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Three novellas by some of Italy's best crime writers make up Judges. Andrea Camilleri, Carlo Lucarelli and Giancarlo De Cataldo weave tales of idealistic judges fighting crime and corruption.Read more
As Phil travels through Europe and takes a stop in Italy, we get a glimpse of a great recipe by American chef, baker, and author, Nancy Silverton. You can see more about Nancy and recipes like this one on I'll Have What Phil is Having, Monday at 10PM.Read more
As we finish the first year of The Scene, highlighting the work of more than twenty artists through a website and video series, we bring the work of these talented artists to viewer at home on WHRO-TV 15.
Friday Nights at 8:30pm from October 9-November 13, 2015Read more
Blitzen Trapper's music has gone through a wide variety of style shifts over eight albums and their new one, "All Across This Land" synthesizes those divergent genres into one cohesive sound, rock and roll with a lot of heartRead more
'It Was Installed For This Purpose,' VW's U.S. CEO Tells Congress About Defeat Device News & Opinion
Michael Horn testified on the same day German prosecutors raided VW offices at its headquarters in Wolfsburg, seizing documents and records as they investigate the emissions scandal.Read more


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12/21/2013 (1 year ago)
Catholic Online (www.catholic.org)
The melody itself dates back to the early 1600s, but camp meeting attendees during the Second Great Awakening would sing the hymns printed in these hymnals to a variety of popular melodies, including \"The Ballad of Captain Kidd\", which was well known at the time; this is likely how the text and melody came to be paired.
Catholic Online (www.catholic.org)
12/21/2013 (1 year ago)
Published in Music
Keywords: Advent, Christmas, Music, What Wondrous Love is This, Music, Deal W. Hudson
WASHINGTON,DC (Catholic Online) - Musical Countdown to Christmas #1 -- "What Wondrous Love is This?"
If I have a favorite hymn this is it, and it suits perfectly the Advent mood of joyful expectation. No one has performed this hymn with more reverent beauty than the late Robert Shaw.
Here he conducts the Robert Shaw Chamber Singers. "Wondrous Love" was first published in a
Methodist hymnal, "A General Selection of the Newest and Most Admired Hymns and Spiritual Songs Now in Use," edited by Stith Mead (Lynchburg, VA: 1811).
The melody itself dates back to the early 1600s, but camp meeting attendees during the Second Great Awakening would sing the hymns printed in these hymnals to a variety of popular melodies, including "The Ballad of Captain Kidd", which was well known at the time; this is likely how the text and melody came to be paired.
Deal W. Hudson, Ph.D, is president of the Pennsylvania Catholics Network and former publisher and editor of Crisis Magazine. He is the Senior Correspondent for Church and Culture and a contributing writer for Catholic Online.
Brown Wood Family Rosary
St Patrick Rosary
By Atarah Haely (NEWS CONSORTIUM)
Angelina Jordan is well-known in her home country, Norway, after participating and winning a national TV contest. But now, the 8-year-old jazz singer has captivated audiences from all over the the world after a recently uploaded video of her performance. The young girl ... continue reading
By Linky C. (NEWS CONSORTIUM)
Chris Brown recently posted on his Instagram account that he was tired of the "devil ruining" his life. The international singer and actor shows indications of leaning towards a better chapter in his life. MUNTINLUPA CITY, PHILIPPINES (Catholic Online) - Singer Chris ... continue reading
By Nikky Andres (NEWS CONSORTIUM)
Something big is brewing in Rio de Janeiro. The monthly hip-hop block party called Black Santa was recently staged near the peak of the Prazeres favela, on a hillside above central Rio. MUNTINLUPA, PHILIPPINES (Catholic Online) - Twenty-two-year-old Renato Cantanhede, ... continue reading
By Nikky Andres (NEWS CONSORTIUM)
Colombian star Juanes and the Italian tenor Andrea Bocelli will be performing during the international Catholic prayer event, the 8th World Meeting of Families, in Philadelphia. The two will be performing for the Pope in September during the U.S leg of his ... continue reading
By Nikky Andres (NEWS CONSORTIUM)
Sixty-five-year-old country singer Randy Howard was shot on June 9, 2015 by a bounty hunter at Howard's home. It was reported that Howard was being detained by the bounty hunter, wanted on a DUI charge. MUNTINLUPA, PHILIPPINES (Catholic Online) - Country singer Randy ... continue reading
By Talia Ramos (NEWS CONSORTIUM)
Messages of encouragement and prayers pour through the Facebook page of country singer Randy Rogers, of the Randy Rogers' Band, after news of the death of his and his wife's newborn infant six days after she was born come forward. Days before, Rogers made an ... continue reading
By Hannah Marfil (NEWS CONSORTIUM)
Heartbroken and in grief band members of U2 asked Pastor Rick Warren to pray with them before going onstage hours after the death of their tour manager. Dennis Sheehan, U2's longtime tour manager, was found dead in his hotel room, last week in Los Angeles. Sheehan ... continue reading
By Kelcee Marcum, Oregon Catholic Press
A unique mixture of genres, ValLimar Jansen's latest album, "Spirit & Soul," contains elements from gospel and praise and worship while escaping the confines of either genre. PORTLAND, Ore. (OCP) - "This is not a gospel record or even a praise and worship record, ... continue reading
By Catholic Online (NEWS CONSORTIUM)
He would have many chart-topping hits in his lifetime, but it all boiled down to his signature tune - "When a Man Loves a Woman," that would ensure him his lasting fame. Rhythm and Blues singer Percy Sledge has died at the age of 73. He had been in hospice care ... continue reading
By Hannah Raissa Marfil (NEWS CONSORTIUM)
Despite selling 25,000 copies in a week, Little Big Town's newest hit song "Girl Crush" was forced not to be played on air after complaints from listeners of country radio stations. According to the reports, the song had earned negative reviews from people subscribing ... continue reading

subset: commoncrawl


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A new project spearheaded by a group of historians, mathematicians and computer scientists at Columbia University in New York City is aimed at compiling all of the documents that have been declassified by the government in an easily searchable online database for research.
Currently, only a portion the CIA's declassified materials are available online. And access to the full declassified database requires a visit to the National Archives at College Park, Md.
But the Declassification Engine project would change this, putting declassified materials into a one-stop-shop search engine and providing tools to make broad study of the material easier.
From the project website:
Currently its main projects are the (de)classifier, a tool displaying cable activity over time for different embassies and topics contrasting the number of documents declassified with the number still withheld, the (de)sanitizer, an app that illuminates previously redacted text to show what kinds of information is considered particularly sensitive, and the sphere of influence, a visualization of diplomatic activity around the globe based on the volume of classified and declassified cable traffic. We hope to combine these and other tools in a platform that will accept user-submitted documents to further improve its capacity to predict what still-classified documents might reveal.
To date, the CIA has released 11 million digital declassified documents, but hasn't released the database providing access to those documents online. Researchers say this could mean that there is a great deal historians could learn — possibly things the government doesn't want revealed — simply by being able to access all of the documents in one place.


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Meet The Team
The University of Louisville Fishing Team is an official bass angling club of the University of Louisville. The club was officially formed March 1, 2006, and is comprised solely of full-time students at the university. Its purpose is to unite collegiate anglers and to promote the sport of competitive bass angling. The club competes in local and national tournaments through its association with the FLW National Guard Collegiate Fishing Series, the Association of Collegiate Anglers' (ACA) Bass Fishing Championship Series, the BassMaster College Series, as well as other collegiate sanctioned competitions. The club also gives back to the community through helping out local organizations and events, from teaching kids how to fish, to conducting fundraisers for groups providing fishing opportunities to cancer survivors. We also participate in outdoor expositions across the region helping to promote fishing. As a group, we are proud to be active in both the outdoors and the community and look forward to the future of the sport of College Fishing.
-2014 Team Pictured Above-(From left to right) Scott Davis, Jacob Meadows, Jeremiah Duvall, Elijah Peters, Brandon Smith, Jeff Endly, Haley Harkins & Ian Hughlett (Not Pictured) Wade Brown & Austin Wilson


text: 3D-print yourself with Kinect Technology 01 March 11 by Charlie Sorrel Interactive Fabrication "Fabricate Yourself" is like a 3D photo booth. Using a Microsoft Kinect, anyone can hit a button and have a 3D model of themselves printed right then. The project, headed by Karl Willis, removes the arcane intricacies of CAD software and replaces them with something anybody can pick up and play with.Presented at the Tangible, Embedded and Embodied Interaction Conference, the setup turns a Kinect into 3D scanner. The Kinect is hooked up to a Mac, and users can pose in front of it and see a real-time wire-frame representation onscreen. When they see what they like, they hit a button and they are captured in an STL (stereolithography) file. This file is sent to the 3D printer, where a small, low-resolution model is finally spat out.At the conference, the models were limited to 3 x 3 cm to keep the machine running fast. This used just a quarter of the Kinect's resolution, but the results have a rather cute, jaggedy 8-bit look to them. The cuteness was also upped by printing the models onto snap-together jigsaw tiles so they could be combined into one big mural (or even joined together to spell out words).Taking high tech and making it easy and fun to use is clearly awesome. I am slightly disappointed with the conference-goers' lack of nerd imagination, though. I have studied the resulting models closely and nowhere do I see the most obvious pose, and the first thing I would do if I could play with this machine: hands held up like Han Solo as he was frozen in carbonite.Fabricate Yourself[Interactive Fabrication via i.Materialise.]Source: Wired.com Edited by Liat Clark Comments Anyone interested in the concept of 3D printing should look at www.reprap.org This is a machine is potentially able to make itself - at the moment with a few limitations - but with free software and all users able to increase the knoweldge base the machine will be capable of building almost anything, including replicating itself. Ideal for small production runs, or for countries with emerging infra-structure where entrepreneurs can set up their own manufacturing base... Peter Bowyer Mar 2nd 2011 Reply to a comment Name Email Comment Submit » Latest on wired.co.uk


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Frente Cumbiero is remixed by Mad Professor
Bringing back the Cumbia fever that once ruled Latin America in the 40s, 50s and 60s, Frente Cumbiero is now dubbin' and trippin' all that ancestry with mixes featuring the likes of Mad Professor. Sweet.
Love art and every single manifestation of it!
Comment left via our iPhone app. Download it now [http://itunes.apple.com/au/app/lost-at-e-minor/id329708458?mt=8].


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Sprinkler system helps minimize fire damage
Image by Tucson Fire Department
TUCSON (KGUN9-TV) - Tucson Fire responded to an early morning building fire and were assisted by an activated sprinkler system to minimize damage to the business.
Capt. Barrett Baker tells KGUN9 that crews responded to a reported fire alarm at 3:41 a.m. to the 4200 block of South Fremont.
While firefighter were en route, an employee of the business arrived to begin his shift and noticed the alarm had been activated. He looked inside the building and saw smoke and flames and he immediately called 911, said Baker.
When firefighters arrived on scene, they reported smoke and flames. However a sprinkler head was activated and helping extinguish the blaze.
The majority of the flames involved several pallets of linens with several large bags of towels hanging from the ceiling also being burned by the flames, said Baker.
Fire investigators responded and have been determined the cause of the fire was spontaneous combustion of rags.
Tucson Fire reminds the public that fire deaths and property loss can be greatly reduced by installing fire sprinklers. A working fire sprinkler system can control a fire in its room of origin, limit the spread of the fire and often extinguish the fire before the fire department arrives.
- Latest


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Daniel Månsson, based out of Stockholm and California, is a lifestyle photographer known for his strength in utilizing natural light to define objects and tell stories. Daniel is working with a broad spectrum of clients. His major areas of work are found in advertising, printed media and photography books. A few of Daniel's commercial lifestyle clients are Deus ex Machina, Barbour, Warner music, Superbranded and Alpinestars. Daniel's work has been published worldwide and he has gained repetitive exposure in print media such as Intelligent life, New York Times Style Magazine, ICON and various customer magazines.
Daniel's photography books – FACES OF SKATEBOARDING, SUPER, COLD WATER SURFING and THE CATS MEOW - has been awarded with working grants from Swedish Authors Association in 2006, 2008 and 2013. In 2010 he was awarded with a scholarship in nature photography from the Hasselblad Foundation.
- Clients; Deus ex Machina, Warner music, Volvo, Killer Loop, Seventy agency, The New York Times, Intelligent life, Alpinestars, Sony Ericsson, Super surfboards, Magazine Filter, Oatley, Magazine ICON, Scania Trucks, Swedbank, SEB, Kanal 5, Care of Hause, Forsman Bodenfors, Silver, Redwoodgroup, Lamhults, Activio, DV, Cafè, Diego, Kupè, Res, Escape, Scanorama, Euros Bonus Traveler, Slack, Slap, Outside, Spoon, ICA and more.


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Tag: Matecumbe Keys
The Labor Day Hurricane of 1935
As a Florida native, growing up, we would track the path of the various hurricanes and tropical storms that were predicted to hit, cross or barely touch the state. In the late 20th and current 21st centuries we have satellite which warn us and show us serious weather patterns as they move across the globe. […]
Posted by Marie Maxwell on September 2, 2011, under Archives I, Military Records.
9-11 Adolf Hitler Alan Walker Alfie Paul American Red Cross Civil War Cody White David Langbart deck logs Department of State District of Columbia DOJ donated materials Dwight D. Eisenhower FBI Foreign Service Posts Franklin D. Roosevelt Greg Bradsher looted art M. Marie Maxwell MFA&A Monique Politowski Monuments Men National Archives at Denver Onaona Guay OSS RG 59 RG 60 RG 84 RG 165 RG 239 RG 242 RG 260 RG 286 RG 306 RG 331 RG 469 Roberts Commission Sylvia Naylor U.S. Army U.S. Marshals U.S. Navy War Department World War I World War II


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Insurance Eligibility & Coverage
for Temporary Staff Employees
The state legislature has established insurance eligibility criteria for temporary employees, also known as "nonpermanenet" employees. The insurance described here includes: medical and dental, life and accidental death and dismemberment, long term disability, and insurance continuation.
Eligibility Criteria
As temporary staff you are eligible for employer-paid Public Employees Benefits Board (PEBB) insurances if you work an average of half time or more (480 hours: 80 hours x 6 months) in a consecutive six-month period, with at least eight hours or more in each of the six months. Note: If you are temporary, part-time faculty, different rules govern your eligibility. Please see faculty eligibility rules at Eligibility for Faculty and Staff.
For temporary employees to become eligible and activate insurance benefits beginning the seventh month of continuous employment, you must also work at least eight hours into the seventh month.
There are two ways for temporary employees to obtain PEBB insurance eligibility:
- Through a temporary appointment which meets the eligibility criteria listed above from its inception, based on the position's planned work schedule. Eligibility is established as of the first of the month following the appointment date. Or, if an appointment is not initially eligible for insurance, then:
- By establishing eligibility through an individual's actual WWU employment pattern. This may include working in more than one non-faculty appointment or department at a time, or in a series of consecutive UW appointments: eligibility is established as of the first of the month following the completion of the sixth consecutive month in which the eligibility criteria were met and a minimum of eight hours of work must continue into the seventh month to activate the eligibility.
The Western Washington University Benefits Office determines when eligibility is established by monitoring all employment and hours worked at WWU. Note: Student employment is not eligible for consideration towards faculty and staff benefits.
Notification of Eligibility
In the event you become eligible for insurance benefits, the Benefits Office sends written notification to your W2 address, so make sure your home address is updated on Web4U. Log into your Web4U account to view your address and other payroll and benefits information. If you do not have easy access to a computer, stop by Humanities Room 203 for assistance. If the notification letter is returned to Benefits by the Postal Service, it will be sent in campus mail to your department's mail stop.
Appeal of Eligibility
You may appeal an eligibility determination in writing to the Benefits Office within 30 days of receiving an eligibility notice. Note the specific reason(s) for your appeal. If you need more information about the appeals process, contact the Health Care Authority.
Enrolling in Insurances
As soon as you get a letter from the Benefits Office notifying you of your eligibility, you must act promptly and enroll yourself and any dependent(s) in your desired coverage. Important: Return your insurance forms to the Benefits Office within 31 days of your eligibility date. Returning your forms within 31 days is essential because if you do not:
- You lose the ability to choose between medical and dental plans.
- Your medical and dental coverage will default to Uniform Medical and Uniform Dental after a 90-day period. Meanwhile, any insurance claims will be delayed or denied, limiting your ability to access services.
- You won't be able to change your medical or dental coverage or enroll eligible dependents until the next annual medical/dental open enrollment or a qualifying life change in your family circumstances.
- Your long term disability (LTD) coverage will default to basic-only, and any optional coverage is subject to approval only after you complete an Evidence of Insurability form.
The 31-day enrollment deadline applies to all insurances except life insurance which provides a 60-day initial enrollment window. Medical premiums are due retroactive to the eligibility date for the medical plan you select. If you do not enroll in a medical plan, you can waive participation on the Medical/Dental form.
Choosing Insurances
- Contact Benefits to find out about the next Benefits Orientation
- Choose a Medical Plan
- Choose a Dental Plan
Additional Information
- Benefits Summary for Temporary Employees(.pdf)
- If you are looking for information about retirement plan participation, please see the PERS 2 or PERS 3 site.


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Craftsman-style homes, most popular in the early 20th century, have staged a major comeback in recent years, and the Cascadia is a prime example of this phenomenon.
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Craftsman-style homes, most popular in the early 20th century, have staged a major comeback in recent years, and the Cascadia is a prime example of this phenomenon.
This home is a treat for the eyes. Corbels accent the peaks of all three front-facing gables, and an array of multipaned windows sparkle across the front. Stone veneer fills the triangular area that fronts one of the gables, while shingles add their texture to the other two. Stone veneer also serves as wainscoting and covers the bold column support that highlights the arched entry porch.
Vaulted ceilings give an expansive feel to many of the rooms, including the foyer, living room, dining room, den, and front bedroom. From the foyer, double doors open into a den or home office on the left, while an arched opening on the right leads to the main bathroom and two bedrooms. The vaulted family living area is ahead and to the left, just past the coat closet.
Windows fill most of the rear wall, creating a naturally bright environment. Sliding glass doors in the dining area offer easy access to a wide covered patio. A fireplace and home entertainment center line one interior wall.
The kitchen is open to the great room, across a counter with a range and oven on one side and a gently curved eating bar on the other. A deep pantry extends under the stairway to the bonus room, which is over the garage. Laundry appliances are nearby, in a pass-through utility room that links with the Cascadia's two-car garage.
A tray ceiling lends a touch of elegance to the owners' suite. Other luxury amenities include a large walk-in closet, double vanity, deep soaking tub, and enclosed toilet/shower.
Visit AssociatedDesigns.com for more information or to search home plans. A review plan of the Cascadia 30-804 can be purchased for $25. Associated Design's "Home Plan Collection," featuring more than 550 home plans, costs $15. Both are available online, by phone at 800-634-0123 and by mail (add $5 s/h) at Associated Designs, 1100 Jacobs Drive, Eugene, OR 97402.


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For Hoop Dreams and Dollars, Obama Returns to NYC
President Barack Obama arrived in the Big Apple Wednesday evening for a basketball-related fundraiser.
He attended the 2012 Obama Classic dinner at Lincoln Center, where he was joined by former and current professional basketball players, including co-host Michael Jordan, Bill Bradley and Patrick Ewing.
Commenting on some of the legendary players in the room, Obama said, "this is my dream team."
"It is very rare I come to an event where I'm like the fifth or sixth most interesting person," he said. "Usually the folks want to take a picture with me, sit next to me, talk to me. That has not been the case at this event and I completely understand."
Addressing the crowd of about 120 at Alice Tully Hall, Obama also discussed the controversy surrounding Rep. Todd Akin. "The interesting thing here is that this, this is an individual who sits on the House Committee on Science and Technology but somehow missed science class. And it's representative of the desire to go backwards instead of forwards and fight fights that we thought were settled 20 or 30 years ago," he said.
Following the dinner, the president showed off his hoop skills by participating in a casual shoot — one that was not open to the press.
"This is a time for him to let loose and play with some supporters," campaign spokeswoman Jen Psaki said.
Tickets for the fundraiser cost $20,000 per person and was expected to generate about $3 million for the Obama Victory Fund, a joint fundraising committee of Obama for America, the Democratic National Committee and several state Democratic parties.
Obama spent the earlier part of the day in Nevada discussing education. His Republican challenger, Gov. Mitt Romney, spent the day campaigning in the battleground state of Ohio.


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Invest in Gucci's fine Italian craftsmanship with these sharply tailored stretch-wool cady pants. The crisp pressed creases and peppy turned-up cuffs add dimension to this cropped pair, but our favorite detail is the slim, timeless fit - it's appropriate for all occasions.
Black stretch-wool cadyBelt loops, slant pockets, buttoned back pockets, pressed creases, turned-up cuffs, partially linedConcealed hook, button and zip fastening at front97% wool, 3% elastane; lining: 75% acetate, 25% polyesterDry clean
Product code: 364490 - Need help? Contact us


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- Northern New York Newspapers
- Watertown
- Ogdensburg
- Massena-Potsdam
- Lowville
- Carthage
- Malone
- NNY Business
- NNY Living
- NNY Ads
MONTAGUE Lewis County authorities on Friday recovered another 147 marijuana plants, this time on four sites on state forest land in the town of Montague.
The plants, estimated to have a collective weight of 400 pounds and a street value in excess of $100,000, were harvested and backpacked out in a collaboration of the Lewis County Sheriffs Department and state forest rangers, according to a department release.
The investigation is continuing, and anyone with information on these or any other suspected growing sites is asked to contact the sheriffs office at 376-3511 or the state Department of Environmental Conservation field office in Dadville at 376-3521.
A couple of weeks ago, more than 200 pot plants were harvested from woods in the towns of West Turin and Croghan.
Thousands of readers like you have made Northern New York Newspapers the number one ranked website* for local news and sports coverage in the north country.
You can continue on to this article in a few seconds, or you can visit one of our websites:


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The 3D modeler with the fastest, fully integrated ray-tracer.
Because "rasterization is so 20th century(TM)"
A screenshot of EQUINOX-3D (the robot above is being modeled with EQUINOX-3D)
More screenshots   Image gallery   Movie gallery
Supported operating systems:
Why is EQUINOX-3D better?
As our artist said: "all engineers should be forced to use the software they write".
I use EQX many hours a day and there is no need to force me!
Some of the main features and strengths:
** Might be more on slower harddisks or CPUs.
Awards and testimonials
"Equinox is by far the best implementation of this idea. Very nicely implemented, and a Lighting TD's dream"
-- independent posting on CGtalk.com, referring to the integrated ray-tracer
"Your product "EQUINOX-3D 0.9.0" has been tested by the Softpedia labs...
EQUINOX-3D is referred to at 3dlinks.com. It's a great source of information for 3D on Linux.


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What Is a Knee MRI?
A magnetic resonance imaging (MRI) test uses magnets and radio waves to capture images inside your body without making a surgical incision. An MRI can be performed on any part of your body, but a knee MRI looks specifically at your knee and its surrounding areas.
An MRI allows your doctor to see the soft tissues in your body along with the bones. In this way, he or she can inspect the elements of the knee that might have been injured during physical activity or simply from wear and tear.
An MRI can provide detailed images of various sections of the knee—such as the bones, cartilage, tendons, muscles, blood vessels, and ligaments—in better contrast than other tests.
Your doctor may want you to undergo a special kind of MRI called an MRI arthrogram. For this procedure, a doctor will inject a contrast fluid into your knee, providing a better view of its structure.
Why a Knee MRI Is Done
Your doctor may have you undergo an MRI scan if he or she suspects there are any abnormalities within your knee joint. The test helps your doctors to visualize the anatomy of your knee to determine the possible cause of your pain, inflammation or weakness, without having to do surgery.
According to the Radiological Society of North America, an MRI is usually ordered to help doctors diagnose and treat many types of conditions (RSNA, 2011). These include:
- arthritis and other degenerative joint disorders
- bone fractures
- damaged cartilage, ligaments, tendons, or meniscus
- decreased motion of the knee joint
- fluid buildup in the knee
- infection
- problems with implanted medical devices
- sports or trauma-related injury
- tumors
Your doctor may order other imaging tests, such as an X-ray, along with your knee MRI. He or she may also order an MRI before performing a knee arthroscopy, which is a minor surgery where a doctor views the inside of your knee by inserting a scope with a camera through a small incision.
The Risks of a Knee MRI
Unlike X-rays and computed tomography (CT) scans, an MRI does not use radiation. It is considered a safer alternative for everyone, especially pregnant women. While the radiation levels in CT scans are safe for adults, they are not safe for developing fetuses.
There are risks for those who have implants containing metal. The magnets used in an MRI can cause problems with pacemakers or cause implanted screws or pins to shift in the body.
One complication that could arise is an allergic reaction to the contrast dye. The most common type of contrast dye is gadolinium. However, the Radiological Society of North America states that these allergic reactions are often mild and easily controlled by medication (RSNA, 2011).
How to Prepare for a Knee MRI
Preparations for an MRI vary between testing facilities. Your doctor or attending technician will give you complete instructions on how to prepare for your specific test.
Before your MRI, your doctor will explain the test and do a complete physical and medical history. During this time, be sure to tell your doctor about any medication you may be taking, including over-the-counter drugs and herbal supplements, or any known allergies. Also, let him or her know if you have any implanted medical devices, as these can be affected by the test.
Alert your doctor if you have had allergic reactions to contrast dye in the past or if you have been diagnosed with kidney problems.
If you are pregnant, concerned you may be pregnant, or nursing, you may need to take special precautions. MRIs performed with radioactive contrast dye are not considered safe for pregnant women. Also, nursing mothers should stop breastfeeding for about two days after the test. Be sure to tell your doctor if you are pregnant or breastfeeding.
The MRI machine is a tight, enclosed space and you may be worried if you are claustrophobic or scared of small spaces. Talk to your doctor about your concerns. He or she may give you a sedative to help you relax. In extreme cases, your doctor may opt for an "open" MRI where the machine is not as close to your body. Your doctor can best explain your options.
How a Knee MRI Is Performed
An MRI machine looks like a giant skateboard wheel. The center is open so a flat table can slide in and out of the machine. The rounded, wheel-like part sends out the magnetic and radio waves used to produce images of your body.
Before the scan, you will change into a hospital gown and remove all jewelry and body piercings.
If you are using a contrast dye, an intravenous (IV) line will be inserted into your arm. This will inject dye into your bloodstream.
In the MRI room, you will lie on your back or side on a padded table. The technician may use pillows or straps to make your knee more comfortable during the test. This will also help keep your leg still so the clearest images can be taken.
The technician will then slide you into the machine feet first. He or she will give you instructions on when to hold still, including holding your breath. These instructions will be given over microphone (the technician will be in a separate room, watching the monitors as they collect images).
You will not feel the machine working, but there may be some loud noises, such as clacks or thuds, and possibly a whirring noise. The technician may give you earplugs or provide music.
The test typically takes between 30 minutes and an hour. Once the right images have been recorded, you will be free to change back into your regular clothes and go about your day.
After a Knee MRI
A radiologist will review your knee MRI scans and give them to your doctor, who will usually review them later.
MRI images are black-and-white images. Abnormalities may appear as bright white spots. These indicate areas where the contrast dye has collected due to enhanced cell activity.
When your doctor reviews the results, he or she will inform you of the problem and help decide on the next steps for treatment. Depending on your condition, treatment may require more tests, medication, physical rehabilitation, or surgery. It could also require some combination of these options. Your doctor will go over your choices and pick the methods that are best for you.


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Photo by Ditte Isager
Leave a Review
Whole Foods didn't have seven-spice powder, so I made a reasonable facsimile, and the dish was very good. I browned the eggplant, removed it from the wok, and added a large handful of sliced fresh shitake mushrooms, which Whole Foods did have. Then I put everything back in the wok and mixed it up. This is not a saucy dish, but the flavors are very nice. I served it over Basmati rice.flag if inappropriate
The soy sauce overpowered the dish. I had all of the listed ingredients (no problem with the seven-spice powder as other cooks had) and found the dish to be too salty/soy saucy to be enjoyable. Perhaps the dish tastes better with the substituted ingredients. I give this dish 0 forks because it wasn't even okay.flag if inappropriate
So fabulous! Everyone asked for more, but alas, this makes 6 very small servings. I'll double it next time. I also toasted some black sesame seeds and tossed them on top. It added a wonderful flavor dimension and texture.flag if inappropriate
Wow! Everyone LOVED this dish. My father isn't that enthusiastic about vegetarian dishes, but not only did he finish it, he liked the flavor so much he didn't drown it in hot sauce the way he usually does. Everyone is already asking me when I will make it again. After rinsing the eggplant, I squeezed each piece in a paper towel so as to remove as much moisture as possible. I also didn't use the Japanese seven-spice powder. I didn't substitute anything for it, I just left it out. And sadly, I forgot all about the chives. Even so, an exceptional dish. Everyone agreed this recipe is better than any eggplant they've eaten in Chinese restaurants.flag if inappropriate
Very good, quick and simple. Will make it again.flag if inappropriate
This was delicious! I also substituted lemon juice, a drizzle of sesame oil, a chopped clove of garlic, and some Sriracha sauce for the spice powder.flag if inappropriate
Like some other commenters, I didn't have the seven-spice powder, but I added a clove of minced garlic, juice from 1/2 lemon, some sesame seeds, and a little sriracha sauce. It was delicious. I served it over jasmine rice cooked with sesame oil, sauteed shallots, and soy sauce.flag if inappropriate
Easy and amazing tasteflag if inappropriate
Excellent! A little salty, so be sure to rinse the salt off the eggplant completely, and/or use low-sodium soy sauce.flag if inappropriate
Easy and quick...a hit when the friends made thom Kha soup and salad rolls. Didn't have 7 spice powder, so I looked it up and found that it's citrus, garlic, sesame seeds, seaweed, chili peppers....so I just used fresh ingredients and it made a lovely addition to the sauce.flag if inappropriate


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Introducing Yakima's Latest Radio Station – 1460 ESPN Radio
Kris Garland of Tri-Cities Wins $10,000 In Our Cash Contest
Congrats to Kris Garland who won $10,000 in the Win Cash Contest earlier today! You should be our next big winner.
National Night Out, Where's Your Block Party?
NATIONAL NIGHT OUT is designed to:
- Heighten crime and drug prevention awareness;
- Generate support for, and participation in, local anticrime programs;
- Strengthen neighborhood spirit and police-community partnerships; and
- Send a message to criminals letting them know that neighborhoods are organized and fighting back
Ronnie Dunn Forced To Cancel Yakima Concert
YAKIMA, WASHINGTON – It has been announced that Ronnie Dunn will not be performing at this year's Taste of Country Concert Event at the Yakima Valley Sun Dome on July 21, 2011 due to a scheduling conflict...
Harry Potter – Yakima Theatres Expects A Big Opening Weekend [AUDIO]
Currently, Transformers: Dark Of The Moon is the biggest grossing domestic movie release of the year, banking $261 million in two weeks of release. That will probably all change this weekend with the U.S. release of Harry Potter: The Deathly Hallows Part Two. What can you expect if you want to catch it in Yakima opening weekend?


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Minimum age for tests was raised by Government in 2003
Posted: February 27, 2014|
Smear tests are a way of searching for abnormal cells in the cervix, which can develop into cervical cancer if left untreated.
The free tests are currently offered to women in England every three years, if they are aged between 25 and 49.
They used to be offered to women aged 20 and over, but the age was increased in 2003.
Women aged between 50 and 64 are screened every five years, and women over 64 are only tested if they have not been screened since they were 50 or if they have recently had abnormal test results.
This is because women aged under 25 or over 64 are deemed as 'less at risk' of developing the disease.
The Department of Health ruled in 2009 that the age limit for smear testing should stay at 25.
It was after calls for smear testing to start at 20 years old, to reflect the number of sexually active younger women.
Any women who are overdue a test can book one with their GP, or they may be offered one the next time they have a doctor's appointment.
Younger girls are now offered a vaccination against the human papilloma virus, which can cause cervical cancer.
The HPV vaccine is given to schoolgirls aged between 12 and 13 years old.


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Looper extraordinaire, Reggie Watts, visited Mike Matthews and the crew at EHX to lay down a funky groove on the new 45000 multi-track looping recorder.
As soulful as he is funny, Reggie has been called everything from "spectacularly original" by New York Magazine to "deliciously strange" by the LA Times.
Check out Reggie nailing it on the new 45000!
EHX introduces a new, super looping recorder with state-of-the-art features: the 45000 Multi-Track Looping Recorder. We are also unveiling the RTG Random Tone Generator. A faithful reissue of a product which was originally released in 1980.


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Rich Harmer PhotographyPhotographer Male Brooklyn Park, Minnesota, US
My Website: Rich Harmer PhotographyMy MM URL: http://www.modelmayhem.com/richharmer
Mayhem # 2094908
About MeI'm a sports photographer and I've done a many model shoots and weddings. I'm looking to work with models in portrait photography. I'm very easy going and would be interested in doing shoots around the Minneapolis area.
CreditsSports Photography: American Snowmobiler Website, The Winning Edge Vol 24, Number 13, Vol 25, Number 6B, US Curling Association.
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We now offer a full 365 day 100% money back guarantee on the Pure Slim 1000 diet. Being in business for quite some time and realizing the phenomenal success we have had with our customers, we are in the unique position to offer this amazing program. Because we are extremely confident that we possess the best Pure Slim 1000 formulation on the market, we stand completely behind our product in all areas. Since we were the original Pure Slim 1000 diet reseller, we have been able to gather feedback and testimonials from many of our customers that we have so far. We are so confident in our Pure Slim 1000 diet program, that we are able to offer such a unique risk-free money back guarantee. You have absolutely nothing to lose but pounds and inches!
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3. Customer must send back the product. The refund will not be issued until we have received it.
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Pure Slim 1000 values your privacy and the privacy of all our visitors and customers. We take several safety precautions to safe guard your information as you purchase our phenomenal weight loss product. If you are trying to keep your mind off food, the following detailed privacy policy should keep you occupied for a while:
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We collect information from you when you register on our site, place an order, subscribe to our newsletter, respond to a survey or fill out a form.
Any data we request that is not required will be specified as voluntary or optional.
When ordering or registering on our site, as appropriate, you may be asked to enter your: name, e-mail address, mailing address, phone number or credit card information. You may, however, visit our site anonymously.
What do we use your information for?
Any of the information we collect from you may be used in one of the following ways:
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(we continually strive to improve our website offerings based on the information and feedback we receive from you)
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Your information, whether public or private, will not be sold, exchanged, transferred, or given to any other company for any reason whatsoever, without your consent, other than for the express purpose of delivering the purchased product or service requested by the customer.
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These are different than the nice chocolate chip cookies we are trying to steer you away from, these electronic "cookies" that are needed to compile aggregate non-personally identifiable information about the visitors to our web site. Personally identifiable information consists of information that is unique to you, such as credit card numbers, bank accounts, social security numbers, home address, email address and the like. This is the type of information that most people consider private and deem the most important to protect from unauthorized access.
Non-personally identifiable information most often consists of things such as your search preferences, the types of products you have bought, how many times you have visited a particular web site, etc. This type of information is usually associated with a particular computer or IP address but not with a particular person.
"Cookies" are pieces of information generated by a Web server and stored in the user's computer, ready for future access. Each time you access our web site; our server finds the relevant cookie on your computer. The information contained within that cookie is then used to customize your experience with our site. The following is a list of the information we collect: (insert all information you collect, names, numbers, social security, email, etc.)
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We do not sell, trade, or otherwise transfer to outside parties your personally identifiable information. This does not include trusted third parties who assist us in operating our website, conducting our business, or servicing you, so long as those parties agree to keep this information confidential. We may also release your information when we believe release is appropriate to comply with the law, enforce our site policies, or protect ours or others' rights, property, or safety. However, non-personally identifiable visitor information may be provided to other parties for marketing, advertising, or other uses.
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Occasionally, at our discretion, we may include or offer third party products or services on our website. These third party sites have separate and independent privacy policies. We therefore have no responsibility or liability for the content and activities of these linked sites. Nonetheless, we seek to protect the integrity of our site and welcome any feedback about these sites.
Childrens Online Privacy Protection Act Compliance
We are in compliance with the requirements of COPPA (Childrens Online Privacy Protection Act), we do not collect any information from anyone under 13 years of age. Our website, products and services are all directed to people who are at least 13 years old or older.
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The following Terms and Conditions apply to the use of this Website as well as all transactions conducted through the site.
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All notices from PureSlim1000.com to you may be posted on our Website and will be deemed delivered within thirty (30) days after posting. Notices from You to PureSlim1000.com shall be made either by e-mail, sent to firstname.lastname@example.com or by regular mail to our address listed below.
Copyright © 2011 PureSlim1000.com is owned and operated by TrustSafePay, LLC. All content appearing on this web site is the property of PureSlim1000.com and s rent company TrustSafepay, LLC. All rights reserved. As a user, you are authorized only to view, copy, print, and distribute documents on this web site so long as (1) the document is used for informational purposes only, and (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2010 PureSlim1000.com and TrustSafePay, LLC. All rights reserved.
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This site may contain other proprietary notices and copyright information, the terms of which must be observed and followed. Information on this site may contain technical inaccuracies or typographical errors. Information, including product pricing and availability, may be changed or updated without notice. PureSlim1000.com reserves the right to refuse service, terminate accounts, and/or cancel orders in its discretion, including, without limitation, if PureSlim1000.com or it's parent company TrustSafePay, LLC believes that customer conduct violates applicable law or is harmful to the interests of PureSlim1000.com.
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If we decide to change our privacy policy, we will post those changes on this page, and/or update the Privacy Policy modification date below. Policy changes will apply only to information collected after the date of the change.
This policy was last modified on 9/29/2011
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If there are any questions regarding this privacy policy you may contact us using the information below.
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We pledge to you, our customer, that we have made a dedicated effort to bring our privacy policy in line with the the following important privacy laws and initiatives:
Federal Trade Commision Fair
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Respectfully and well-proportioned,


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by Brynn Metheney in New Food and Packaging on Friday 29 July 2011
Food Porn. This beautifully shot and designed 'how to' video teaches you how to make bacon wrapped eggs and is sure to entice just about anyone with its bacony goodness. Check out more from the creators, Recipe Cards.
Share your favourite cultural finds with the Lost At E Minor community and become famous in the process. Well, kinda.
by Kenny Ong
by Rachel Oakley
by Inigo del Castillo
© 2015 Lost at E Minor | Image Attribution | Privacy Policy


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Local doctors give input to White House on gun violence
January 15th, 2013
When President Obama and Vice President Joe Biden unveil their proposals Wednesday to reduce gun violence, some of the advice will have come from experts right here in New Orleans.
Featured News
Humid Beings editors look at local media and blogs to find the local news that seems to resonate.
Recent People View All
Recent Topics View All
Treme' 200 Bicentennial Celebration
New Orleans Bookfair & Media Expo


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Goldmember Minerals Inc. has changed its name to GMV Minerals Inc.
/NOT FOR DISSEMINATION IN THE UNITED STATES OR FOR DISTRIBUTION TO U.S. NEWSWIRE SERVICES/ TSX-V: GMV VANCOUVER, March 13 /CNW/ - GMV Minerals Inc. (the "Company") (TSX-V:GMV) is pleased to announce that effective March 13, 2008, it has changed its name from "Goldmember Minerals Inc." to "GMV Minerals Inc." There will be no change in the Company's trading symbol on the TSX Venture Exchange, which remains GMV. About GMV Minerals Inc. ----------------------- GMV Minerals Inc. is a junior exploration company focused primarily on gold exploration in central British Columbia. The Company is currently drilling its 100% owned Alexis Creek gold showings where it has identified several geophysical anomalies located at depth which show the characteristics of an epithermal style mineralized body. ON BEHALF OF THE BOARD OF DIRECTORS ----------------------------------- Alistair MacLennan, President The TSX Venture Exchange Inc. has in no way passed upon the merits of the proposed transaction and has neither approved nor disapproved the contents of this press release. This news release may contain forward-looking statements based on assumptions and judgments of management of the Company regarding future events or results. Such statements are subject to a variety of risks and uncertainties which could cause actual events or results to differ materially from those reflected in the forward-looking statements. The Company disclaims any intention or obligation to revise or update such statements except as may be required by law.
For further information: GMV Minerals Inc., Ian Klassen, Director, Tel: (604) 899-0106, www.gmvminerals.com, Email: email@example.com


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Path of Exile: The Awakening bestows more details about the upcoming free DLC
Whoa, whoa, whoa, I can't even believe Path of Exile has been out since October 2013. This Diablo-esque massive RPG,... Read More
Whoa, whoa, whoa, I can't even believe Path of Exile has been out since October 2013. This Diablo-esque massive RPG,... Read More
During the week of March 23rd, programmers were working on core in-game skills for Path of Exile in preparation of the... Read More
Path of Exile from Grinding Gear Games had its official hard launch not too long ago. As part of the studio's... Read More
If you're not paying attention to Path of Exile, maybe you should be. Grinding Gear Games revealed that it sold... Read More
Grinding Gear Games officially launched Path of Exile on Steam last month, and the developer says the reception has... Read More
At first glance, there only seem to be six classes in Path of Exile. I mean, it makes sense. Three of the classes focus on... Read More
The action role-playing game Path of Exile has officially launched, and it's on Steam today. It's free to... Read More
If you've been keeping up with Path of Exile, you've probably heard what people have been saying about it. The... Read More
Grinding Gear Games' free-to-play game Path of Exile will release on Steam on October 23. The date marks the final... Read More
Grinding Gear Games action role-playing game Path of Exile is Twitch-friendly. According to a press release, the game... Read More
Games like Diablo and Torchlight are popular, but if you want an alternative to the alternative, then Path of Exile might be... Read More
I don't know about you, but I've been enjoying the hell out of playing my Witch on the Path of Exile open beta.... Read More
We often see video games pop up here and there that are inspired by highly lauded IPs. These games become something of a... Read More
Any way you spin it, Diablo III might have not lived up to everyone's expectations, and while we did give it a great... Read More
Problems beating the game? Can't defeat a certain boss? We help you get through the entirety of Kingdoms of Amalur: Reckoning. *Updated daily Read More
Overlooked this trailer before, but it has too much potential to pass up. Read More
Team up and take down the forces of darkness, online...Diablo style. Read More
Now toss in the ad mantra of 'how far would you go to save a world that doesn't want you' and you have the story essence of Final Fantasy XIII. It be Read More
For many genre fans, the Super Nintendo represents the golden age of traditional Japanese RPGs. Classics like Final Fantasy II re a purist), Chrono T Read More
Black Wing Foundation Announces Salvation Black Wing Foundation is glad to announce its Salvation project currently in development for PC and Xbox 36 Read More


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TIAM: He's Going To Jump Out Of A Plane
August 22, 2013 8:57 AM
Total Information AM Read More
And, he's going to jump without a parachute. We spoke with SceneTap's Cole Harper about BASE jumper Alexander Polli who is going to jump from a plane wearing a wingsuit so he can fly over the city of St. Louis Friday evening.
Total Information AM


text: Photoshop CS6 Tutorial-How to remove a background of any image in Photoshop CS6 (Photoshop CS6 Tutorial) This is a video tutorial on how to remove the background of any image or photograph. This must be the most frustrating thing to do in photoshop,there are many ways to do it but this one is very easy and simple method.i am removing background with the help of eraser tool.This is a very quick method and works all the time. To remove the backgrounds from the images is a common task that every designer wants to do on regular basis. In addition, with all the different ways, here is a method to remove the backgrounds in Adobe Photoshop CS6 or any other version of photoshop like CS5,CS4,CS3.you can do this in three simple steps.We hope you will enjoy this tutorial, and please rate, comment & subscribe if you like this effort of teaching to remove the backgrounds. Also, don't forget to check out our other tutorials. Thanks. STEPS- 1- open photograph in photoshop and select eraser tool. 2- with the help of this tool delete all background area that you dont want. 3- Now save your photograph. thats it. background will gone now. For all updates visit- www.youtube.com My Facebook Page- www.facebook.com "Free Royalty Free Music by -www.DanoSongs.com LIKE,COMMENT and SUBSCRIBE please if you have any other question ask me in the COMMENT section below or PM me. Don't forget to add the video to your favourites by hitting the ADD TO button then FAVOURITES to show your appreciation


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This season has been a mixed bag for the skier so far. One day it tops 70 degrees and the next day your hair can freeze and chip off. Some areas in Vermont have been the recipients of copious amounts of snow and then watched as heavy rains cut the base down to ground level.
Fortunately it looks as though that has turned around and the opportunities for some terrific skiing are finally at hand.
For those who are looking for some blood pressure lowering activity, the time has arrived.
There are a couple of really nearby hills that can be visited for some easy downhill exercise to get your legs in shape. Some, such as Mt. Peter, offer a free ski lesson for first timers. One could assume that also includes snowboards.
Mt. Peter isn't the only one with such an offer and you are best served by contacting the ski resort before heading up to see what specials, if any, they may have. Some will discount tickets during certain periods, but don't expect much of that on weekends or holidays when ski resorts make much of their bundle for the season.
Three of the most easily reached areas are Belleayre, Hunter Mountain and Windham, all within about a half hour from the New York Thruway. They are off Exits 19, 20 and 21 respectively.
One minor word of caution here is that the roads leading to the ski resorts have speed limits that are frequently strictly enforced and some of the local cops like to pull out-of-state plates over, sometimes on what could only be described as "…a really vague violation." They go on the assumption that you will not show up for the hearing and they can collect by default, thus adding to the local municipal budget without annoying the residents.
That being said, follow the speed limit and don't break any laws and you should be safe.
Belleayre has made a major change in its operations this year. It had been operated by the New York State Department of Environmental protection for many years. It is now participating in the New York State Olympic Regional Development Authority that also includes Gore Mountain and Whiteface at Lake Placid.
The ORD was formed in 1980 to promote use of the facilities that had been developed for the winter Olympics in the area and has grown to include Belleayre and Gore.
Belleayre somehow survived being run by a state agency and has developed into one of the better and more popular ski areas in a day's radius of North Jersey and New York City. Over the years it has added new facilities and lifts, such as the Super Chief, that keep lift lines moving and waiting times short.
The Super Chief was a welcome addition as it gave more proficient skiers and opportunity to go from top to bottom on the mountain without the need to hike from the lower lifts to the lift serving blue and black trails. The "Chief" is easily reached and moves a ton of people.
Belleayre is basically divided into the Lower Mountain and the Upper Mountain. Parking is more than ample and the area does stop selling tickets when it is determined that they've reached max capacity. This is a rare incident and usually only happens on a major holiday.
The lodges here are basic and tend to get crowded. As with any lodge putting your gear on a table does not reserve the space for you. If you aren't there, anyone can move the stuff onto the floor or a ledge and sit down.
Belleayre also tends to be less expensive than other areas and that is a draw. But the bottom line is that if the experience is not a good one, the price will not bring people in.
Belleayre has extensive snowmaking equipment and it is in use whenever temperatures permit. It has one of the higher elevations and that produces a lot of natural snow.
The ski school here is the equal to virtually any other and has turned out a lot of skiers eager to show their proficiency. Located just to the right of the lower lodge, the ski school is convenient and can move learners down a slope to the lift without terrorizing them.
Give your cardio system a present and get out, enjoy the clean mountain air and ski.


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If you have been searching for information on a certain year that holds special meaning for you or someone you know and love, then look no further.
The Day You Were Born certificate, which can also be 'The Day You Were Married', 'The Day You Retired', and more, are the perfect gift to give if you are looking for the year you were born gifts.
Certificates are individually created and paper is either pre-printed or printed on to photo paper.
Certificates are available either emailed, printed, laminated or framed and are created within 24 hours of payment being received, the perfect gift for when you are in a hurry, or as a last minute gift idea. Some templates are different in size and those that are emailable will print out a little larger than 8"x10". Some papers are sourced from America (sized at 21.5cm x 28cm), others are sourced from Australia (A4) and are pre-printed, to give a better range.
Neither expensive nor do they take a long time to get to you, the certificate details news, events, music, movies and more from the date required. Here is what the certificates will tell you...
- News and events including the Prime Minister
- Sporting results
- Academy award-winning movies and stars
- Music
- Famous Birthdays
- Cost of Living Comparison
- Birthstone and Star Sign
These certificates are personalised with the recipient's name and date of birth, and a choice of Australian or British information can be displayed.
Copyright © 2015 Gifted Memories | Gifted Memories Jewellery | Gifted Memories Faith | Website by Analysis Net


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Virginia Nightingale
The aim of this paper is to explore some of the possibilities of a structuralist way of thinking about media audiences. Mass Media audiences are most often discussed as the destination, the receiver, in a sender-message-receiver system of mass communication in society. This location of audiences seems to hold whether the particular problematic is thought to be the effects of the media, the uses to which media messages are put by media audiences, or the way audiences create meaning from texts (cf. Morley 1980: 9). As receivers, the audience has been thought of as the masses, the general public, marketing targets, commodities, or individuals differing in significant characteristics (e.g., age, sex, ethnic origin, self esteem). None of these ways of thinking about media audiences actually locates them in the contexts of their relations to the means of cultural production, to the "mass media". In other words I am arguing for a structuralist theorisation of mass media audiences which is capable of exploring the interaction of people with the means of mass cultural production in modern society. The following is, then, a tentative exploration of some of the possibilities of such a theorisation. As such it, inevitably, exhibits a certain arbitrariness in the identification of the structuring elements.
In attempting to reinstate the audience within the system of mass communication in society, it seems sensible to start by thinking about what is known about the relations between audiences and the "mass media", the industries, the media technologies and the messages/texts, for which they aggregate into being. Initially, then, three relations are proposed as essential for understanding media audiences: audience-industry, audience-medium, and audience-text relations. This classification is a beginning point only for an understanding of the complex issues of audience consciousness (of itself, the media and the nature of society), audience power (or lack of it) and audience control of certain dimensions of the system. It seems important to point out that the crucial issue which is hidden in current approaches to audience research is the relation of audiences to power and control within the system. Audiences exist within contexts, and the contexts within which they exist are defined by the relations which exist between audiences and the other elements in the mass communication system. As well as defining the nature of mass communication, these relations appear to promote a number of sets of concerns which are commonly acknowledged as important by
23 Aust. J. Cultural Studies, 2:1 (1984)
all who participate in the system, at whatever level. They are the issues of availability, patronage, preference and accessibility, and they are reflected in the ways that the industry talks about audiences, the way researchers talk about audiences, and the way that audiences talk about their media experiences. These sets of concerns do not exhaust the ways that audiences are talked about, but do provide a first step in the analysis of the differing ways in which audiences, politicians, production and industry personnel carry out the struggle for power and control within the system. They constitute the core of what Murdock (1980) has called "the ideology of cultural production". These issues point to the inconsistencies and discontinuities which exist within the system: audiences make themselves available to the media, but the industry has control of the availability of products/texts; audiences patronise certain texts, media and media industries and are in turn patronised by producers; audiences are more or less accessible to media texts while the texts are more or less accessible (comprehensible) for audiences; production for certain sorts of audiences is preferred by different industries and production personnel while audiences express preferences among the available products/texts. Such issues point to the imbalances which exist within the system which both promote and inhibit change, as well as limit the possibilities for redistribution of power and control.
The Audience-Industry Relation
Some of the most interesting recent audience research has addressed the audience-industry relation, and raised the issues of power and control at that level. Dallas Smythe's (1981) discussion of media audiences as commodities is a good example. Before discussing his position, it seems worth noting that the audience-industry relation has a history of importance to two groups of researchers. From a critical perspective the mass society theorists have explored the constraints and coercion exerted on the audience by media industries, while those with direct and vested interests in maintaining and expanding their control over media audiences support ratings and market research. It is at this level that ratings research and its current developments intervene to monitor and facilitate the delivery of audiences to advertisers. The changing concerns and interests of market research offer an interesting comment on the fluctuations of power and control within the system of mass communication, reflecting changes in audience practices and their impact on the usefulness/value of the audience to advertisers.
Audiences as Commodities
The knowledge that audiences are commodities, sold to advertisers by media organizations, has been available to audience research for as long as advertising has financed the commercial mass media. Advertisers have required information about audiences which would
24 Aust. J. Cultural Studies, 2:1 (1984)
minimise their risks, and ratings research has by and large more than adequately supplied their needs for information about the media habits, life-styles and consumption patterns of the general public. Ratings provide valuable information about the demographics of media audiences, audience size and composition. Ratings cannot indicate why programmes are popular, and as Gitlin (1978: 237) has pointed out, the desire to explain the social meaning of the mass media bears little relation to advertising interests. The marketing orientation "is interested in how the mass media may increase their reach, and in how ordinary social life presents obstacles to the extension of media power".
Until recently ratings research has not distinguished between the 'audience' and the 'general public', reflecting an underlying desire or aspiration of the industry to, at least potentially, address 'everyone'. The size of the 'everyone' possible is increasing dramatically with the availability of communications satellites for broadcasting and private use, a development which paradoxically appears to be encouraging a desire to more selectively address specific segments of the 'general public' (Carey, 1980). A good example of this tendency is found in Frank and Greenberg's audience segment analysis. Frank and Green-berg (1979: 95) claim that
one of the most useful ways of studying consumer behavior is to explore not only how people use a product or service but also their interest in and attitude about the product or service. Similarly when advertisers know the varied attitudes and interests of different "segments" of the TV audience, they zero in on the best medium or show to advertise their product.
Their research offers the industry an advance in its attempts to address audiences by adding only life-style/interests patterns and income patterns to the usual demographic information sought. They describe their segments in terms such as "cosmopolitan-self-enrichment — $18,800" and "detached — $10,600" (1979: 102). The characterisation of audiences in such terms indicates the relative importance of such factors in industry attempts to use media power according to criteria which audiences themselves probably consider to be of little relevance to their media activities. For example, it is unlikely that audience members would consider the conditions of living alone or earning less than $20,000 relevant reasons for not being able to find something worth watching on television, an interesting magazine at the news agency or a newspaper dealing with issues of interest or concern. Yet it is precisely such criteria which are constantly taken into account in programming and Production decision-making.
The importance of ratings research to the industry cannot be overemphasised. Ratings research is the basis on which production is financed and programming decisions are made. It provides a justifica-
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tion for the availability/non-availability of media products and is a means by which the possibility of political audience action is appropriated for commercial ends. Ratings research seeks to answer one question only — what are people watching, reading or listening to? It is a measure only of what people claim to have done. As such it reifies acts of patronage and the expression of preferences in using media products, rendering them the only audience acts likely to produce change. Because ratings are based in random sampling techniques of the 'general public', and are held to be reliable measures of the real popularity of programmes, they pass as real expressions of audience power, whereas in reality, audiences have little chance to influence what products or ventures are financed, what range of media products are available to them and what cultural dilemmas, rites and contradictions are explored in "content". The gap between industry goals of audience maximization and audience interests can be seen to widen with each new factor identified as relevant by commercial research. At the level of the audience-industry relation, very little control is actually exerted by audiences over the availability of texts. There is a lot of industry guess work and anxiety about what audiences will think of the projects which are financed. A patronising and fetishistic concern about the possible/imagined audience replaces any real dialogue or feedback, a repetition of themes, formats and techniques, of proven formulae, replaces any real knowledge of audience enjoyment of media forms and texts. Whatever the desired audience, its consumption of the media product/text is used as a justification and rationale for production practices and for the nature, style and mode of address of that cultural product. The organisation of mass production for private consumption results in no organisational or collective base for the development of audience consciousness. There is no precedent for understanding the cultural meaning of mass media products for people whose lives are organized around participation in overlapping, competing and often contradictory cultural/social institutions, including media based activities.
Dallas Smythe has argued that audiences possess another quality which is desirable to industry — the ability to "market commodities, candidates and issues to themselves" (1981: 25,26). His suggestion is that self-marketing includes such diverse 'competences' as buying the technological devices which give access to the broadcast media (i.e., TV sets, newspapers, magazines, even access to cable or teletext facilities), the ideas and values inherent in programming, and the consumer durables for which they (the audience) are facilitating demand management. In other words, Smythe is arguing that audiences are unconscious of the role their media activities play in the continuation of monopoly capitalism, ignorant of the meaning of their media activities to media industries and capitalist enterprise in general. As with ratings research, Smythe's position suggests a break between industry consciousness and audience consciousness of the meaning of mass communication.
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It seems important to include a few comments about the mass communication as market analogy which underpins both ratings research and Smythe's position. While there is some justification for the view that audiences vary in their market value (i.e., to production companies and to advertisers), and there is evidence to suggest that the commodity value of audiences sometimes exerts a constraining influence on the amount and nature of certain sorts of media production, the analogy breaks down because it assumes that the text is incidental to the audience. In Smythe's view the text/media product is the supposedly free lunch used to attract the audience. This is an interesting concept because we are used to considering the text/product as the commodity, bought by media industries and "sold" through publicity and promotion to the audience. It raises as extremely problematic just what the audience is an audience of. If anything is sold to advertisers it is a relationship between audiences and texts, a relationship which varies with the different possibilities of particular media and texts. Even Frank and Greenberg are aware of this. Production is financed because it is hoped, guessed, believed that it will attract audiences. Audiences are sold because of their media habits and interests, and because of their commodity value. The limitation of the audience-as-commodity position is that it does not help us to understand audiences any better. Self-marketing is not the only audience act which counts. If it were, audiences would be alienated from all power and control within the system. Because the meaning of the system of mass communication for audiences is not a commodity related one, audiences are limited in what they can do to increase their share of power and control, particularly at the audience-industry level. Consciousness of self-marketing is unlikely to increase power. The problem is that audiences do both possess and use power and control within the system of mass communication in society, but it is limited at this level. The situations and contexts within which audiences do exert power and control foreground the ruptures and discontinuities within the system, and suggest possible points of change and intervention.
The Audience-Medium Relation
The audience-medium relation is one of greater contestation and struggle over the obstacles to media power posed by everyday life. It encompasses issues as diverse as the ways audiences are structured by the media technologies, the ways media technologies are incorporated into the life-styles of audiences and the relationships which develop between certain audiences and particular cultural forms. Audience experiences of cultural forms depend on both the availability and accessibility of media and media products. The nature of the media technologies and products is at least partially determined by the possibilities for incorporation into daily life-style patterns, and so by the vagaries of subcultural fluctuations.
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The current technological contexts of media-audience interactions are changing from concentration on reactive forms to interactive forms. Our children are among the first to explore the implications of interactive narratives with their experiences of the smallest screens — hand-held computer games. Both hand-held computer games and video games produce stories through interaction. They invite first an interaction with the medium, the technology and its cultural form — the programmed constraints for participation, and the visual and aural signifiers which give each game/text its particular characteristics. The stories created are as much about interaction with the medium as about achieving as acceptable an ending as possible. It is not my aim here to engage in a detailed analysis of the cultural significance of computer games, but to draw attention to their importance in socializing the adult audiences of the future into patterns of interaction with new media possibilities. They are ensuring audience experience and knowledge, cultural competences, in a new range of audience activities; they are calling into question the assumption of audience activity as a reactive or de-coding/interpretive activity, and blurring still further the distinction between sender and receiver. The new technologies then, highlight another set of contextual constraints for audiences — reaction and/or interaction — which determine modes of media relationships and another dimension of audience choice and expression of preferences.
Carey (1980: 9) has pointed out that the technology-audience relation has always been a
two dimensional relationship — the formation of the mass and creation of the segment.
Satellite and cable, particularly in combination allow for the assemblage of even more massive audiences and to amass them increasingly without respect to national boundaries. The same technologies allow for disassembling this audience and grading it more finely into segments.
Carey locates this tendency to amass and segment within the development of 19th century technology as a whole. The mass-segment dimensions of media production were fundamental to understanding the nature of the public sphere. He suggests that publics were transformed into audiences because of both mass production and the centralization of the sources of supply of information and facts. Technological changes privatised the public and the contexts and situations of audience-medium interactions. The tension between audience mass-ness and segmentation is not new. In the past the emphasis has been on the mass, whereas now it seems to be shifting to the segment. Media which address segments, which may be broadly geographically dispersed yet highly similar in interests, are becoming increasingly economically viable. As with the reaction/interaction mode choice, this increase in medium availability increases choices
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for audiences between broad and broader-casting, essentially a choice between modes of address.
These examples suggest that media technologies structure audiences in terms of the way the technology addresses the audience member (e.g., business, group, family or individual patterns of use, private vs public consumption). Obviously television as a medium differs from radio, magazines and records. The medium changes the form and our expectations of the form, though not completely since genre, narrative style and mode of address, for example, may share more similarities across media than within the one medium. Some media characteristically favour certain sorts of representation, as in the senses in which television news and documentaries progressively approximate entertainment Such inter-media differences exert control over the contexts and situations in which audience-medium interactions occur, and play their part in constraining the interactions. However it should by now be clear that audiences possess some potential for determining the nature of their interaction with the media at this level, through their making themselves more or less available to the media.
One of the least researched areas of the audience-medium relation is the senses in which group and individual identity is developed, signalled and/or enhanced by the selection and use of media equipment. People acquire sets of media equipment, sets which vary with differing class and institutional affiliations. It is in relation to the sets of media equipment which people own and control that contexts and situations are defined within which audience control becomes a reality. Mass production of media equipment has encouraged private ownership, but personal, group and class pressures interact to define 'desirable' sets and preferred modes of use. For example, my set of media equipment includes a colour television set, a stereo, a transistor radio, a cassette recorder, a car radio and a pocket calculator. In addition I regularly buy a limited range of magazines and newspapers. Most of the people I know possess similar sets of equipment, which vary in the relative sophistication of the components, so expressing our differing attachments to certain forms of cultural production. In other words, a sort of aesthetic code, socio-culturally based, appears to be at work at the audience-medium level. Sets of media equipment access ranges of texts for audiences, differing forms of texts, and suggest access to past, present and future texts. In acquiring media equipment audiences are making themselves available to ranges of possible texts, and expressing preferences for the particular representational characteristics of different media. The importance of such access cannot be doubted, given the considerable financial outlay required to obtain it. While audiences nave little control over the availability of texts and little control over the availability of media equipment, they do exert control over their making themselves available to the media of their choice.
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The choices available to audiences do not end with sets of media equipment. Audiences create contexts within which to combine media and other life-style experiences. People make time to use different media, they fit their daily tasks and commitments into, between and around media commitments and vice versa. Such patterns are never completely stable, they vary from day to day, week to week, or stay the same for years. Modleski (1983) has suggested that the flow of day-time television closely mirrors the flow of women's domestic work, with even the commercials mimicking the inevitable interruptions to any one task. The audience-medium relation reflects the experiences of everyday life and affirms its meaningfulness. By reflecting life in this organizational way, television can be seen to be rendering the fragmentation of life-style meaningful. The media do not only mirror the flow of work patterns, they facilitate their own incorporation into people's life-styles.
This discussion of some of the complexities of the audience-medium relation is very much a suggestion of possible avenues for further research. It seems important to mention in passing that the issue of audience competences learned and implemented in relation to audience-medium situations has been neglected. Such competences range from the very simple (reading a TV programme) to the difficult (operating your new computer). Yet it seems likely that the aesthetics of equipment choice and the pragmatics of equipment utilisation cannot be ignored in the search for an understanding of audience participation in the system of mass communication in society.
The Audience-Text Relation
It was noted in the previous sections that both technological and commercial availability is dependent on the patronage of audiences. Patronage is maintained by a combination of audience-medium and audience-text factors, which are actively sought and encouraged by the commercial mass media through production values and procedures. While the medium provides a continuing supply of cultural forms which are accessible (comprehensible) to audiences because of their familiarity and proven attractiveness, texts carry the burden of addressing or answering the quest by audience members for the means of making their existence and experiences meaningful. Popular culture is popular, even if innovative solutions to, or comments on, the problems of existence are seldom portrayed. New media and new products can present the old problems in new packages. The number, variety and ephemerality of texts, and the differing ways in which they address the everyday lives of their audiences work to compensate for the lack of creativity and originality of the solutions presented. In an over-arching sense they often suggest little more than the value of continuing, reflecting the consensual nature of the commercial production of popular culture. Allen (1983: 13) has suggested in relation to television soap operas, that such texts
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can be read by audiences either as fictitious, or as those "which for various reasons, constantly spill over into the experiential world of the viewer". The tendency of texts to reference the experiential world can be seen as the realm in which the ideological codes of texts are most potent and apparent. What is becomes what should be.
Two different modes of relating to texts can, then, be identified. The first is through the competences audiences have developed by their experiences of media subjectivity. By media subjectivity, I am referring to the knowledge of inter-media, textual and inter-textual codes, as well as the experiential knowledge resulting from participation in media practices, such as those mentioned in the previous section. The second mode of relating to texts is through the ideological codes referenced by the text. Two qualitatively different types of interpretive work must then be identified in carrying out audience research. How much a given audience member gets out of a given text will obviously depend on his/her media competences, which will include knowledge of the codes and conventions of media production, and be related to the senses in which audience members have incorporated media preferences and practices into concepts of self and group identity, and be expressed in degrees of affiliation with or attachment to the text. It cannot be assumed that audience members approach all texts as though they were equal. Media practices develop bonds of affection (and disaffection) towards particular texts, and categories of texts. The second type of interpretive work is that of evaluation of the discourses referenced by the text. For this work socio-culturally based competences are called into play.
It is this distinction which is noticeably lacking from Morley's (1980) study of the Nationwide audience. Morley's research is important because of the ways in which he attempted to open out the competing subjectivities of audience groups in relation to signifying practices. He attempted to expose the manner in which such subjectivities leave their mark on the ideological relation of audiences to a particular text. Morley used group interviews with people from varying socio-cultural backgrounds. The weakness in his work is that he ignored the media subjectivity of his subjects. They were not all, in fact, part of the Nationwide audience. When, for example, his Group 16 (1980: 87) told him that they were in fact part of the Today and Crossroads audience, Morley claimed that "Nationwide is totally irrelevant and inaccessible" to them. He interpreted their refusal to engage with Nationwide as an oppositional frame (using Parkin's distinction between dominant, negotiated and oppositional frames) in relation to the programme's discourse. The confusion is most obvious when he speculates on the implications of his analysis. In some senses Morley is suggesting that the discourse of Today is more radical than that of Nationwide. For those of us who live in countries where the commercial mass media have always been more powerful than public media the finding seems strange indeed. Morley's analy-
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sis overlooks the ways media subjectivity develops cultural competences which are likely to influence the senses in which medium-text and audience-text relations can vary in transparency for different audience groups.
In raising media subjectivity as an issue in this paper, the importance of relating the theoretical position of Cultural Studies to audiences of popular culture is foregrounded, in particular the importance of "disentangling the real from the constructed or ideological elements" (Clarke et al. 1976: 23), and tracing the social and historical development of that subjectivity, as well as its interaction with other significant subjectivities with which audience members have identifications. Morley over-simplifies the importance of media discourse by distinguishing only between "differential definitions" based in "common sense" and notions of "good television" (1980: 34). He dismisses the notion of media subjectivity out of concern that it might be considered autonomous and so separated from its "complex articulations with questions of class, ideology and power, where social structures are conceived as also the social foundations of language, consciousness and meaning". This concern is crucially important since an autonomous media subjectivity would forestall recognition of the ideological and power dimensions of media practices, especially if, like Morley, a sender-message-receiver model informs your theoretical debate. Yet in avoiding confronting media subjectivity and recognising it as of similar importance to, for example, educational, legal and work subjectivities, the importance of audience knowledge of textual codes and inter-textual referencing in the interpretation of media texts is under-estimated. The relationship between cultural taste, consumption and social locations is under-valued (Murdock, 1980: 40).
Looking at media audiences in terms only of decoding practices is too narrow an orientation to account for the ideological impact of the mass media. Decoding and interpretation account for only some audience media practices. While media practices are interest based and related to the expression of cultural taste, they can also be expected to reflect class and sub-cultural interests, to be appropriated and given special significance by groups differently located within the social structure. As Murdock has suggested, the relationship between social stratification and media interests, affiliations and competences ("cultural taste") cannot be ignored. In this sense audiences can be seen to relate to media through their experiences as media subjects, as well as through their other institutional identifications.
The audience-text relation is the prime site of interpretive activities, the site of the struggle between audience and text over meaning — meaning of a particular text, other referenced texts, and the aspects of life and the world referenced. Audience-industry and audience-medium relations provide the contexts and situations for that struggle, and as such also place their own limitations on audi-
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ence attempts to create textual meaning. The commercial mass production of texts ensures their ephemerality and minimises the significance of any one text. It also ensures that texts do little more than affirm the experiential worlds of their audiences. The ideological codes used to reference the experiential world of the audience suggest possibilities for the creation of meaning not limited by media subjectivity, but engaging as many of the social subjectivities in which audience members are located as possible without degenerating into incoherence.
The audience-text relation is then characterised by situations involving the creation of textual meaning. For audience members two sets of competences are drawn on to accomplish this: intertextual and social/cultural competences. The struggle is between the' preferred readings suggested by the text, both about what other texts might be called to mind in order to understand a particular one, and the possible meanings of the life experiences referenced. At this level there is a real sense in which the text, as a finished product, is at the disposal of the audience, yet not completely. The fact that people write letters to television stations and phone-in to radio stations signals the reality of the struggle as audience members attempt to intervene to determine the nature of the text/product being made available to them.
Audiences and Mass Communication
This paper has basically attempted to give an overview of some of the ways in which audiences are positioned in relation to the system of mass communication in society. Audiences are not irrelevant to the operation of media industries; they are the rationale for their existence. Those involved in financing, in production and in promotion talk about audiences all the time. Prospective film makers, television producers and even academics are all called on to give accounts of the target audience before financing of their projects will be considered. Admittedly few real audiences are consulted at this level. At the level of the audience-industry relation, audiences mean money, power and acclaim, while the industry means the continued availability of texts/products. The relations which exist between audiences and the system of mass communication in society are characterised by such discontinuities, as well as by inter-level interactions, as seen in the way-that industry ownership and control of the means of cultural production is mirrored by audience ownership and control of media equipment and texts/products. Exploration of the nature of audience positioning within the system of mass communication offers the possibility of identifying sites of contestation and struggle within the system. It is in the identification of such sites that the possibilities of audience power and systemic change can be addressed. Perhaps the questions we should be asking about audiences should be less preoccupied with the creation of textual mean-
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ing than with the ways in which audiences resist industry, medium and textual domination of the system.
Virginia Nightingale teaches Communication at Nepean CAE.
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