text:
High performance in a lightweight, compact projector featuring a variety of functions for bright, vivid images.
Ultra Portable, High Brightness Projector features DLP ™ technology
Lightweight at 2.0 kg
Auto Focus Function
Direct Power Off Function
Wall Colour Correction
Auto Vertical keystone Correction
Streamlined cabinet in a pearl-white finish
High brightness of up to 3000 ANSI lumens with a compact, lightweight, 2.0 kg body
Although it has a highly transportable lightweight body weighing 2.0 kg, it achieves high brightness of 3000 ANSI lm, which is sufficient for use in a bright room. (This is for the LT35. The brightness is 2600 ANSI lm and 2200 ANSI lm for the LT30 and LT25, respectively.)
Auto Focus Function by the focus sensor
The focus of the projected image is adjusted automatically by measuring the distance between the focus sensor and the screen. This function activates immediately whenever the power is turned on, the zoom function is adjusted or the position of the main unit is changed, so the projector can be set up easily without focusing every time.
The projector can be put away quickly with Direct Power Off function
The projector can be turned off , even when projecting an image, using a power strip equipped with a switch and a breaker. Also, the power cable can be removed immediately after turning off the projector, so that the user can put the projector away immediately after terminating a conference or class.
Wall Colour Correction enables vivid images even without a screen
Without a screen, the projected images may be affected by the colours of the wall or blackboard. This projector has built-in colour correction for projecting images on a coloured wall or blackboard, so that the colour tones of the projected images can be approximated to those projected on a white screen. The following eight colour options are available as user selections: blackboard, blackboard (gray), light yellow, light green, light blue, sky blue, light rose and pink.
Auto Vertical Keystone Correction adjusts the trapezoidal distortion to correct the projected image
If the position of the screen is too high or low, the projector must be installed at an angle, resulting in trapezoidal distortion of the projected images. The acceleration sensor built into the main unit senses the inclination of the unit in the vertical direction and then corrects for any trapezoidal distortion in the projected images automatically to project square images. (+/- 16 degrees from the projection angle) The user can set up the projector very quickly and easily since it is not necessary to correct it manually.
Reproduction of more vivid colours are now available by the introduction of a newly designed Colour Wheel
Newly designed Colour Wheel reproduces images in more vivid colours. With the White Peaking function, more natural, vivid images can be projected. Furthermore, the user can correct gamma and adjust colour temperature with detailed settings.
Eco Mode can be set with the remote controll
In the Eco Mode, the lamp replacement period can be extended up to a maximum of 2500 hours (estimated). (The lamp replacement period in Normal Mode is 2000 hours (estimated). By selecting this mode, total cost of ownership can be reduced effectively. Since it can be switched to Eco Mode with the remote controll as well, the user can easily change the lamp mode quickly.
Security function prevents unauthorized use or theft
By using passwords, the projector cannot be used by unauthorized persons. Once the Security function is in effect, a message requesting the password is displayed when the power of the main unit is turned on. It is impossible to project an image unless the proper password is entered.
Streamlined body in a new pearl-white finish
The sleek, rounded design and pearl-white finish compliments any environment and decor.
Terminal Panel.
Model Name
DMD Panel
1chip DMD reflection type, 0.7 inch 1,024 x 768 pixels, Aspect Ratio 4 : 3
Manual Zoom (Renge 1 to 1.2) (f=25.7mm to 30.8mm)
Auto Focus (effective range: 1.4m to 5.5m*2)/Power focus
Normal Mode
Lamp Eco Mode
Lamp Life
Normal Mode
Eco Mode
Power Consumption
Normal Mode
Eco Mode
Standby Mode
Input Current
3.1A to 1.4A (100 to 240V AC)
2.8A to 1.3A (100 to 240V AC)
Light Output
Normal Mode
3,000 ANSI lumens
2,600 ANSI lumens
2,200 ANSI lumens
Lamp Eco Mode
2,300 ANSI lumens
2,200 ANSI lumens
1,900 ANSI lumens
Contrast Ratio (White/Black)
1,600 : 1
1,500 : 1
Normal Mode
Eco Mode
Image Size
30 inch to 300 inch diagonal
Projection Distance
1.1m to 13.3m
Projection Angle
10°to 12°
Maximum Resolution
SXGA+ (1,400 x 1,050) With scaling technology
Synchronization Range
15kHz to 100kHz (RGB:24kHz or over)
50Hz to 85Hz
Video Bandwidth
RGB: 100MHz
Input Terminals
1 Computer Input
D-Sub Mini 15pin
H/V Sync
4.0Vp-p/TTL Polarity
Composite Sync
4.0Vp-p/TTL Level
Sync on G
0.3Vp-p/75Ω Negative Polarity
Stereo Mini Jack
Stereo L/R
0.5Vrms/22kΩ or over
1 Component Input
(Sharing With Computer)
D-Sub Mini 15pin
(Sharing With
Computer Input)
1.0Vp-p/75Ω (With Sync)
Cb · Cr ( Pb · Pr)
Compatible signals
1125i(1080i), 750p(720p), 525p(480p), 525i(480i)/60Hz
1125i(1080i), 625p(576p), 625i(576i)/50Hz, Progressive PAL-scan/50Hz
DVD Component Video Signal (15kHz)
Audio Input is Sharing With Computer
Same With Computer
1 Video Input
RCA pin
Composite Video
Audio Input is Sharing With Computer
Same With Computer
1 S-Video Input
Mini DIN-4pin
Audio Input is Sharing With Computer
Same With Computer
Control terminals
PC Control
Mini DIN-8pin
Built-In Speaker
1W Monaural
Keystone Correction Vertical
Automatic/Manual max±16°
Operational Temperatures
5°C to 40°C, 20 to 80% Humidity (Non-Condensing)
(Eco mode selected automatically at 35°C to 40°C)
Storage Temperatures
-10°C to 50°C, 20 to 80% Humidity (Non-Condensing)
Power Requirement
100 to 240V AC, 50Hz/60Hz
For United States
UL Approved (UL 60950-1), Meets FCC Class B Requirements
For Canada
UL Approved (CSA 60950-1), Meets DOC Canada Class B Requirements
For Australia/New Zealand
Meets AS/NZS CISPR.22 Class B
For Europe
Meets EMC Directive (EN55022, EN55024, EN61000-3-2, EN61000-3-3),
Meets Low Voltage Directive (EN60950-1, TUV GS Approved)
Net Weight
Dimensions (WxHxD)
260mm x 89mm x 208.5mm (Not Including Protrusions)
*1 :
DMD Panel technology consists of fine picture cells with more than 99.99% of the cells being active.
*2 :
Sizes of the projected images shall be 32 inches when the throwing distance is 1.4m, while it shall be 149 inches when the throwing distance is 5.5m. When the throwing distance is beyond 5.5m, it means that the focus sensor will not work correctly and that you need to use the FOCUS button to adjust the focus manually. In some cases, the Auto Focus may not work correctly or the Auto Focus range can be made narrower, depending on the environmental conditions.
*3 :
Lamp life is defined as the average time span for the brightness of the lamp to be reduced by half, it dose not refer to the warranty period for the lamp.
All specifications are subject to change without notice.
Soft Case (basic accessory)
Replacement lamp LT35LP (For LT35)
LT30LP (For LT30/25)
Model codes, specifications and available options may differ by region.
For detailed information, please contact the NEC sales company or dealer in your area.
XGA is a registered trademark of International Business Machines Corporation. All other brand and product names are registered trademarks of their respective holders.
Further trademark information.


text:
Request a Workshop
Bring Mihaylo Career Services to You!
Mihaylo Career Services will gladly partner with you for presentations, workshops, meetings, etc. We offer a variety of topics, including resume and cover letter writing, interviewing, job search strategies, networking, and overviews of Career Services. We are happy to come into YOUR classroom or meeting room and bring career services to you!
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subset: commoncrawl


text:
Colin Dyer: Five Themes for Thursday6 Comments
Good evening from Davos, where I've just returned to my hotel after a 30-minute walk – in minus 14 degrees Celsius (7 degrees F) weather – following a Japan event I attended with Kasai-san. (More on that later.) It was good to get back to the hotel.
I have five thoughts for you tonight.
The first is a general observation. There is a strong sense here in Davos that major changes in the way companies operate and organize themselves are on the way, and that they are being driven almost entirely by the changing landscape around technology, data and information. (Christian and Sheila have both referred to this in their blogs.)
Second, this is good news for us at JLL and LaSalle. The drive to incorporate technological and data revolutions into business practices is one that we recognized several years ago. We've been spending significant time, money and resources to build it into our business. The sense I take away from the presentations I've attended here is that technology will make strong, established businesses even stronger. If we embrace the change and use it to enhance the way we operate, we'll get stronger.
This means that the worst thing we can do is deny that technology is driving change and new ways to do business, and miss the chance to improve our approach to markets and customers. But we're ahead of the curve on this, and I'll spend more of my time in this important strategic area in the future.
Theme three: All the short-term worries which people are worrying about and the media is writing about are 'noise'. I mentioned some in my first post: the Chinese economy, growth rates in the developed world, U.S. elections, stock market volatility, interest rate uncertainty, technology- and digitization-related employment challenges, and on and on.
In Davos this week, the most significant worry is about China, as people try to understand what is happening in that market. Given our presence in China, I think we, as a company, have a very good handle on what is going on: growth in the consumer sector and decline in the manufacturing sector. Both are actually benefiting our business, since the change is happening in the major cities where we are leaders, and where the consumer and service sectors are growing.
I found my fourth theme at a lunch today with 60 CEOs: no politicians, no journalists, no famous actors, no government people. The message was that, although short term volatility can certainly be worrisome, their businesses are fundamentally trading very well today. So the CEOS of these 60 major global companies are not changing their plans for continued investment in the growth of their organizations. At this point, short-term issues are not sufficiently impactful to change their, or our, approach for the medium- and long-term.
That theme was made even clearer in a session which Christian and I attended today about the importance of thinking for the longer term. Real estate, or any business sector, can be impacted by short-term activities. But the important thing is to keep our eyes, plans and investments focused on the medium term and longer: three to five years and more.
Nothing out there today is going to impact the continued steady growth of our markets in 2016. We'll certainly be watching the volatility and other issues affecting the business world, but we'll continue to invest confidently for growth in 2016.
Theme five revolves around the JLL brand and reputation. I've spent most of the past two days meeting with clients and potential clients. They've ranged from Bank of America, to Generali (a European capital markets client I visited with Christian), to HSBC, as well as a number of Indian clients Anuj and I met with. What I saw and heard is that they have a very positive view of JLL and LaSalle. Our reputation is solid and strong, not only for the work we do for our clients, but also for our image in the marketplace.
Stepping back, in the ten years I've been coming to Davos, JLL's name recognition and reputation have risen dramatically, not just among clients, but among non-clients, too, both investors and corporates.
Coming back to the Japan event I attended with Kasai-san this evening, in a very short period we met 20 CEOs or Chairmen of major Japanese corporations. To my surprise, they, or the people with them, all recognized the JLL name. I've seen that across multiple businesses and multiple clients and potential clients over the last two days. It's a testimony to the work that you all do to make our brand and reputation keep rising on the global stage.
To close, in a week where the stock market volatility has aggravated concerns for the short term, it was good to have one day, today, when markets rose globally, including our own shares. More to the point, nothing I've seen in Davos changes my view that our image and reputation continue to rise as well, and that the markets continue to offer us good opportunities for continued growth and success.


text:
Have I said recently that I'm exhausted? The classwork is non-stop this semester which explains my unfortunate lack of posting. It's a lot at once or like none, I just need to remember when it's none to stay on top of it. But at the same time, when it there isn't any homework to do there's a million other things to do. Basically I'm very tired a lot of the time.
Let's also talk about anxiety for a moment. I hate it. I hate when I'm fine for so long, then like it hits me like a ton of bricks. I just feel like right now there's expectations of me from everyone and I'm afraid to disappoint people and then I have my own stuff to do and it leads to a mind overload. I also feel like it's too early in the semester for this. I don't know, hopefully it doesn't stick around because I am too tired for this.
On a side note, I'm starting another blog for class, so I'll be sharing that here too. Once something is up, I'll share the link. It's a crafting blog and once the class is over, hopefully I'll be in the habit so I'll be able to do some more of those on this blog. However, I have to do 14 posts for that class, so there's a chance that there will be less posts on here. I'm basically MIA anyway so maybe it won't even matter.
I also have a little bit of a rant for this LNBM, Netflix on my iPad has not been working. It logs me out all the time, once an episode finishes I have to kill the app and sometimes login again just to get it to work. How am I supposed to hate Nurse Jackie if I can't even watch the show?!
Speaking of Nurse Jackie, what a weird show. I've never hated the main character of a TV show so much. When I watched Gossip Girl, I disliked the main characters in a rotating fashion, every four episodes I didn't like a new person, however, it wasn't consistent dislike of anyone. Nurse Jackie, on the other hand, I can count on one hand the number of times I've actually liked her character. I don't know if that's how it's supposed to be or if that's just me. I really liked Zoey at first, but then all the sudden she's a mini-Jackie. I just don't know. Anyone else have an opinion?
What are your late night thoughts? Mine are: going to bed before my mind literally explodes.


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This was a really difficult word. Several tweeters expressed their distress, none more succinctly than @SJHatzi:
RT @SJHatzi Vaccimulgence? Hard to milk this one.
Another of the wittier cries of despair came from @Wifsie:
RT @Wifsie I'd rather watch the trains go by than use this silly vaccimulgence word! (vache qui regarde passer les trains, in French) #artwiculate
The fact that the WOTD coincided with April Fool's Day was also noted in more than one tweet – though I'm only going to share one example here:
RT @Tralala56 Holy vaccimulgence Batman, the Joker is planning to drown Gotham City in milk. I got it, Robin, it's April Fool's, pull the udder one!
On the other hand (as ever) some people were delighted and rose to the challenge:
RT @DaveCurry Vaccimulgence? Udderly delightful!
And, possibly responding to @SJHatzi,
RT @californiakara Vaccimulgence? Well I'm going to milk that word for all it's worth!
Here are a few more puns and plays on idiom
RT @DrJillZ @artwiculate How do you do vaccimulgence? Show me the whey.
RT @tWordBird Vaccimulgence? This sucks. I'm udderly depleted. Let me nipple on it a while. Perhaps I'll think of something to teat.
RT @BurningHawk1969 Do not lacrimate over accidentally decanted vaccimulgence. #artwiculate
RT @bwlightning You can tweet vaccimulgence 'til the cows come home, but me, I'm going to get a cookie. #artwiculate
RT @navinsasikumar Vaccimulgence : Word of the dairy
I didn't find many poems to fancy with this word, but I do want to share two – I think I can call them free verse poems:
RT @dmriver After school innocent jersey eyes, far paddock makes no sense. Liking your small boy green grass walk, yarded for morning vaccimulgence.
RT @kado56 Morning head on soft heaving flank, rustle, thud of straw shod hoof, grind of cud, singing jet, fingers milk warm, sticky vaccimulgence.
Two pieces with feeling and sentiment. But before we all get misty eyed :
RT @Anamuk Trying to write an edward jenner clerihew, but vaccimulgence just won't do
I applaud the attempt @Anamuk! I also enjoyed this next:
RT @baccatum Vaccimulgence: Draining Miss Daisy.
Faced with a WOTD that leaves me going "Wha'?" I sometimes turn to anagrams, not, I fear with nearly same success as @DrMobs today:
RT @DrMobs Vaccimulgence ailing? Evangelic calcium gin! #anagrampoetry
I was wondering what dire incident of death would occur involving this word in Texas, and @marcosarroyos did not disappoint:
RT @marcosarroyos While Wilbur walked to the barn for vaccimulgence, he heard a whoosh sound. A meteorite struck him in the head killing him on the spot.
Inevitably, I suppose, there were a whole crop of tweets involving male sexual stimulation (human and animal). This was far and away the best:
RT @StarOfSavannah In a drunken stupor, Bucolic Buck the Alcoholic attempted vaccimulgence… on a bull. He was promptly gored to death.
Now I'm going to RT just one tweet from @MinDavidWilson but I want to applaude his efforts to create a story in tweets woven around todays word. A braver man than I!
RT @MinDavidWilson "Hey Squirt, just called to tell you that you've been hired as our new director of vaccimulgence." #artwiculate
To wind up, three tweets I can't catagorise but that I enjoyed even so:
RT @JonPowles Jack found being staff photographer on "Cow and Vaccimulgence Monthly" tiresome. But he got the odd money shot.
RT @routermonkey Bob tried to build on the success of his U-Pick Berry Farm with a U-Squeeze Vaccimulgence Farm, but it never caught on.
RT @soarski In the autobovinography Diary Of A Mad Cow there was too much vaccimulgence and too little bull in the chapter The Dairy Years. #artwiculate
There you have it, TheSupercargo's RT roundup for the day. And remember, it's a new month, so new opportunities to win a coveted place in the month's top 5! Go for it, Artwiculati!
Artwiculate is a game played on Twitter. Visit http://artwiculate.com for more information. (And, for addicts, don't forget the Salon Artwois at http://www.salonartwois.com/ )
Revisited and revised for polish, spelling and SEO fine-tuning and addition of new featured image, 21 March 2017.


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text:
Caulfield South Primary School
Welcome to Caulfield South Primary School where 'Children come first'. Caulfield South has a proud history of providing education for the local community for more than 80 years. Our school is a place of structured inquiry, learning and purpose, with a caring ethos developed in a safe, happy and supportive environment. We encourage you to explore our website to find out more about our wonderful school.
Latest News & Notices
Library Pics
Fit For Kids
CSPS.Tennis.T319read more
Soccerwise Registration
Caulfield South (SOCCERWISE) - Registration form (Term 2, 2019)read more


text:
"E-vehicles need to be promoted in order to cut down the huge crude oil bill, reduce pollution and create cost effectiveness in transportation," Gadkari said at the launch of India's first multi-modal electric vehicle project at the airport complex here, according to a Road Transport and Highways Ministry release.
"To begin with, the emphasis would be on commercial vehicles and then on others," he said, adding that the project is in line with the central government's vision to make India a 100 percent e-vehicle nation.
In addition, Gadkari said that growing demand, coupled with R&D would help to bring down the operational and battery cost.
"Once the cost of batteries comes down, e-vehicles will compete with diesel and petrol vehicles and finally phase them out," he said.
Maharashtra Chief Minister Devendra Fadnavis was also present to launch the project which enables passengers to book e-buses, e-cabs, e-rickshaws, and e-autos using mobile application Ola.


text:
Military Wife who has always dreamed of being an actress needed!
VH-1, in association with Lionsgate (the studio behind such horror blockbusters as SAW and HOSTEL) is NOW CASTING beautiful, confident, tenacious, uninhibited actresses who are ready for stardom and will stop at nothing to get it.
Ten lucky women will be chosen to compete in the second season of VH1's SCREAM QUEENS. One will win a breakout role in a theatrically-released Lionsgate horror film. Last year's winner, Tanedra Howard, recently filmed a star-making turn in SAW VI, which hits big screens this fall. Will you be next?
Whether you are an experienced pro, or new to Hollywood, classically trained or a born performer, this could be your shot at greatness. If you are 21 or older, and appear to be between the ages of 21 and 30, have a competitive spirit, and are willing to put your talent, and your bigger than life personality on the line for a once-in-a-lifetime opportunity, then you could be crowned Hollywood's next Scream Queen.
From a VH1 New Release


text:
"Banned forever" in Czechoslovakia, The Party and The Guests (O Slavnosti a Hostech, sometimes A Report on The Party and The Guests) is the second feature film from New Wave Praguian Jan Němec. A provocative attack on the pitfalls of the communist state, it's an absurd take on the Mad Hatter's tea party, and we're all invited. But, for Novotný's sake, don't be late.
More chatty than his dour, war critique debut Diamonds of the Night, Němec and his co-writer/wife Ester Krumbachová are still unafraid to produce a film of intent. Three couples head out to the woods for a sunny weekend picnic and find themselves accosted by a group of eccentric, extravagantly dressed men. Led by the frisky, almost Puck-like Rudolf (Jan Klusák), the couples are forced to act out bizarre trials for his sadistic amusement, until they are reprimanded by the real leader of the group, who invites the tortured couples to a paganistic banquet in the woods.
While that dirty word 'communism' never crosses any of the character's lips, Němec's film is a scathing allegory on oppression and rivalling the autonomous regime. As a predecessor to Luis Buñuel's The Discreet Charm of the Bourgeoisie, the daring Czech filmmaker toys with notions of melodrama and theatrics, going from one delectably silly scene to the next, dealing with the weighty undertones as a frivolous comedy of manners.
Although some of the satirical content may not have the same degree of poignancy it did back in 1966, The Party and The Guests retains enough of it's original bite to keep contemporary audiences amused.
IMDb it
PS – A lovely bit of contextual criticism on the film here from Slovak Cinema theorist Peter Hames.


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Fay Weldon's Habits of the House series
T.J. Brown's Summerset Abbey trilogy
Phillip Rock's Greville Family SagaThe craze for all things Downton has led to the re-release of an older trilogy that was a classic of the multi-generational family saga. A cautionary note: this is also a "classic" historical novel which, since it deals with the years from World War I through World War II, contains a lot of what one Amazon reader disparagingly called "boring war stuff." If you like your Downton minus battles scenes and military history, these books might not be for you. But if you love family drama AND a rich historical context, Phillip Rock's series might be just your cup of Edwardian-to-WWII tea.
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215 Half Moon, Horseshoe Bay, TX 78657 US Horseshoe Bay, Kingsland, Sunrise Beach Home
215 Half Moon, Horseshoe Bay, Texas
Home with Amazing Views
Property Details
Listing Information
- Bedrooms: 3
- Baths: 3
- Partial Baths: 1
- Lot Size: 0.55
- Style: Custom
- Garage: 2 Car
- Heat Source: Electric
- Schools: Llano
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Gaze out over Lake LBJ, the Lighthouse, Horseshoe Bay Resort & Packsaddle Mountain; there are fabulous views from almost every room in the house. Custom-built home has been designed & upgraded with attention to detail. The native rock & rough cedar exterior blend perfectly with the Hill Country Landscape. Entire house has fresh paint & interior has custom hand texture. All new faucets/hardware. Majority of light fixtures are also new. One bath has a vanity built out of an antique desk. The open living space features abundant floor to ceiling windows, recessed lighting, sunken living room with polished tile fireplace and generously sized dining room with wet bar. A chic Zen garden is tucked under the stairs. Sunny kitchen features silestone counters, stainless appliances, custom cabinets, breakfast nook & access to a small balcony which is an ideal spot for a cook's herb garden. The convection stove, microwave, trash compactor and dishwasher are all new. A master suite is found on both the first and second floors. The upstairs master offers the opportunity to open your eyes and drink in a first-class view of Lake LBJ each morning. Double car garage is fully insulated and has storage closet, shelves and work bench. Storage room under house. This home is perfect for the nature enthusiast. Enclosed garden is tranquil touch. Second lot that comes with purchase protects the precious view of the lake and also provides a little space for the wildlife, which you can watch from the deck or inside the home.
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It is time to realize your life is not just a hurry up and get through it as fast as you can experience. You will always be in a hurry and when your life is over you will wonder what you did with it. The whole idea of peace starts in the mind. It begins with the seed thought as if we were planting a seed that would eventually grow into a flower. We must begin somewhere. It does not matter when you begin as much as it matters that you do begin.
When this small, tiny seed of wanting to find a peaceful solution to a problem starts to grow, it actually nurtures the mind as you would when you plant a seed and then give it water. As you start to think about peace you might find yourself becoming angry instead of peaceful. Before we can become peaceful we need to deal with what it is that is preventing us.
The process of dealing with what is not peaceful within us is not as simple to deal with as it is to talk or read about. We are emotional before we are thoughtful, at least most of us are. Our emotions bring us conflict and this is not a peaceful state.
Peace begins with you is the concept that before we can decide there should be peace in the world, the peace starts with us. Even in the most painful life circumstances, the same peace begins with us. We might reject this idea completely as not being possible. Sooner or later though we find we are in so much turmoil inside of us that we long for peace. When this time comes that is when you are ready to begin contemplating about your internal disposition, and it is time to learn how to meditate.
Related Post
How to Meditate


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Going live with my redesigned site, tested it find on my local server xxamp, but now I'm getting an error on the live site.
Fatal error: Call to undefined function virtual() in /home/curt2207/public_html/wdcga.org/tournaments/keefer.php on line 19
when accessing:
That line is:
<?php virtual('/includes/header.shtml'); ?>
That file is live on my site. It's used on every other page, but this is a .php page not a .html page. But again, worked on my local server.
TIA for any help you can give.


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text:
Theatre of Passion: Othello and The Two Noble Kinsmen
Impossible Passions – Shakespeare and Parker: Othello[1]
by Sylvia Mieszkowski
According to the Oxford English Dictionary, The Tragedy of Othello, the Moor of Venice[2] may itself be called "a passion"[3], since it is definitely "a literary composition marked by strong emotion". "Suffering", "affection", and "affliction", given as synonyms for "passion" by the OED, are, moreover, being produced and displayed by most of the play's characters. "Painful disorder" is being staged in its social dimension – both political and domestic – as well as on the level of subjective identity – that is in its physical and its psychological components. Othello's jealousy, the predominant, yet far from only passion of the drama, is, as "an emotion" or "a mental state", well described as "a violent attack of disease" or, indeed, dis-ease. Moreover, Othello is certainly "affected or acted upon [by] the external agency" of Iago, whose manipulation causes first "a fit or outburst of anger or rage", then the eruption of "strong, barely controllable emotion" and finally brings about the smothering of Desdemona as the prototypical "crime of passion".
The racist discourse[4] of the Early Modern Period seems to pre-determine the black man as passion's typical prey, since his blackness[5], heavily charged with prejudice, was commonly associated with sensuality, irrationality and violence.[6] Following this logic, Othello – until far into the twentieth century[7] – appears as the man on stage/screen who is, qua race, most likely to be "eaten up with passion"[8]. Yet, within the religious discourse of the time, the so-called 'passions of the mind' were also considered "expressions of [...] the imperfection in man's nature that both caused the Fall and constituted his state forever after it"[9] and thus understood as a universal characteristic or integral part of the human condition. Elizabethan notions of 'blackness' and of 'passion', it seems, are not only partly projected into one another, but also organised within themselves by a similar structure, namely a minority/totality-division: While the racist discourse stresses the difference of the 'primitive', inferior and wicked minority who is 'black'/thought especially prone to giving in to their passions, Christian eschatology emphasises that all human beings are "black in their sinfulness, but become white in their knowledge of the Lord [...]"[10]/marked by their passions, but may hope to control them through the right faith.
Traces of both of these discursive traditions, the minorising and the universalising, can be found in Shakespeare's text. Thus, it is not only Othello whose state and conduct may be described by the vocabulary of passion. Roderigo for example has a passion in the sense of "a strong sexual feeling" for Desdemona. She, as the "person who is the object of such feeling", thereby is his passion, while she at the same time also freely voices her own passion for Othello. Although displaying less verbal passion in "emotional speech" than the tragic hero, the character pursuing his "aim or object with strong enthusiasm", the one who performs not only masterly, but also most passionately on the keyboard of patriarchal ideology, however, is yet another white man. My paper shall thus concentrate on the representation of seemingly dispassionate Iago's passion.
In a first step, I would like to demonstrate that the world opened up by Shakespeare's text and Oliver Parker's visualisation[11] of it is a paradigmatic 'world between men'. Borrowing my vocabulary from queer studies theorist Eve Kosofsky Sedgwick, I would like to show that the concept she names 'homosocial continuum' determines how a patriarchal society deals out positions to every major character in the play. My second step will be to show how relationships of male friendship, mentorship, military entitlement, and rivalry are being triangulated by Shakespeare's text and Parker's film. Thirdly, I would like to focus on one of the several triangles defined by the relationship of male-male rivalry and show how Iago manages to manipulate it by smuggling himself into an already established structure. In conclusion to my argument, I shall attempt to demonstrate that Iago's success as well as his final failure are both being determined by the unspoken rules of patriarchal society. While the passionate wish for Cassio's position in relation to Othello is still compatible with the ideological structures of patriarchy, Iago's desire for Desdemona's position disrupts them in a way that must result in failure, death, and self-destruction.
In her influential book Between Men Eve Sedgwick demonstrates, by way of literary analysis, the circulation of an affective energy which she terms 'male homosocial desire'. By creating this seemingly oxymoronic neologism she tries to suggest that – contrary to an ideology promoted to stabilize patriarchy – there is no fixed boundary between the accepted "social bonds between persons of the same sex"[12] and the repressed, denied and condemned erotic or sexual relations between men. Patriarchy's ideology or – to borrow Andreas Mahler's term – its "meaning with an interest"[13] insists on the categorical as well as essential differentiation of non-sexualised homosocial bonds on one hand and homosexual bonds on the other. In contrast to this, Sedgwick stresses "the potential unbrokenness of a continuum"[14]. According to her, the boundary between "men promoting the interests of men" and "men loving men"[15] is fluent. It is exactly this scandalous proximity between the two that brings about patriarchy's command that affective relations between men may not be expressed directly, since – if it were otherwise – this could threaten the stability of the prescribed categorical difference. Instead, Sedgwick argues by turning the screw of René Girard's theory of triangulation, these affective – or even passionate – relations have to take an indirect route. In other words, they have to take a detour and express themselves through heterosexual relationships. Paradigmatic for this movement is the structure of male erotic rivalry: The homosocial desire between male X and male Y that may not be directly expressed is re-directed towards the common-to-both object of erotic desire, female Z. Ironically, this has the effect of an indirect sexualisation of the homosocial relationship, since "the bond that links the two rivals is as intense and potent as the bond that links either of the rivals to the beloved"[16].
The main forms of male homosocial bonding named by Sedgwick, all feature in Shakespeare's Othello. Indeed, they might be called the key structures of passion in the play. 'Male friendship' might seem an exception to this since it does not exist in Othello beyond its idea or ideal. It is, however, decidedly present, although it remains but a gap, or a promise that is never fulfilled by the text. There is a double reason why 'male friendship' is not able to fully materialise in Othello: Either there is no social equality between the potential partners – as in the relationship between Cassio and his general – with the consequence that in times of crisis, friendship has to give way before other social obligations, as is the case when Othello has to degrade Cassio for the sake of military order. Or, when there is no disturbing hierarchy – as in the relationship between Cassio and Iago – the friendship displayed is dishonest from at least one side. Despite its virtuality, the concept of 'male friendship' features prominently in Othello. Without it, none of Iago's manipulations could ever work. Always hinted at, often attributed, evoked or promised, 'male friendship' might never be attained, but it certainly functions throughout as a site of collective phantasma, and thus enables the plot – in its double meaning – to unfold.
'Mentorship', the second of Sedgwick's categories, could be given as a label to two male-male relationships in the play. While Brabantio's mentoring position towards Othello is only hinted at by Shakespeare's text in Othello's story of his wooing, Parker's film actually stages a flash-back scene that shows Brabantio who – just as much as his daughter – "with a greedy ear/devour[s] up [Othello's] discourse"[17]. Before Desdemona herself seems to be interested in Othello, her father is shown to be. One could argue that she can only cultivate an (erotic) interest in the "internalized outsider [who] becomes the symbol of the repressed desire of Venetian society"[18], because her father keeps inviting him, shows continued interest in his biography and 'loves'[19] him. The other, more prominent relationship between a mentor and a protegé is the one between Othello and Cassio. This is, of course, also a relationship of entitlement – Sedgwick's third category of 'male homosocial bonding' – since Othello, who himself has been made general, i.e. entitled, by the Serenissima, in his turn makes Cassio his lieutenant.
The fourth type of male bonding, 'rivalry', again comes in a double version. Othello and Roderigo, on the one hand, used to be rivals for Desdemona's hand before the play's point of attack. Although neither would have been acceptable to Brabantio, Othello triumphs over the rejected Roderigo by winning Desdemona'a heart. Iago and Cassio, on the other hand, are competing for Othello's favour and trust which are signified by the lieutenantry that is first given to one and then to the other.
I would now like to discuss some examples of triangulation based on these forms of male bonding. Three of them are, in accordance with Sedgwick's model, indeed triangulated over the 'female' position: 'Mentorship triangulated' can be illustrated between Cassio, Othello and Desdemona. The positions in this triangle may be rotated, so this particular structure comes in three variations in the play, placing either Cassio, or Othello, or Desdemona in the top vertex. Variation one, in which Cassio acting as messenger between Othello and his bride, as confidant to both and 'good spirit' of their love, again takes place before the play's point of attack.[20] The trust Othello puts in Cassio concerning these private matters is repaid by the Florentine's loyalty, and thus Othello wins the wife he, without the assistance of a third, might not have been able to gain.
From the moment of Cassio's degradation – the moment in which Othello's mentorship is suspended – variation two of this triangle becomes visible: Desdemona, now taking Cassio's former post as go-between, tries – with less success than her predecessor in this position – to reconcile Othello to his disgraced protégé.
Variation three is beautifully displayed by Parker's film in a sequence at the beginning, which I shall from now on refer to as 'the wedding-scene'. It is the moment when the very first words in the film – which are also the opening lines of Shakespeare's text – are being exchanged between Iago and Roderigo. The two are placed outside the chapel's window, watching the ceremony.[21] As the camera zooms in on Othello in front of the altar, the priest has just declared him Desdemona's husband. He is standing between Desdemona on his left, and Cassio, apparently his best man, on his right. Having put the wedding ring on his bride's finger he kisses her and thereby accepts her as his lawful wife. Then he turns to Cassio to hand him a dagger – sign of his future rank under Othello's command – and they embrace in joy and mutual congratulation. Thus, Parker's film visually parallelises two bonds – one heterosexual and the other homosocial – interconnecting them temporally. The erotic bond between husband and wife (the ring symbolises the union, the kiss is a sign of its bodily investment) and the military bond between general and lieutenant (the dagger symbolises the loyalty, the embrace lays open its corporeal dimension in battle) are staged at the same time. This moment visually exhibits both Desdemona and Cassio as objects of Othello's desire, or, the other way round, Othello as object of both of their desires, and is marked as particularly significant by the simultaneous entry of the spoken Shakespearean text.
The second triangle I would like to comment on, structurally represents Othello's social 'entitlement' and is characterised by its implicit hierarchy. Within Venetian society, black Othello, the foreigner, the mercenary, is initially socially inferior to the white noblewoman and senator's daughter Desdemona. Both of them are, in their turn, subjects to the State of Venice, and thus 'subjected' to the Duke as its representative. Since he is the incarnation of the Law of the Father's absolute sovereignty within the symbolic order of patriarchy, the Duke's sentence even outweighs the word of the actual father figure, Brabantio. By officially accepting the union Brabantio had attempted to contest, the State entitles Othello to a higher social status, since patriarchy grants and guarantees the husband's superiority over his wife.
'Rivalry', the fourth of Sedgwick's categories which has already been briefly commented on, materialises in two triangles. The first one, a classical example of heterosexual erotic rivalry, represents Roderigo in competition with Othello for Desdemona's hand[22] and – that is at least what Iago makes Roderigo believe – for her sexual possession during the play. The second one links Iago and Cassio over the shared rivalry for Othello's favour. It differs from the other triangulations discussed up to this point, since all three corners are occupied by men. Whether either of the positions attributed to him – one as heterosexual rival, one as homosocial object of desire – are clear to Othello, is of little consequence. What becomes clear, however, is that through his intrigue, Iago manages to interlock the two: the triangles characterised by the positions of R-O-D (erotic rivalry) and of I-C-O (military rivalry) are combined to form the new triangle I-D-O, which reveals, I would like to argue, Iago's secret, yet passionate desire.
Iago uses Roderigo's wish to substitute Othello as Desdemona's lover in order to bring about and stabilize his own double substitution of Cassio as Othello's lieutenant and confidant.[23] But not only does he successfully substitute Cassio's position in relation to Othello, he also, in a second step, rivals Desdemona's. The drama and the film offer various moments to support this thesis, since Iago and Desdemona are shown to have a few crucial points in common. To begin with, they both act as mediators: when the inebriated Cassio loses his self-control and, in consequence, his lieutenantry and his reputation, Desdemona acts as mediator between him and Othello. In correspondence to this, Iago acts as mediator between her and her husband – just as, by the way, Cassio used to do during the wooing – when Desdemona loses Othello's trust and esteem. The fact that Iago's mediation in a crisis he has himself deliberately brought about is false, is of no consequence for the structural parallel. Secondly, Iago manœuvers himself into the position of an erotic stand-in for Desdemona in Othello's fantasy, when he makes up the story of Cassio's taking him for Desdemona in his sleep:
Iago: [...] I lay with Cassio lately
And being troubled by a raging tooth
I could not sleep. There are a kind of men
So loose of soul that in their sleeps will
mutter their affairs – one of this kind is Cassio.
In sleep I heard him say 'Sweet Desdemona,
Let us be wary, let us hide our loves.'
And then sir, would he grip and wring my hand,
Cry, 'O sweet creature!' and then kiss me hard
As if he plucked up kisses by the roots
That grew upon my lips, lay his leg o'er my thigh,
And sigh, and kiss, and then cry 'Cursed fate
That gave thee to the Moor!'[24]
Rather than enjoying Desdemona, as David Pollard argues with regard to this scene, Iago here enjoys Desdemona's position. Rather than only producing "a curious mixture of projection and identification with Cassio"[25], as diagnosed by Pollard, Iago manages to impersonate both objects of Othello's desire and aims at simultaneously occupying both of their positions. This, if only in fantasy, is the first time that the triangular structure of desire (C-O-D) collapses and gives way to the 'scandal' of an imagined dyad of Othello and Iago, who has incorporated both Cassio and Desdemona.
The third moment of identification between Iago and Desdemona lies in their both being silenced. In the film, Othello tries to stop Iago's poisonous discourse by drowning him. In the end, of course, he smothers Desdemona with a pillow, while Iago, moreover, ultimately silences himself in an act of imaginary self-suffocation:
Iago: Demand me nothing. What you know, you know.
From this time forth I never will speak word.[26]
The most successful and significant substitution of Desdemona by Iago, or in other words, the climax of identification between the two lies in the fact that both are 'married' to Othello. Parker's filmic staging[27] supports the interpretation of Act 3, Scene 3 as 'the other wedding-scene' in which Iago returns Othello's earlier 'oath':
Iago: I humbly do beseech you of your pardon
For too much loving you.
Othello: I am bound to thee for ever. [28]
Othello kneels
Iago kneels
Iago: [...] Witness, you ever-burning lights above,
You elements that clip us round about,
Witness that here Iago doth give up
The execution of his wit, hands, heart,
To wronged Othello's service. Let him command
And to obey shall be in me remorse
What bloody business ever.
Othello: I greet thy love [...]
Now art thou my lieutenant
Iago: I am your own for ever.[29]
Iago's substitution of Cassio is made explicit: "Now art though my lieutenant." In contrast, his substitution of Desdemona is implicit. In the film, Iago's double triumph – of supplanting both Cassio and Desdemona – is visualised by turning the dyad of Othello and Iago, from the mere imagination into an actual image: While the two men, alone on the citadel's rooftop, exchange these words – pledges of love and loyalty "for ever" – they both, following Shakespeare's stage direction, kneel. In addition to this, Parker has them both cut and, at the very moment of Othello's "I greet thy love", press their bleeding palms against each other to mingle their blood, and embrace. The parallels to the wedding ceremony are obvious: the extreme emotional involvement, the swearing of oaths until death, the embrace – which has already been introduced as the male-male version of the male-female kiss in the first wedding-scene –, this symbolic exchange of body fluids, which not only has clearly erotic, but, especially in times of AIDS, also undeniably homosexual overtones, and the signature of authenticity. While the camera shows Laurence Fishburne's back, the viewer can see Kenneth Branagh's face during the embrace. For once, his Iago does not coolly meet the viewers look in the visual equivalent to the verbal 'aside' on stage, but – having attempted this routine for a split-second and abandoned it – his eyes close and his face passionately distorts into a mix of agony and pleasure of absolute intimacy.
In this scene, Parker's Iago has finally arrived where he longed to be from the first moment we see him watching the first wedding scene: in Othello's arms. But not only does he, for a moment, supplant Cassio as well as Desdemona, he also manages to collapse the triangular structure which is imposed by patriarchal ideology in order to prevent the boundary between homosociality and homosexuality from dissolving. In contrast to the wedding scene, there is no third party present in this 'other wedding scene'. The dyadic fantasy is coming true for a moment, Iago has truly become a 'lieu-tenant', not only in the usual[30], but in the literal meaning of the word: he is keeping/holding/occupying the place (of Cassio and Desdemona) – the satisfaction of his passion seems possible. His failing effort to get Cassio killed by Roderigo and his successful attempt to erase Desdemona through Othello might be read as ultimately futile exertions to stabilise this position.
Just as we are unable to pinpoint 'the one' reason or motivating passion that would explain Iago's behaviour, we are also unable to limit him to one passion or position. Iago plays all the roles offered to him by the spectrum of homosociality: the man who (seemingly) promotes the interest of other men, the male friend, the protegé, the mentor, the rival. And it is precisely by playing these roles that he is able to manipulate the other figures caught in the same structure. But apart from playing these 'acceptable' roles, he also tries to assume the one position of the continuum that patriarchal ideology has to deny him. Parker's last image of Iago shows him trying again, but failing to occupy Desdemona's position permanently, that is in death and – this time – in bed.[31] I am referring here to one of the last images of the film: the marital bed as a veritable tableau mort. Othello, having wounded Iago and then stabbed himself – with the dagger he gave to Cassio in the wedding scene and received back from him in order to be able to commit suicide – lies and dies next to Desdemona. Emilia has already been lain at her other side. The bleeding Iago half climbs, half crawls onto the bed as well, trying to lie next to Othello. Indeed, as Pollard puts it, "[t]hroughout the play, Iago has ached to enter Desdemona's bedroom. In the end he succeeds and there receives from Othello the phallic wound [...] which completes the identification [with Desdemona]."[32] Although I agree in two crucial points – firstly, Iago's desire to enter Desdemona's bedroom or even bed, and, secondly, the identification of Iago and Desdemona – I differ from Pollard when it comes to the conclusion. In the context of his sadomasochistic reading of Othello this ending might appear as a success for Iago. In the context of my interpretation, it is an ultimate failure to occupy the very position that patriarchal ideology does not grant a man to occupy permanently in relation to another man. Parker's tableau mort supports this, both through its colour-coding and its positioning. Iago and Desdemona are, in opposition to Othello's black garments, both clad in white, which signals their identification. But in contrast to Desdemona's spotless nightdress, which signifies her innocence, Iago's white shirt is soiled with blood that signals his guilt. The identification is exhibited as a broken one. It is as if by stabbing Iago, and thereby spilling his blood, Othello denies or undoes the bond that was sealed by the commingling of blood in the 'other wedding scene'. The boundary that had been momentarily dissolved between two male bodies, is reinstated again, by one male body wounding the other. The choreography of these bodies offers further support. Although Iago manages to haul himself onto the marital bed, and although he lies in the same axis as Desdemona, i.e. to Othello's right, he fails to actually lie by his side. This position is already occupied by Desdemona's dead body, and all that remains for Iago is to collapse onto her feet.
[1] I would like to thank Torsten Graff for his contributions in the planning phase of this paper.
[2] All quotations are taken from the 3rd edition of the Arden Shakespeare: William Shakespeare, Othello, ed. E. A. J. Honnigman (Walton-on-Thames: Arden, 1999).
[3] This and all otherwise unmarked quotations are taken from the entry for 'passion' in the OED.
[4] Cf. Virginia Mason Vaughan, "Racial discourse: black and white", in Othello. A contextual history (Cambridge: Cambridge University Press, 1994), p. 51–70.
[5] Cf. Diann L. Baecker, "Tracing the History of a Metaphor: All is Not Black and White in Othello" in: Comitatus 30 (1999), 113–129.
[6] Cf. Maristella de Panizza Lorch, "Honest Iago and the Lusty Moor: the Humanistic Drama of Honestas/ Voluptas in a Shakespearean Context", in J.R. Mulryne/Margaret Shewring eds., Theatre of the English and Italian Renaissance (New York: St. Martin's Press, 1991), p. 204–220.
[7] For an enlightening analysis of the interplay of race and Othellonian passion displayed by white and black actors on stage cf. Elise Marks, "'Othello/me': Racial Drag and the Pleasures of Boundary-Crossing with Othello" in: Comparative Drama 35.1 (2001), 101–123.
[8] Oth 3.3.394.
[9] Arthur Kirsch, The Passions of Shakespeare's Tragic Heroes (Charlottesville and London: University Press of Virginia, 1990), p. 2.
[10] Ibid., p. 54.
[11] Oliver Parker, Othello (USA 1995). When this text was being presented as a talk at the Shakespeare-Tage 2003 in Bochum three short filmclips were shown which can not be fully represented here. However, there will be precise indications of the scenes used.
[12] Eve Kosofsky Sedgwick, Between Men. English Literature and Male Homosocial Desire (New York: Columbia University Press, 21992), p. 1.
[13] Andreas Mahler, "Das ideologische Profil", in Ina Schabert ed., Shakespeare-Handbuch (Stuttgart: Alfred Kröner Verlag, 2000), p. 299–223, 299. My translation of the German original which reads: "In allgemeinster Form ist Ideologie interessierter Sinn."
[14] Sedgwick, p.1.
[15] Ibid., p. 4.
[16] Ibid., p. 21.
[17] Oth 1.3.150–151.
[18] Robert Samuels, "Homophobia and the Cycle of Prejudices in Othello", Journal for the Psychoanalysis of Culture and Society 2.1 (1997), 23–39, 29. For a psychoanalytic reading of "Othello's desire for Desdemona as a displacement of the desire between Othello and Brabantio", see p. 30f.
[19] Oth 1.3.129–134.
[20] It is explicitly mentioned however: Oth 3.3.94–100.
[21] For readers interested in looking at the film-scene: the temporal signature is 0:02:36–0:03:30.
[22] Oth 1.1.95–97.
[23] Iago's wish for Cassio's position is made explicit early on in the play: Iago: "[...] Cassio's a proper man: let me see now, / To get his place, and to plume up my will / In double knavery." Oth 1.3.391–392
[24] Oth 3.3.416–428.
[25] David Pollard, "Iago's Wound" in: Virginia Mason Vaughan/Kent Cartwright eds., Othello. New Perspectives (London and Toronto: Associated University Presses, 1991), p. 89–96, 93.
[26] Oth 5.2.300–301.
[27] For readers interested in looking at the film-scene: the temporal signature is 1:11:22–1:13:35.
[28] Oth 3.3.215–217.
[29] Oth 3.3.465–482.
[30] "Celui qui est directement sous l'ordre du chef et le remplace eventuellement." Paul Robert, Le Petit Robert. Dictionnaire Alphabétique et Analogique de la Langue Française, A. Rey/J. Rey-Debove, eds. (Paris: Le Robert, 1984).
[31] For readers interested in looking at the film-scene: the temporal signature is 1:52:34–1:53:05.
[32] Pollard, p. 94.
Das fiktive Universum in Shakespeares Othello und Oliver Parkers Verfilmung von 1995 wird vor dem Hintergrund der Theorie des homosozialen Kontinuums von Eve Kosofsky Sedgwick als 'world between men' beschrieben. Die Analyse verschiedener Formen des male bonding und der Triangulierung über die Position der Frau bilden die Basis der These, daß Iagos passioniertes Begehren sich auf genau jene Position richtet, die ihm von der patriarchalischen Ideologie verweigert werden muß, damit die für sie entscheidende kategoriale Differenz zwischen 'homosozial' und 'homosexuell' aufrecht erhalten werden kann. Obwohl es Iago gelingt, sowohl Cassio als auch Desdemona zeitweise erfolgreich zu verdrängen, erlaubt es die ideologische Unterfütterung des Textes nicht, daß er sich auf der Position Desdemonas dauerhaft etabliert.


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This San Francisco City Hall wedding, initially featured on Pop Sugar, is getting so much buzz on Instagram and Facebook that we had to share it here, too. [Read more…]
Must-See City Hall Wedding!
Tie the Knot Tuesday Flashback – Kesha and Steven
One of the things we enjoy about weddings here at Black Bridal Bliss is that although there are many similarities in each, every single one is distinctive. Take the nuptials of Kesha and Steven of Maryland, for instance (we initially featured them in Tie the Knot Tuesday last year). While their wedding on the surface seemed classic and pretty traditional, it in fact was injected with several unique touches such as liturgical dancers during the ceremony and a surprise Latin-inspired first dance that even their wedding party didn't know about! The best part? Their touching and relatable love story. Check it out:
Tie the Knot Tuesday FLASHBACK – Kelly & Bryan
Even with the popularity of "wedspiration-friendly" platforms like Pinterest and Instagram, Triple B still gets lots of inquiries from engaged folks thirsty for ways to save money while planning their wedding — without sacrificing style. Allow us to re-introduce [Read more…]
Tie the Knot Tuesday – Selecting a Videographer with Cleo + Lyncoln
After five years (whew!) of featuring awesome couples and their nuptials here on Triple B we've gotten quite a bit of content in our archives. Today we revisit an interview with our first Tie the Knot Tuesday couple, Cleo and Lyncoln Dujon. The Maryland couple first shared their insider videographer tips and tricks here. However, their insight — the couple comes clean on budgets and not initially agreeing on the need for a videographer — is still relevant so enjoy! [Read more…]
Tie the Knot Tuesday (VIDEO) – Allison + DeQuan
Who wants a perfect love affair anyway?
It has been a minute since Triple B featured a wedding trailer so here's a true feel-good one from the talented folks over at 3 Ring Weddings. Couple Allison and DeQuan don't disappoint and their chemistry is palpable. Be sure to leave a comment including your favorite part of the video after viewing. [Read more…]
Tie the Knot Tuesday – Danielle and Antijuan
Couple: Danielle and Antijuan
Wedding Date: August 22, 2014
Wedding + Reception Location: The Rockhouse; Negril, Jamaica (West Indies)
Wedding Theme: Our Night of Forever [Read more…]
Tie the Knot Tuesday – Leah and Brandon (Part II)
New York newlyweds Leah and Brandon received such positive feedback from their Tie the Knot Tuesday feature last week that it was only right to share the couple's heartwarming wedding highlight video this week. There's plenty to smile about in this video: [Read more…]
Tie the Knot Tuesday – Leah and Brandon
Couple: Leah and Brandon
Wedding Date: August 22, 2014
Wedding + Reception Location: The Church of God of East New York, Brooklyn, NY (ceremony) and The Inn at New Hyde Park, Long Island, NY (reception)
Wedding Theme: Two Hearts, One Love
[Read more…]
Tie the Knot Tuesday – Alicia and Yao
Couple: Alicia and Yao
Wedding Date: October 11, 2014
Wedding + Reception Location: El Dorado Royale, Rivieria Maya, Mexico
Wedding Theme: Vintage Paradise
Tie the Knot Tuesday – Kesha and Steven
Couple: Kesha and Steven
Wedding Date: August 31, 2014
Wedding + Reception Location: Grand Historic Venue, Baltimore, MD
Wedding Theme: Easy Elegance
Tie the Knot Tuesday – Nicole and Leonard
Couple: Nicole and Leonard
Wedding Date: July 19, 2014
Wedding and Reception Location: Hotel Seven 4 One, Laguna Beach, CA
Wedding Theme: Romantic Chic
Tie the Knot Tuesday – Shannon and Stuart
Couple: Shannon and Stuart
Wedding Date: July 26, 2013
Wedding and Reception Location: Glen Island Harbour Club, New Rochelle, NY
Wedding Theme: Simple Elegance
Tie the Knot Tuesday – Seti & Harry
Couple: Seti and Harry
Wedding Date: September 14, 2013
Wedding and Reception Location: Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC
Wedding Theme: Combination of traditional East African heritage along with modern Southern style [Read more…]
Tie the Knot Tuesday – Lishawn & Miguel
Couple: Lishawn and Miguel
Wedding Date: November 17, 2013
Wedding and Reception Location: Hyatt Regency Pier Sixty Six, Fort Lauderdale, FL
Wedding Theme: Diamonds Are Forever
Tie the Knot Tuesday – Alana and Eric
Couple: Alana and Eric
Wedding Date: April 26, 2013
Wedding and Reception Location: Oxon Hill Manor, Oxon Hill, MD [Read more…]
Tie The Knot Tuesday: Bridgette and Anthony's Bliss (part one)
Couple: Bridgette and Anthony
Wedding Date: September 14, 2013
Wedding Location: (ceremony) The Cloisters at Ft. Tryon Park, Upper Manhattan, NY, (reception) Londel's Restaurant, Harlem, NY
Theme: Just Us [Read more…]
Tie the Knot Tuesday – Kelli & Mohamed (VIDEO)
Please enjoy this touching video from our friends at Three Ring Weddings. It is another feel-good trailer and it's clear that the couple is smitten with each other. Enjoy! [Read more…]
Triple B Founder Bridgette Bartlett Jumped the Broom!
Well folks, the deed was done. On Saturday, October 19, 2013, I jumped the broom with my best friend in front of roughly 115 loved ones. (We actually wed a month prior in a much smaller ceremony — I promise to elaborate more on that later.) In a word, last weekend was bliss.
Mr. TK and I are still sleepwalking and aren't scheduled to return to our normal (whatever that means) schedules until next week. Still, I wanted to give you all a glimpse into our nuptials to hold you over until the official Tie the Knot Tuesday feature next month. Below is hand's down one of my favorite moments from the big day: [Read more…]
Tie the Knot Tuesday – VaShonda & Kyle
Couple: VaShonda & Kyle
Wedding Date: March 17, 2012
Wedding Location: (ceremony) St. Stephen Baptist Church, Temple Hills, MD; (reception) Marriott Hotel, Crystal City, VA
Children: Kyle Junior (aka KJ); two months old
Today's Tie the Knot Tuesday meets Marriage Matters features the nuptials of NFL cornerback Kyle Arrington of the New England Patriots and his lovely wife VaShonda (who he affectionately simply calls "V")!
Tie the Knot Tuesday Video Trailer Special – Belinda & Kevin
Some folks say what is meant to be, will be. That was certainly the case for Belinda and Kevin who had their recent Atlanta nuptials documented by Three Ring Media. This encore wedding (this is their second marriage to each other) took place over two decades after the twosome first met. While watching the video, it is obvious that these two were destined to be together again. Triple B wishes the newlyweds-again health, prosperity and all they happiness they can stand! [Read more…]


text: View Larger Image Pancake Panini Sausage or bacon on two perfect pancakes pressed on the panini grill with egg and cheese with a side of maple syrup. boxadmin2017-11-05T21:56:26+00:00 Share with Friends! FacebookTwitterLinkedInRedditGoogle+PinterestEmail Related Posts Ham & Swiss Panini Ham & Swiss Panini November 2nd, 2017 Fresh Fruit Cup with Dip Fresh Fruit Cup with Dip October 28th, 2017 Muffins Muffins October 28th, 2017 Oatmeal Oatmeal October 28th, 2017 Breakfast Sandwich Breakfast Sandwich October 28th, 2017


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Julia Aglionby
Executive Director
Julia Aglionby is a chartered surveyor and agricultural valuer by profession, and for the last 15 years she has developed her career at H&H Land and Property in Carlisle, latterly heading up their environmental team and working with estates across the North of England and beyond. She is also a co-opted member of the Federation of Cumbria Commoners.
Viv Lewis
Programmes Manager (part time)
Viv lives in Cumbria and has a background in upland dairy and sheep farming. Besides doing work for the Foundation, she is the Administrator of the Federation of Cumbria Commoners and the secretary of the Crossfell Commoners' Association. Viv also has a smallholding and keeps a small flock of sheep.
Chris Short
Chris Short is based at the Countryside and Community Research Institute (CCRI) in the University of Gloucestershire where he is Reader in Environmental Governance. Chris joined the CCRI in 1995 and has maintained his research interests in the relationship between different land uses, namely agriculture, forestry, nature conservation, amenity and climate change and their constituent communities in the UK and across Europe. He has particular interests in the development and implementation of rural development and agri-environment policy, as well as the nature of partnerships and exchange of knowledge that these require. Chris has been undertaking research on common land since the 1990s and he has considerable expertise in issues relating to landscape scale initiatives, shared resources and collective action across Europe.
Jim Bailey
Family man, farmer and countryman running a mixed farm including common grazing on the southern side of North York Moors. I have a long experience of the local Manorial Court with associated landowner/commoner issues, especially the needs and interests of grazing and grouse, both first hand and helping other via commoners. I have links with Yorkshire commoners and local commoners' association. I manage a small grouse moor in the Yorkshire Dales. My other pastime is serving as elected councillor and chairing the North York National Park Authority, and for last three years chair for National Parks England.
Andrew Humphries
Andrew's career has been in agricultural practice, education extension and the voluntary sector with a strong emphasis on hill farming. Experience includes shepherding in the Yorkshire dales and directing the management of the Newton Rigg College hill farm in the Lake District with common grazing rights on the open fells. Working with commoners associations and the Foundation he has contributed to a number of research and guidance publications.
Jenny Phelps
Jenny Phelps is a Senior Farm Conservation Advisor for the Gloucestershire Farming and Wildlife Advisory Group. She has over 30 years experience working in farming and conservation. She has facilitated the restoration of many complex commons into Environmental Stewardship in Gloucestershire including Minchinhampton, Rodborough, Painswick Beacon, Leckhampton Hill and Charlton Kings Common. From her work on commons she developed the integrated local delivery framework which values local and farming knowledge and joins partnership working at a local level www.fwagsw.org.uk/ild . She now applies the approach to building community resilience by working with parish councils and the farming community. She is the Lead Facilitator on the Farmer Guardians of the Upper Thames Facilitation Fund; Lead on the Carrant and Isbourne Facilitation Fund; Lead for the Upper Thames Catchment Partnership and Cotswolds Payments for Ecosystem Services Defra pilot. In 2016 she was awarded an MBE in 2016 for 'Engaging Communities in Environmental Protection'. The full research paper 'Inspiring and Enabling Local Communities – an integrated delivery model for localism and the Environment' can be found www.ccri.ac.uk/ild. She is also a Lecturer of the Farmland Ecology Module (3093) and Farming and Integrated Environmental Local Delivery (FIELD) Module 3207 at the Royal Agricultural University.
Lyndsey Stride
I was New Forest Young Commoner of the Year in 2014 in recognition for the work I have done to support the Young Commoners Group. I am planning, writing and delivering education sessions about the New Forest.
John Waldon
John Waldon lives in Devon and is currently undertaking various projects relating to the uplands and commons, including Dartmoor Farming Futures, an initiative to produce an agri-environment scheme better suited to common land. He is a founding member and currently secretary of the SW Uplands Federation, a farmer-led initiative for hill farmers in south west England. In a previous life John worked for the Royal Society for the Protection of Birds (RSPB) from 1981. He was appointed Regional Director, for south west England, in 1994. John was a founding Director of Sustainability South West (SSW - The region's Sustainable Development Round Table) and had responsibility for the production of the region's first Sustainability Framework, also Chair of the South West's Biodiversity Partnership (1996 – 2001) and a member of the England Biodiversity Group (1996 – 1999). In 2002 John was seconded to Defra - Rural Development Service (RDS) for two years, as Manager of the Devon and Cornwall team, with responsibility for the delivery of agri-environment schemes and member of Defra's Environmental Stewardship Implementation Team.
Carl Walters
Carl Walters is a hill farmer at Low Hullock Howe, Bampton, on the Eastern edge of the Lake District, Cumbria. Carl and his wife Ruth, work full time on the farm with occasional help from their two children Samantha (20) and Mike (19). They run 500 or so Swaledale sheep on Bampton Common (which is in a HLS scheme ) and have a further 380 Swaledales which have been drafted off the fell and are crossed with a Blue faced Leicester. They also have a small flock of pure Blue faced Leicesters for breeding crossing tups. They have 40 pure Limousin suckler cows which they cross with a Belgian Blue to produce heifers sold for breeding and bulls which are either sold for breeding or fattened.They keep 30 hens, a cat and quite a number of dogs, mainly Border Collies, which they use on the farm and also breed and train and sell. Look for Hullockhowe Border collies on facebook for anyone is interested! All this on 230Ha which is in an HLS scheme.


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Bandai Namco recently dropped a TV spot for The Asterisk War on their Japanese YouTube channel – and oddly enough it's voiced in English.
This new English narrated TV commercial for The Asterisk War: The Academy City on the Water features a bit of anime cinematic mixed in with character introductions and a peek at weapons and gameplay.
Should you be interested? Check out the commercial and judge for yourself;
The Asterisk War: The Academy City on the Water is due out on January 28th in Japan, with no word on a localization (despite the language weirdness of the trailer).


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At some point we have probably all wished we had more time to get things done. Hectic schedules often leave us feeling stressed and weary. We spend a lot of time trying to manage our time more effectively. However, the management of our children's time is often overlooked. Helping our children learn to structure their days can make it easier for everyone to get things done and make our time together more enjoyable. Here are some time management tips for kids that may work for your family:
The LSU AgCenter and the LSU College of Agriculture


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1. Re: Easy way to map to/from in Tableau?Richard Leeke Nov 11, 2011 5:30 PM (in response to Jay Chang)
You can use a custom SQL connection to present the data from your input file to Tableau in the structure needed for that representation.
Here's (roughly) what you need to do. I haven't actually tried it, so I might not have got it quite right. ;-)
Let's say your raw data has these columns:
[employee_id], [home_zip], [work_zip], [other employee detail fields]
You would need a custom SQL connection like this:
[employee_id] AS [employee_id],
[home_zip] AS [zip],
[home_zip] + " to " + [work_zip] AS [path_id],
1 AS [path_order],
[other employee detail fields] AS [other employee detail fields]
[employee_id] AS [employee_id],
[work_zip] AS [zip],
[home_zip] + " to " + [work_zip] AS [path_id],
2 AS [path_order],
[other employee detail fields] AS [other employee detail fields]
Then you (should!) just need to drop [zip] and [path_id] on Level of Detail, select a mark type of line and put [path_order] on the Path shelf and SUM([Number of Records]) on the size shelf (say).
2. Re: Easy way to map to/from in Tableau?Jay Chang Nov 15, 2011 12:07 PM (in response to Jay Chang)
OK so this gets me partly there. Some of the issues I'm running into:
* I don't have the lat/long coordinates for the ZIP codes, so I'm relying on Tableau to generate those.
* I can't seem to get the lines to connect the two ZIPs in the path.
I think the second is related to the first. Is there any way to get Tableau to generate different lat/longs based on the Home vs. Work ZIP?
3. Re: Easy way to map to/from in Tableau?Richard Leeke Nov 15, 2011 12:37 PM (in response to Jay Chang)
You shouldn't need the lat/long - Tableau geocoding will take care of that (as long as the zip codes are in the country you have set as your default location - othrwise you would need to have a country field on the view, to.
Sometimes I have trouble with the path shelf. You may not even need it in this case as there are only 2 points for each line segment. Or you could try putting ATTR([path_order]) on the path shelf (i.e. select Attribute from the pill for path_order).
4. Re: Easy way to map to/from in Tableau?Jay Chang Nov 15, 2011 12:43 PM (in response to Jay Chang)
Sorry, I appreciate your prompt help but it's not working. Does it matter that the generated Lat/Long are measures rather than dimensions? I don't see any way to convert generated lat/longs to dimensions but the Tableau example relies on those fields being dimensions.
5. Re: Easy way to map to/from in Tableau?Jay Chang Nov 15, 2011 1:13 PM (in response to Jay Chang)
Somehow, I got it working. I basically started over from scratch by selecting Lat, Long, and ZIP then clicking Show Me. Tableau then built my map. I added PathID to my level of detail and voila - the lines were there. Now I can refine it so that I can choose specific work locations and see which employees travel to that work location. Thanks for all your help!
6. Re: Easy way to map to/from in Tableau?Richard Leeke Nov 15, 2011 1:18 PM (in response to Jay Chang)
Sample attached. Post an example if you're still having trouble.
zip_path.twbx 23.2 KB
7. Re: Easy way to map to/from in Tableau?Steve Scivally Feb 21, 2012 10:17 AM (in response to Jay Chang)
Looking at that link you provided, is there a way to display/label the path itself? I currently have the geo-points graphed and have even figured out how to draw the vectors between the points but I can only get the label to display on the geo-point... Any ideas?
8. Re: Easy way to map to/from in Tableau?Martin Luxhøj Mar 9, 2012 5:48 AM (in response to Richard Leeke)
Do you have an approach where you have a lat and long coordinate for each zip code? This would help me tremendously!!!
9. Re: Easy way to map to/from in Tableau?Julia Hennelly Apr 17, 2012 1:26 PM (in response to Jay Chang)
I have a similar but need a little more information on the Viz which is not working quite as expected. I am trying to show where associates currently live (zip code), the office they currently commute to (path should be shown in blue) and the path for their new commute. I would like to show current offices (there are 8) on the map and actually be able to dynamically enter the zip code for the new site.
Taking it further I need distances for each commute and be able to show percentage of employees where their commute increase is less than a variable percentage. Ideally rings around the new site with percentage of associates within 5 miles, 10 miles, 20 miles etc.
So right now I am at stage 1 and do not seem to be having much luck with that - only way I can think to show current office and new office is to annotate the map???
I am a novice user so calculating distances - not sure how to do that. I think I need latitude and longtitude which I have on another spreadsheet so can bring that data into the data set?
Can anyone point me in the right direction for examples of similar ideas. I will keep searching the forum which seems to have a ton of information.
I am attaching a packaged workbook of where I am at if anyone feels like pointing me in a direction!
Office Relocation.twbx.zip 84.5 KB


text: (cross-mailing to the image-sig -- as so often before, several people posted very similar questions the very same day...) Konrad Hinsen wrote: >Forced by the need to extract data from a scanned image, I finally >installed PIL, and was pleasantly surprised by it. It's rare to >find packages that do what they promise and even come with decent >documentation! I had my problem solved by 15 lines of code in >10 minutes, so I have no reason to complain. Glad you liked it! >However, it would have been even easier to solve my problem if there >were some way to obtain the pixel data in the form of a NumPy array. >Maybe that exists, and I just didn't find it. If not, it would >be a good idea for a future release. I ended up reading each pixel >by getpixel(), which doesn't look particularly efficient. I'm waiting for Guido to move the multiarray stuff into the Python core distribution... In the meantime, using tostring/fromstring is probably the most efficient way to transfer data between PIL and NumPy. I'm not a regular NumPy-user, but something like the following appears to work pretty well: import Numeric, Image def image2array(im): if im.mode not in ("L", "F"): raise ValueError, "can only convert single-layer images" if im.mode == "L": a = Numeric.fromstring(im.tostring(), Numeric.UnsignedInt8) else: a = Numeric.fromstring(im.tostring(), Numeric.Float32) a.shape = im.size[1], im.size[0] return a def array2image(a): if a.typecode() == Numeric.UnsignedInt8: mode = "L" elif a.typecode() == Numeric.Float32: mode = "F" else: raise ValueError, "unsupported image mode" return Image.fromstring(mode, (a.shape[1], a.shape[0]), a.tostring()) Improvements or better solutions are welcome. Cheers /F email@example.com http://www.pythonware.com


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Chef Björn Frantzén's acclaimed Frantzén's Kitchen landed in Hong Kong several years ago to much acclaim and just last month, Bjorn opened his newest restaurant in Hong Kong, The Flying Elk. The new location offers a more casual dining experience that focuses on Nordic-inspired cuisine. The space is designed to mimic the Nordics with wood panelling and accents throughout the restaurant, and soft incandescent lights providing a warm orange glow that is reminiscent of a cold winter day inside a cozy lodge.
The food is fantastic, and it's clear why Michelin awarded Frantzén's Swedish location 3 stars. Particularly enjoyable is the Tar Tar Lamb in Dill made with dill mayonnaise, ättika vinegar, pickled root crops and crunchy onions. The fresh dill mayonnaise compliments the richness of the lamb perfectly and the crunch from the onions and crispness of the root vegetables gives the dish a variety of satisfying textures.
You also can't visit one of Frantzén's restaurants without trying the signature Roasted Scallops. Perfectly cooked, the scallops are laid on top of a bed of creamy scrambled eggs, truffle, beurre noisette, crispy potato and smoked soy. There almost seems to be too many strong flavours in this dish, so, at first, you may think they may not pair well, but instead, each ingredient perfectly complements the rest, with the sweetness of the scallops balanced by the rich egg and the sharpness of the soy.
Beyond the food, the bar boasts a large collection spirits and drinks from Sweden, and unique cocktails developed by The Flying Elk's Swedish bartenders.
Location: 2/F Wyndham Mansion, 32 Wyndham Street, Central
Hours: Monday – Saturday, 5.00 pm – 10.30 pm
Phone: 2565 6788


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Luxury travel in the travel category. A large number of interesting tours and travel around the world. You can view and download a large number of the best selected photos and images from around the web in comfort. Especially for you we have divided all the pictures by the most popular categories, so you can easily find the photos you need and pictures.
Luxury travel
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Wir sind der Ansicht, dass unser Tätigkeitsfeld und unsere langjährige Erfahrung auch daraus ersichtlich ist, an welchen Gerichtsverfahren wir beteiligt waren.
Hier sind 30 höchstgerichtliche Entscheidungen (OGH, VwGH, EuG) mit Beteiligung am Verfahren aus dem Zeitraum von 1988 bis 2015:
2015 Abschlussprüferhaftung: Dritter, Genussschein
2014 Fachkundiger Laienrichter: keine Befangenheit
2014 Urheberrecht: "Mode-Linien"
2014 Klagsausdehnung: Wertgrenze
2012 Nachbarrecht: Oppositionsklage
2011 Insolvenzrecht: Prozessführungsbefugnis
2009 Belastungs- und Veräußerungsverbot: Straf- und Zivilverfahren
2007 Versicherungsrecht: Betriebshaftpflichtversicherung
2006 Kindesunterhalt: Unterhaltsminderung, Ferienbesuchsrecht
2006 Aufteilungsanspruch: Konkurseröffnung, Prüfungsprozess
2005 Verbraucherrecht: Bürgschaft, Ausfallhaftung, Interzession
2003 Kindesentführung: Sorgerecht, Rückführungshindernis
2003 Verlassenschaftsverfahren: deutscher Staatsbürger, Erbschaftserwerb
2002 Anwendungsvorrang: Vollstreckung von ausländischen Entscheidungen
2002 Eurocool: Gemeinschaftsmarke - Unterscheidungskraft
2002 Anfechtung: konkludente Erklärung, Schweigen, Rechtshandlungen
2002 Verdienstentgang: Schadensminderungspflicht, Beschäftigungsort
2001 Servitut: Auslegung, Vermietungstätigkeit, Fremdenverkehrsgemeinde
2001 Einzelrichtmenge: Milcherzeugung, Eigenbetrieb, Nutzungsverhältnis
2000 Sicherheitsleistung: mehrere Exekutionsarten
2000 Sparbuch: Verpfändung, Höchstbetragshypothek, mehrere Sicherheiten
1996 Verkehrshypothek: Höchstbetragshypothek, Exekutionstitel
1996 Kollektivvertrag: Aliquotierung, Sonderzahlungen
1996 Amtshaftung: Zuständigkeitsbestimmung, Rechtswidrigkeit
1996 Kauf: Verjährung, Ersitzung, Miteigentum, Benützungshandlungen
1995 Haushaltstätigkeit: Erwerbsschaden, vermehrte Bedürfnisse
1991 Sicherungsübereignung: Feststellungsklage, Veräußerung
1988 Schmerzengeld: Mitverschulden, Schutz- und Sorgfaltspflicht
As a result of lecturing in the former programme Law for Arts and Media there is a huge collection of landmark decisions from the United States and Europe related to Freedom of Expression/Press, Copyright, the EEC Treaty and the European Convention of Human Rights.
The section LEGAL RESEARCH shows you how to find such decisions of the Supreme Court, the European Court of Justice or the European Court of Human Rights.
Here is a selection of 15 cases decided by the Supreme Court of the United States, the European Court of Justice and the European Court of Human Rights related to arts and media:
1969 Tinker vs Des Moines School Dist.: Students in Des Moines, Iowa demonstrated opposition to the Vietnam War 1965 by wearing black armbands. School district administrators then established a policy prohibiting the wearing of such armbands. Violating students would be suspended and allowed to return to school after agreeing to comply with the policy ...
1969 Red Lion Broadcasting Co. vs FCC: In the specific case of broadcasting, however, it was not decided until the 1960's exactly how much power individuals had in gaining access to broadcasting so they could use it to make a difference. The question was a simple one: did braodcasters hold their licences for the purpose of satisfying their own goals, economic and otherwise, or could ordinary citizens expect that they, too, would have acces to radio and television ?
1971 New York Times Co. vs United States: The ruling made it possible for the New York Times and Washington Post newspapers to publish the then-classified Pentagon Papers without risk of government censure ...
1978 FCC vs Pacifica Foundation: This was a landmark case that defined the power of the Federal Communications Commission over indecent material as applied to broadcasting. In 1973, a father complained to the FCC thta his son heard the George Carlin routine "Seven Words You Can't Say on the Radio" broadcast one afternoon over WBAI, a Pacifica Foundation FM radio station in New York City. Pacifica received a citation from the FCC, which sought to fine Pacifica for allegedly violating FCC regulations which prohibited broadcasting "obscene" material ...
1988 Hustler Magazine vs Falwell: Larry Flint made a fortune and contributed to the rise of the sexual revolution in America through publication of his magazine Hustler. While Hustler has always been known for its explicit, even gynecologic pictures of nude women and its crude humor, the prominent fundamentalist Protestant minister Jerry Falwell found nothing funny about a 1983 parody featuring him. In a parody of a magazine advertisement for a popular alcoholic drink, Hustler described adrunk Falwell having an incestuous encounter with his mother in an outhouse ...
1968 Commission vs Italy: The Italian Government imposed a tax on the export of art treasures from Italy, claiming that such a tax would be less restrictive than an export ban. The Commission brought an action in the ECJ under Art 226 (ex 169)...
1979 Regina vs Henn and Darby: The United Kingdom seized films and publications being imported from the Netherlands into the United Kingdom. The importers were prosecuted under customs and excise legislation with importing indecent and obscene arts. In their defense the importers claimed that the prohibitition contravened Art 28 (ex 30) in that a stricter standard was being applied to imported than to domestic goods. An Art 234 (ex 177) reference was made...
1985 Gravier vs City of Liege: Gravier, a French national, had been offered a place by the Academie Royale des Beaux-Arts in Liege on a four year course to study the art of the strip cartoon. She objected to paying the "minerval", an enrolement fee payable by students who were not Belgian nationals, claiming that the payment infringed Art 12 (ex 6, but then 7 of the EEC Treaty) and Art 49 (ex 59)(receipt of services). An Art 234 (ex 177) reference was made ...
1994 Commission vs Spain: In Case C-45/93 the ECJ found that charging a discriminatory entrance fee for non-nationals to enter museums infringed Art 12 (ex 6) ...
2003 Commission vs Italy: In Case C-388/01 Italy was found to have infringed both Arts 12 and 49 by applying differential rates for admission charges to museums, monuments, art galleries etc. The rates favoured Italian nationals and persons resident in Italy aged 60, 65 or above, but excluded tourists and non-residents...
1976 Case of Handyside vs United Kingdom: The applicant was convicted under the Obscene Publication Acts 1959 and 1964. He was the owner of a publisher which published a book, The Little Red Schoolbook, which included a section on sex, covering topics such as masturbation, menstruation and pornograhy. He claimed a violation of Article 10 ...
1993 Case of Informationsverein Lentia vs Austria: Law at Issue: Telecommunications Law of 13 July 1949, Article 2 para 1; Constitutional Law of 10 July 1974 guaranteeing the independence of broadcasting, Article 1 - Freedom to impart ideas - Freedom to impart information - Interference (Art 10) - Licensing of broadcasting enterprises - Prescribed by Law (Art 10) ...
1994 Case of Otto-Preminger-Institut vs Austria: Law at issue: Penal Code, Section 188, Media Act Section Articles 33, 36 - Freedom of expression - Interfernce (Art 10) - Prescribed by law (Art 10) - Protection of the right of others (Art 10) - Six month period - Victim ...
1994 Case of Jersild vs Denmark: The applicant was a television journalist who interviewed some racist youth for a documentary programme. The transmitted programme contained racist and offensive words. The youth were convicted of making racist statements and the applicant was convicted of aiding and abetting their offences. The applicant claimed a violation of Article 10 ...
2003 Case of Gunduz vs Turkey: Freedom of expression - Interference (Art 10) - Necessary in a democratic society (Art 10) - Prevention of crime (Art 10) - Prevention of disorder (Art 10) - Protection of morals - Protection of the right of others (Art 10) ...


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SAFE Fertility Center, We are the first IVF Clinic in Thailand and the second in ASEAN apart from Singapore that has been accredited by RTAC of the Fertility society of Australia (FSA) and New Zealand.
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What is Roots of Empathy?
Roots of Empathy is an evidence-based classroom program which has shown dramatic effect in reducing levels of aggression and violence among elementary school children while raising social/emotional competence and increasing empathy.
Our mission is to build caring, peaceful, and civil societies through the development of empathy in children and adults.
History and Reach
In 1996, Roots of Empathy was created in Toronto schools by Mary Gordon. It became a charitable not-for-profit organization in 2000.
Since its inception, Roots of Empathy has reached more than 150,000 children in more than 6,000 classrooms.
The program reaches elementary school children from Kindergarten to Grade 8 across Canada, in English and French, in rural, urban, remote, and Aboriginal communities both on and off reserve. It is being piloted internationally in Australia, New Zealand, and the United States.
Roots of Empathy in Action
A trained Roots of Empathy instructor visits the classroom every week during the school year, starting in October and ending in June for a total of 27 lessons. Once every three weeks, a parent and baby (2 to 4 months at the start) from the community come to the classroom with the instructor for a family visit. Experiential learning at its best!
The program teaches children about feelings, their own feelings and the feelings of others. In Roots of Empathy, the baby is the teacher. With each family visit (nine in all), the instructor leads the children in noticing how the baby is growing and changing over the course of his or her first year of life. The children also watch the loving relationship between the parent and baby and see how the parent regulates the baby's emotions. By understanding the perspective of the baby and learning to label the baby's feelings, the students become literate in describing their own feelings and understanding those of others – empathy.
For more information please visit the Roots of Empathy website.