounts in Search on Tuesday, building on its Promoted Accounts in the Timeline feature that debuted a few months ago. With this launch, relevant Promoted Accounts are seen in search results along with recommendations of people to follow. As people search for information, the feature automatically selects search queries based on the advertisers targeting choices.
Global Social Media
UK Users Connected With Brands on Twitter
UK Twitter users are the most mobile in Europe, most engaged and are highly connected to brands. Nielsen found that users in the UK are more engaged with the social media platform than the average tweeter. Those who primarily use Twitter on their mobile devices are 1.2 times as likely to engage daily than average users and 58% access the platform several times per day. 62% of users are following brands on the platform.
Facebook Partners with Unilever to Launch Internet.org in Rural India
FMCG giant Unilever has partnered with Internet.org, a Facebook-led alliance, to show how Internet adoption can be increased in rural communities in India. As an initial step, Internet.org and Unilever will carry out a comprehensive study to examine the opportunities to increase internet adoptions in rural communities. Unilever will leverage the research it garners to inform on the development of a series of on-the-ground projects with the aim of improving lives in rural India through better connectivity. Internet.org is focused on enabling the next five billion people without access to come online and has companies like Facebook, Ericsson, MediaTek, Nokia and Samsung as founding members.
Noteworthy Campaigns
McDonald's Joins SnapChat
McDonald's quietly joined SnapChat last last week and publicly kicked off the account this week. The chain teased the account last Friday and attracted "several thousand" followers that same day. The account has since shared several snaps including a snap from basketball star LeBron James who filmed a commercial for McDonald's. Several notable brands have joined SnapChat in recent months including Juicy Couture, HBO's Girls, NPR and Taco Bell.
Free People Swaps Model Shots for Customer Photos Online
Fashion brand Free People has launched a new section called FP Me on their e-commerce website. The new section uses real customer photos instead of the usual model product shots to feature the brand's items. The FP Me section lets women see the clothes on non-model body types and gives their customers a more realistic idea of how the clothes will look.


text: With a capacity of 7 rooms, Hotel Gjirokastra is a perfect place for anyone who wants to enjoy the traditional cuisine and beautiful views including Argjiro castle and all the characteristic houses around. Hotel Gjirokastra is located in one of the most ancient neighborhood in town. The rooms are equipped with TV, internet, parking facilities and a homely environment in which the family is running the hotel themselves.