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Gareth HagueCopyright
2003 Gareth Hague / AliasDescription
Anomoly W00
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Daniel Hernandez & Paula NazalAuthor
Daniel Hernandez & Paula NazalTrademark
Trend Rough Slab Two is a trademark of Daniel Hernandez & Paula Nazal.Copyright
Copyright (c) 2014 by Daniel Hernandez & Paula Nazal. All rights reserved.Description
Copyright (c) 2012 by Daniel Hernandez & Paula nazal. All rights reserved.
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1.00 November 16, 2011, initial releaseCompany
Copyright (c) 2011 by KustomtypeAuthor
Copyright (c) 2011 by KustomtypeTrademark
KTF-Roadbrush is a trademark of Copyright (c) 2011 by Coert De Decker Kustomtype.Copyright
Copyright (c) 2011 by Copyright (c) 2011 by Kustomtype. All rights reserved.Description
Copyright (c) 2011 by Kustomtype. All rights reserved.License
Copyright (c) 2011 by Kustomtype. All rights reserved.
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Lanston Type Co.- P22 type foundryAuthor
Frederic Goudy, Colin KahnTrademark
LTC Village No.2 Pro is a trademark of Lanston Type Co.- P22 type foundry.Copyright
Copyright (c) Lanston Type Co.- P22 type foundry, 2005. All rights reserved.Description
Copyright (c) 2005 by Lanston Type Co.- P22 type foundry. All rights reserved.License
P22 End User License Agreement and Limited WarrantyThank you for purchasing P22 fonts. To ensure that P22 continues to bring you more exciting, historically relevant type, please take the time to read this agreement. It might not be the most fascinating read, but its very important and may answer many questions that you may have. Please register your fonts and remember that free software is an exception, not the rule. 1. Notice to user. You (End User) have not purchased the ownership rights to this font, but rather a license to use this font on a limited basis. Purchasing a license for any P22 font or font distributed by P22 (International House of Fonts, Sherwood Collection, Lanston Type Co. and other) via download, or e-mail, constitutes an agreement between P22 type foundry, Inc (P22) and the end user of the enclosed typefaces (software) that the terms and conditions of this contract will be followed. If the fonts are purchased in hard copy format (CD-ROM or floppy disk), removing the media from its protective sleeve (paper pouch, DVD cases, or other) in which the media is contained constitutes the same agreement. If you do not agree with the terms of this agreement return the complete package with the CD or floppy disk sleeve unopened to the place of purchase. If downloaded or received by e-mail, all files must be deleted. A signed affidavit may be required to receive a refund.2. Grant of License. The basic P22 distributed software license is limited for use on a total of 5 devices at one site for use on a single platform. A device is defined as a computer, printer, character generator, server or any other machine that uses font data to rasterize letterforms. A site is defined as one physical location. Platform refers to operating systems designated as 'Macintosh', 'Windows' or other. A laptop may be one of the devices in the basic license of 5 devices as long as the laptop is associated primarily with the licensed location. Simply working offsite on a laptop is permissible in the basic license and is regarded as an extension of the site. Work transported from one distinct network to another distinct network, via a laptop requires each network to be licensed properly.Additional licensing is also required if you are installing the font(s) on more than 5 devices (Site License), or a LAN/WAN Server with more than 4 devices, or, if you and/or additional users will have access to the font(s) at more than one location (Corporate License), or, if your printer/service bureau is installing the fonts for job output for more than one-time use (Service Bureau). Upon completion of job, service bureau must delete the font software or purchase their own license.To calculate the required additional license, call P22 at 716 885 4490 or visit: http://www.p22.com/licensing.html to receive a quote.One copy of the font software may be made for backup. You may transfer the original software to another party provided All materials, including back-up copies are transferred and that the recipient agrees to the licensing terms and conditions contained in this agreement, and all copies are removed from the originating end user's (your) devices. 3. Fair Use. The basic P22 license is intended to accommodate personal use as in the course of everyday correspondence and document writing, or in the design of self-promotion pieces like business cards, newsletters and brochures. Other uses designated as professional or commercial may require additional licensing.Professional use is work performed by, not limited to, freelance designers, small design firms and corporate advertising firms that incorporate P22 fonts within a design for a client or self-promotion. Most alphanumeric fonts are allowable without additional licensing provided that the Grant of License guidelines are met. However, the use of illustrative elements (also known as dingbats, extras, ornaments) within logo design requires an additional one-time license. If you have purchased the font(s) license for use on a large scale campaign such as in the course of entertainment promotion, advertising, corporate identity design, product packaging, store signage or in any way that requires the multi media (television, internet, print or other) output of the font(s), an additional license may be required. This applies to in-house or client based work. Call P22 at 716 885 4490 to receive your large scale campaign quote. A royalty based Commercial license is required when P22 font software is used to create a product sold for profit. If you have purchased the font(s) license for use as the principle design element to create a product to be sold such as, not limited to, rubberstamps, refrigerator magnets, or if the usage of the font adds value (value added) to a product to be sold such as wrist watches, house numbers, stencil kits, decals, digital art (screensavers, 3-D models, or other computer application), please call P22 at 716 885 4490 if you have any questions, for permission or to receive your commercial license quote or visit: http://www.p22.com/comlicensing.html for examples.The font may be modified if properly licensed for non-commercial or in-house use. The modified font software may not be sold or distributed.4. Font Embedding. The basic P22 license allows for the embedding of P22 fonts only if the document created is set to Print and Preview. If P22 fonts can be extracted, edited and therefore transferred in any way, an additional license is required to account for each recipient of the document and font file(s)5. Copyright. The software and accompanying documentation are copyrighted and contain intellectual property information protected by law. You may not make or distribute copies of this software or accompanying documentation without the express written consent of P22.6. Disclaimer and Limited Warranty. P22 warrants that the font software is free of errors and will be replaced within 90 days of purchase in the event of defective media. If failure of the font software results from accident, abuse, or neglect, P22 assumes no responsibility to replace the software. THE SOFTWARE AND ACCOMPANYING WRITTEN MATERIALS ARE PROVIDED AS ISWITHOUT WARRANTY OF ANY KIND, EXPRESSED OR IMPLIED, AND P22 SPECIFICALLY DISCLAIMS THE WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE AND MERCHANTABILITY. IN ADDITION, P22 DOES NOT MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SOFTWARE OR THE WRITTEN MATERIALS IN TERMS OF CORRECTNESS, ACCURACY, RELIABILITY, CURRENTNESS OR OTHERWISE. THE ENTIRE RISK AS A RESULT OF THE PERFORMANCE OF THE SOFTWARE IS ASSUMED BY THE USER.7. Update Policy. At the option of P22, there may be updated versions of the software which will be offered to registered users.8. Purchaser's Indemnity. You agree to inform any person (employee/co-employee/employer) having access to the P22 Software and copies thereof, of the terms and conditions of this Standard License Agreement and to ensure that these terms and conditions are abided. You agree to indemnify and hold P22 harmless from any and all claims, liabilities, and costs including attorney's fees, arising out of your breach of this agreement or promises you made. If these terms are not agreed to and respected P22 reserves the right to revoke Grant of License.9. Construction. This agreement is governed by and constructed in accordance with the laws of the State of New York. All disputes between P22 and the end user whether or not arising hereunder shall be conducted within the courts and jurisdiction of Erie County, New York.Please register your fonts. If you have purchased your font(s) directly from P22 you have been automatically registered. If you ordered your font from an authorized P22 reseller please keep a record of the time and place of the purchase; or if you purchased a CD, send in the reply/registration card enclosed within each package. (c)2004 P22 type foundry, Inc. Not Your Typical Type! http://www.p22.com PO BOX 770 Buffalo, NY 14213
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Tequila SunsetStyle
1.00 2015Company
Font MongerAuthor
Chris VileTrademark
Tequila Sunset is a trademark of Font Monger.Copyright
Copyright (c) 2015 by Font Monger. All rights reserved.Description
Tequila Sunset Regular is a font by Font Monger, designed by Chris Vile in 2015.License
You may not use this font in any media, tv, film, monetized, or commerce platforms without consent from Font Monger. You may purchase a font license which grants you special use. You may not edit, rename, modify, repackage, sell, distribute, embed, or use this font without consent from Font Monger
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Simran ITC StdStyle
1.000;PS 001.000;hotconv 1.0.38Author
Satwinder SehmiTrademark
ITC is a trademark of International Typeface Corporation Registered in U.S. Patent and Trademark Office and may be registered in certain other jurisdictions;Simran is a trademark of International Typeface Corporation and may be registered iCopyright
Copyright 1997 International Typeface Corporation. All rights reserved.Description
Please review the description of this font at http://www.itcfonts.com.
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Linotype GmbHCopyright
Part of this font software is copyrighted 2005 - 2006 Linotype GmbH, www.linotype.com. All rights reserved. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. Copyright Esselte Letraset Ltd., 1990.License
NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418
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Ingrimayne TypeAuthor
Robert SchenkTrademark
PlainPensleXBold is a trademark of Ingrimayne Type.Copyright
Copyright (c) 1992, 1994, 2011 by Robert Schenk. All rights reserved.Description
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Michael Hagemann www.fontmesa.comAuthor
Michael HagemannTrademark
Magnum Sans is a trademark of FontMesa LLCCopyright
Copyright (c) 2014 by Michael Hagemann All rights reserved.Description
Visit www.fontmesa.com
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Alegreya Sans SC ExtraBoldStyle
1.000;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v0.97) -l 8 -r 50 -G 200 -x 17 -f dflt -w G -WCompany
Huerta TipograficaAuthor
Juan Pablo del PeralCopyright
Copyright (c) 2013 by Juan Pablo del Peral (huertatipografica.com.ar)License
This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is available with a FAQ at: http://scripts.sil.org/OFL
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Tour de Force Font Foundry & Slobodan JelesijevicAuthor
Slobodan JelesijevicTrademark
Prored ExtraBold is a trademark of Tour de Force Font Foundry & Slobodan Jelesijevic.Copyright
Copyright (c) 2012 by Tour de Force Font Foundry & Slobodan Jelesijevic. All rights reserved.Description
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Hiyal Kufi9Style
Hiyal Kufi9 :VersionVersion
1.00 August 9, 2005, initial releaseTrademark
Hiyal Kufi9 Trademark of Abdugeni.mamaCopyright
Typeface ? www.hiyal.com. 2005. All Rights ReservedDescription
This font was created using the Font Creator Program 4.1 from High-Logic.com
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Gilles Le CorreAuthor
Gilles Le CorreCopyright
Copyright (c) 2011 by Gilles Le Corre. All rights reserved.Description
Printable and Editable embedding allowed
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Andriy KonstantynovCopyright
Copyright (c) 2014 by Andriy Konstantynov. All rights reserved.Description
Copyright (c) 2014 by Andriy Konstantynov. All rights reserved.
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2005 Vic FiegerCopyright
2005 Vic FiegerDescription
Mr. Suit is created with the Font Creator Program from High-Logic.com
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Monotype Imaging Inc.Trademark
Globe Gothic is a trademark of Monotype Imaging Inc. and may be registered in certain jurisdictions.Copyright
Copyright 1989 Monotype Imaging Inc. All rights reserved.License
NOTIFICATION OF LICENSE AGREEMENTThis typeface is the property of Monotype Imaging Inc. and its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Monotype Imaging or together with software distributed by one of the licencees of Monotype Imaging.This software is a valuable asset of Monotype Imaging. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to use on up to five (5) workstation for your own publishing use. You may not copy or distribute this software.If you have any questions concerning your rights you should review the license agreement you received with the software or contact Monotype Imaging for a copy of the license agreement.General information:www.fonts.comFor license terms and usage rights, please visit our web site at:www.monotypeimaging.com/html/type/license.htmlLizenzbedingungen und Nutzungsrechte finden Sie auf unserer Webseite:www.monotypeimaging.com/html/type/license.htmlPour plus d'informations concernant les droits d'utilisation et les questions contractuelles, veuillez consultez notre site:www.monotypeimaging.com/html/type/license.htmlPara obtener informacin acerca de los trminos de licencia y los derechos de uso, visite nuestro sitio en el Web en:www.monotypeimaging.com/html/type/license.htmlPer le condizioni contrattuali ed i diritti d'uso, visitate il nostro sito web all'indirizzo:www.monotypeimaging.com/html/type/license.html
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Wilma Mankiller old Lt SmCnStyle
Light SemiCondensedVersion
Chung deh TienAuthor
Art Director Roy Boney. Unicode platform by Chris Harvey ( www.languagegeek.com ) & typeface design by Chung deh TienTrademark
Willma Mankiller old is a trademark of Chung deh Tien.Copyright
Copyright (c) 2012 by Chung deh Tien. All rights reserved.Description
Copyright (c) 2012 by Chung deh Tien. All rights reserved.License
LICENSE AGREEMENT This typeface is the property of Chung deh Tien and its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Cherokee Nation or Chung deh Tien. or one of his associates who have help create this typeface. Cherokee nation, Native americans, Aboriginal community members and projects relating to Aboriginal languages are the only ones who are allow to distribute the font freely and can use it in any and all context. This, as well as download, copy, share freely as long as they desire. All others must Contact Chung deh Tien at firstname.lastname@example.com to get this distribution permission.This font took a lot of work to make, so please, if you are not Native American or someone who have not entered into a specific license agreement granting you additional rights, your use of this software is limited to your workstation for your own publishing use. You may not copy or distribute this software.
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Diego Aravena SiloAuthor
Diego Aravena SiloTrademark
D Sert Alt SemiBold is a trademark of Diego Aravena Silo.Copyright
Copyright (c) 2014 by Diego Aravena Silo. All rights reserved.Description
Copyright (c) 2014 by Diego Aravena Silo. All rights reserved.
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Saya FY is a trademark of FONTYOU.Copyright
Copyright (c) 2013 by FONTYOU. All rights reserved.www.fontyou.comDescription
LETTERING by Adrien Midzic, TYPEFACE by Jeremie Hornus and Alisa Nowak, FONT by FONTYOULicense
A copy of the END USER LICENSE AGREEMENT to this font software can be found online at shop.fontyou.com/#url=/contents/terms/03072013
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Svet SimovTrademark
Nexa Slab Bold Italic is a trademark of Fontfabric.Copyright
Copyright (c) 2013 by Fontfabric. All rights reserved.Description
Copyright (c) 2013 by Fontfabric. All rights reserved.
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Jeremy DooleyAuthor
Jeremy DooleyTrademark
Torcao is a trademark of Jeremy Dooley.Copyright
Copyright (c) 2013 by Jeremy Dooley. All rights reserved.Description
Copyright (c) 2013 by Jeremy Dooley. All rights reserved.
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Ryoichi TsunekawaAuthor
Ryoichi TsunekawaTrademark
Rama Slab E Light is a trademark of Ryoichi Tsunekawa.Copyright
Copyright (c) 2011 by Ryoichi Tsunekawa. All rights reserved.Description
Copyright (c) 2011 by Ryoichi Tsunekawa. All rights reserved.
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Ray LarabieTrademark
Xirod is a trademark of Typodermic Fonts Inc.Copyright
(c) 2004-2012 Typodermic Fonts Inc. See attached license agreement. If agreement is missing visit typodermicfonts.com for more info. This font is part of the Larabie Fonts collection from Typodermic Fonts.Description
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Ray LarabieAuthor
Ray LarabieTrademark
Rimouski is a trademark of Typodermic FontsCopyright
Copyright (c) 2005 Typodermic Fonts. This font is not freely distributable. Visit typodermic.com for more info.Description
Please read the current Typodermic Fonts license agreement at http://www.typodermic.com/license.html
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1.00 August 16, 2012, initial releaseCopyright
Made with Scanahand. Copyright FontPanda.com 2012. All Rights Reserved.Description
This font was created using Scanahand from High-Logic.com
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1.00 December 20, 2011, initial releaseAuthor
Julia Martinez Diana AntipixelCopyright
Typeface (your company). 2011. All Rights ReservedDescription
This font was created using FontCreator 5.6 from High-Logic.comLicense
Free for personal use Gratis para uso personal
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1.00 January 13, 2015, initial releaseCompany
Sughayer Foundry , 2015Author
Sughayer Foundry , 2015Trademark
Ambassador is a trademark of Sughayer Foundry , 2014.Copyright
Copyright (c) Sughayer Foundry ,2015. All rights reserved.Description
This font was created using FontCreator 8.0 from High-Logic.comLicense
Free for personal use. If you want an autorization for commercial use, media use or reproduction use contact me before through:- (firstname.lastname@example.com)thank you, enjoy.
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Mns GrebckAuthor
Mns GrebckTrademark
Ringer is a trademark of Mns Grebck.Copyright
Copyright (c) 2011 by Mns Grebck. All rights reserved. Personal use only! Mail firstname.lastname@example.com for commercial license.Description
Copyright (c) 2011 by Mns Grebck. All rights reserved.License
Personal use only! Mail firstname.lastname@example.com for commercial license.
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Yefimov SerifStyle
ParaType LtdAuthor
Vladimir Yefimov, Marya Selezeneva, Alexandra KorolkovaTrademark
Yefimov is a trademark of ParaType Inc.Copyright
Copyright 2014 ParaType Inc., ParaType Ltd. All rights reserved.Description
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Veronika Burian, Jos ScaglioneTrademark
Abril Fatface is a trademark of TypeTogether.Copyright
Copyright (c) 2011 by TypeTogether. All rights reserved.Description
Copyright (c) 2011 by TypeTogether. All rights reserved.License
IMPORTANT - PLEASE READ CAREFULLY: This end user License Agreement (hereinafter, EULA, License, Agreement or License Agreement) is a legal agreement between you and TypeTogether for the product, designs and software that accompany this Agreement, and is also applicable to any media, printed materials, electronic documentation, updates add-ons, web services and any other material that may be associated with the product now or in the future. By downloading the Font Software or opening the package, installing, copying, accessing or otherwise using the Font Software, you agree to be bound by the terms of this Agreement. If you do not agree to the terms of this Agreement, do not purchase this License, download, install, access or use the Font Software. If you have purchased a License to use the Font Software in a sealed retail package and do not agree to the terms of this Agreement, return it unopened to the place of purchase for a full refund.grant of licence1.Upon payment in full, TypeTogether grants you a non-exclusive, terminable License to use the Font Software (Font[s]) and the designs embodied therein together with any accompanying documentation, each in accordance with the terms and conditions of this Agreement. This License allows use of the Font Software with not more than five (5) Users at one (1) geographic location. Use of the Font Software on a portable computer is permitted provided that the portable computer is owned by a licensed User and is not used in excess of the Users licensed under this Agreement. If you purchase a License to use the Font Software with more than 5 Users, you may install the Font Software on the computers of the number of Users and geographic locations identified in the Order Receipt which is returned to you by email. Use of the Font Software at more than one geographic location requires the purchase of a License Upgrade. If at any time your use of the Font Software exceeds that permitted in the applicable License, you agree to immediately notify TypeTogether and purchase the appropriate License Upgrade. TypeTogether reserves the right to determine the terms, conditions and pricing for any License Upgrades.2.One Back-up. You are permitted to make one (1) back-up copy of the Font Software for archival purposes only. Unauthorized sharing, lending, renting, sale, or other unauthorized use or misuse of the original Font Software and/or the back-up copy is a material breach of this Agreement and will result in immediate cancellation of this License. For example only, you are not permitted to alter the Font Software in any way, such as by decompiling, reverse engineering, disassembling, modification, or altering or changing the Font Software or any associated embedding bits or convert the Font Software for use as a webfont without prior written notice to and the express permission of TypeTogether.3.TypeTogether retains all right and title to the Font Software, the trademarks, copyrights and the designs embodied in the Font Software. You agree not to copy the Font Software or create derivative works based upon the Font Software and/or the design of the Font. You are permitted to use the Font Software in the creation of Logos. You hereby agree that this term is contractual in nature and that the unauthorized use of the design of the Font and/or the Font Software shall be an infringement of TypeTogethers rights. 4.You are permitted to make a temporary copy of the Font Software for use by a commercial printer or service bureau solely for use in the production of your own materials. You are permitted to include a temporary copy the Font Software with a document solely for the purposes of your facilitating your personal printing and/or viewing of the document. 5.If you are a design consultancy, advertising agency, or purchasing this License for use by or on behalf of such an organization, the ultimate end user must also purchase a License for the intended use of the Font Software. Specifically, if your client will need copies of the Font Software, your client must also purchase a License. This license does not permit the temporary use of the Font Software by temporary employees, freelancers or independent contractors in excess of the number of Authorized Users. Specifically, you may not make additional temporary copies of the Font Software for temporary uses.6.Use of the TypeTogether Font Software in any of the following manners, among others without limitation, and/or applications is NOT permitted without first obtaining the appropriate License Upgrade: a)ALPHABET OR LETTERFORM-RELATED PRODUCTSFOR RESALE, OR LETTERFORM CREATION PRODUCTS OR DEVICES;b) EMBEDDING IN ELECTRONIC DEVICES; ELECTRONIC BOOKS, ALL GAMING USES AND/OR DEVICESc) EMBEDDING IN SOFTWARE;d)STORING, CACHING, SERVING OR OTHERWISE PROVIDING ACCESS TO THE FONT SOFTWARE TO THIRD PARTIES VIA THE INTERNET FOR USE OR DISPLAY ON THE INTERNET, IRRESPECTIVE OF THE FORMAT OR TECHNOLOGY USED; e)IN FOR THEATRICAL RELEASE FILM, TELEVISION OR BROADCAST VIA CABLE TELEVISION OR ON THE INTERNET. You are permitted to animate the Font Software using Flash animation in Flash type films;f)USE OF DINGBATS, OR IMAGES IN OR FORMING A PART OF THE USE OF THE FONT SOFTWARE ON GOODS FOR SALE SUCH AS T-SHIRTS, MUGS, ON DEMAND STATIONARY PRODUCTS etc.;g)USE OF ANY ILLUSTRATIONS EMBODIED IN THE FONT SOFTWARE ON PRODUCTS FOR SALE; andh)INSTALLATION OF THE FONT SOFTWARE ON A SERVER FOR SERVING TO USERS.Contact TypeTogether at: email@example.com and Other Forms of Embedding or Internet transmission is restricted. You are permitted to embed the Font Software in Adobe Acrobat (PDF) documents, solely for the purposes of presenting information and designs to others or for sending designs to a service bureau or printer for output or other preparation for production. You hereby agree that the Font Software shall be SUBSET when embedded and the PDF document shall be set as NON-EDITABLE. If you are not sure how to subset and create non-editable PDFs, contact Adobe or TypeTogether. The creation of more than 500 individual PDF documents requires the purchase of a License Upgrade, which may or may not be granted. You are not permitted to embed the entire character set or substantially all of the character set comprising any Font that is subject to this License. Use of Font Software in PDF documents for sale or products utilizing other forms of embedding of the Font Software for sale (for example as part of a commercial product such as a design template or an electronic book or use with a mobile device) requires the purchase of a License Upgrade. Embedding the Font Software in Web pages is permitted provided you use reasonable measures to ensure that the Font Software cannot be extracted. You may use the Font Software with web font technologies other than @fontface, slFR, Cufn or Typeface.js technologies. You are not permitted to use the Font Software in connection with embedded font objects or by any other means that embed the Font Software for the purposes of displaying the Fonts on the Internet or on wireless Web browsers except where the use is in Flash-type animations. If you wish to use the Font Software for such purposes, you must purchase a License Upgrade. You are permitted to use the Fonts to make GIF, JPEG, and PNG pixel-based images for use on the Internet provided that the image creation is not automated, the images are made personally by a Licensed User, and that no embedding or other transmission of the Font Software is made possible. 8.In the event you identify the Font Designs used on your products or work product, you hereby agree to identify the Font Software by trademark and the owner of the trademark in any such credits. All use of the trademark associated with the Font Software inures solely to the benefit of the trademark owner. No ownership right is granted by this License Agreement. TypeTogether reserves all rights.transfer of licence9.You are permitted to transfer this Licen
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1.00 May 8, 2011, initial releaseCompany
Juan CascoAuthor
Juan Casco, 2011Trademark
Juan Casco, 2011Copyright
Neue Goth Juan Casco: email@example.com
Free for personal use, personal use requires donation
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Ingrimayne TypeAuthor
Robert SchenkTrademark
NailsNStaples is a trademark of Ingrimayne Type.Copyright
Copyright (c) 1995, 2010 Robert Schenk. All rights reserved.Description
Copyright (c) 1995, 2010 Robert Schenk. All rights reserved.
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John StrackeCopyright
Created by John Stracke with PfaEdit 1.0 (http://pfaedit.sf.net). Released under the GNU Lesser General Public License (LGPL): http://www.thibault.org/fonts/isabella/License
Released under the GNU Lesser General Public License. You should have received a copy with the font, in the file named COPYING.


text:
Mascaras for me, is one of those products I'll never get tired of testing, but there are usually more disappointments than expected. I have fussy eyelashes.
I got a chance to try Sisley's newest offering, the So Intense mascara which is both adds volume and cares for the lashes at the same time.
Volume-boosting and lash-fortifying mascara using a brand new
Utilising Sisley technology to enhance length and thickness of bare lashes in just 4 weeks. Lashes are instanly coated and fuller. Day after day, lashes look longer, denser and more beautiful.
I love Sisley products even though they are on the premium side of the market – this costs £38 so it's definitely one of the most expensive mascara's I have ever tried.
Let's talk about the brush. It's like a comb mascara with spiky bristles. I like come mascara's very much – they suit my eyelashes which can be a bit thin and sparse as they really cover every lash, provided the brush is a good shape. Regular comb mascara's I find do not fit my eye shape and require a lot of wiggling for me to get my lashes into it = mess.
This spiky comb is excellent because of the way they are spaced and have the spiky ends, they work into the lashes very easily. When I've finished this mascara, I will definitely wash the brush and use it again for the brows or to comb through the lashes.
This mascara is pretty intense in that it is a. thickening and dense – the formula is very rich so even with one coat you can feel it covering your lashes and b. it is a very very dark true black.
I worry about any mascara that is heavy because my lashes do not like to hold curl. Surprisingly this was not an automatic droop – in fact it retained some curl which is surprising because it's counterparts such as Chanel Imitable and Dior Extase make my lashes flop immediately.
Having said that I am not saying it's a curling holding mascara mascara – on me it looks fine if you have natural curl this mascara will work beautifully on you and won't weigh them down.
Using one coat of mascara – additional coats will add more oomph. The lashes are quite separated with this mascara too;
This is not a waterproof mascara but it is smudgeproof – however I would refrain from using this in any 'wet / sweaty' situations!
In terms of lash fortifying – yeah my lashes do look healthy and stronger although I can't confirm this works like a lash serum it hasn't done mine any damage at all!
A very nice mascara but because it couldn't hold my curl really well it's not a HG for me. Someone with naturally long lashes with curl will love this as it gives good definition without looking gloopy.
This costs £38 and you can buy it here.
*PR Sample

subset: commoncrawl


text:
Title: 'Crazy Little Called Love' (Tagalog Sub/Version)
Released: 2011
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(CNN) -- Congressman Barney Frank is taking some major heat for making a serious accusation against Supreme Court Justice Antonin Scalia.
Rep. Barney Frank cites a Supreme Court justice's legal opinions in calling him a homophobe.
"I do think this argument that it is unconstitutional for the federal government to pick and choose as to which marriages it will accept is a good one. At some point that's going to have to go to the United States Supreme Court," Frank told the Web site 365gay.com on Friday.
"I wouldn't want it to go to the United States Supreme Court now because that homophobe Antonin Scalia's got too many votes on this current court."
Frank, D-Massachusetts, explained his remark during an interview Wednesday with host John Roberts on CNN's "American Morning."
John Roberts: Congressman Frank, you made a pretty pointed accusation there. What's the basis for that charge?
Rep. Barney Frank: Two opinions written by Justice Scalia in which he makes it very clear that he thinks it's a terrible idea for people who are gay or lesbian to have equal rights. It's not based on his views on marriage. Obviously, there's a legitimate debate about marriage. Watch Frank make his case against Scalia »
A few years ago, the state of Texas tried to send to prison two men who had private, consenting sex in their own bedroom. And the majority on the court said, "That's unconstitutional. That's an invasion of privacy."
Justice (Clarence) Thomas said, "Well, I think it's a silly law. I would have voted against it, but I don't think the Constitution prohibits it."
Justice Scalia wrote a long, angry dissent in which he made it very clear he thought it was a perfectly good law and that, in fact, homosexuals, as he refers to us, are bad people, and the notion that there ought to be any kind of legal protections is a mistake.
In an earlier case in Colorado, in which he again vigorously denounced the majority in the court for finding that it was unconstitutional to discriminate against people, again, not in marriage but a basis of their political rights, he said, "Well, of course, we disapprove this. We often disapprove of things like murder." I mean, literally, when he was looking for comparisons to the public disapproval of homosexuality, the first thing he said was murder.
So unlike many people who have different legitimate views on this, I urge people to read those two opinions in the Colorado case, the Romer case and the Lawrence case. And, again, there is just no question about his absolute view that ... homosexuals are bad people that shouldn't be treated equally.
amFIX: React to Frank's comments on Scalia
Roberts: Well, let's take the Lawrence v. Texas case then, if we could. In his dissenting opinion he said, "Today's opinion is the product of a court that has largely signed on to the so-called homosexual agenda, by which I mean the agenda promoted by some homosexual activists directed at eliminating the moral opprobrium that is traditionally attached to homosexual conduct."
But what he was doing in that dissent, according to him, was complaining about judges, not elected officials, deciding questions about morality.
Frank: No.
Roberts: Scalia went on to write, "It is clear from this that the court has taken sides in the culture war."
Frank: Yes.
Roberts: So if he is talking here about -- he is upset that the court is deciding this as opposed to elected officials deciding it, how is that homophobic?
Frank: Because ... you forgot to mention the issue here. It isn't whether or not homosexuality is a nice thing. It is whether two men in the privacy of their own bedroom, two men who live together, two adults, should be facing prison because they had intimate relations.
Now, Justice Thomas said it's a silly law. Justice Scalia said, "Oh, no, because we" -- the phrase you quoted is in the context of justifying sending people to prison because they have consenting sex in private because he disapproves of homosexuality. The court wasn't taking sides in a culture war. The very way that he frames it is that.
In other words, he believes that when six of his colleagues said, "No, the Constitution protects privacy, and you do not allow people to go to jail for private, consenting sex," that that's taking sides in the culture war.
So the very fact that he frames it that way is his argument. He is so angry about those of us who are maybe gay or lesbian that he thinks it takes sides in the culture war to say people shouldn't be imprisoned for private sexual acts.
Roberts: And let me get to the point that you were making when you gave that interview, the Defense of Marriage Act. You say that it's going to come before the court at some point.
The Defense of Marriage Act passed overwhelmingly in the House and the Senate. It was signed by a Democratic president.
The National Review online, talking about what you said regarding Justice Scalia, pointed that out and went on to add, quote, "Millions and millions of voters in state after state have acted to preserve traditional marriage. Does Congressman Frank regard all of these Americans as homophobes?
Frank: No, as I just said -- no. I've already answered your question.
No, I just differentiated between Justice Scalia and Justice Thomas. Justice Thomas said it's a silly law to send people to prison because of private, consenting sex. Scalia basically says "Yes, that's where they belong." So that's exactly the case.
No, people have, as I said, legitimate rights to differ over the constitutionality of marriage. My point is that Scalia is so anti people who are homosexual that he will argue so vehemently there that I'd rather not have him have the influence.
But I was talking about his attitude in cases which had to do with political rights in Colorado and sending people to prison. That's very different than the question about marriage.
Roberts: And we should point out, too, that we reached out to Justice Scalia for comment. They declined comment on this, but perhaps we'll hear from him at some point down the line.
Frank: Well, in fairness to Justice Scalia, I obviously was very critical of him. But Supreme Court justices are supposed to argue through their opinions. And that's why I'm not referring to any private comments he made but to his opinions.
And, again, the issue in my mind is his vehement denunciation. Let's put it this way: He says it's taking sides in the culture war if you don't send people to jail for having private, consenting sex. It's got nothing to do with marriage.
All About Barney Frank • Antonin Scalia • Gay and Lesbian Relationships


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Resources & Services
The Florida Court System provides resources and services to the public, court staff and members of the legal community. The following is a breakdown of those resources and services.
They are arranged alphabetically, and NOT by importance. Follow each link to get far greater information on each subject.
- Alternative Dispute Resolution
- Court Interpreters
- Court Reporting
- Court Technology
- Drug Courts
- Problem-Solving Courts
- Education and Outreach
- Emergency Preparedness
- Family Courts
- Judiciary Education
- Juror Information
- Jury Management


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If it were not so outrageous, the president�s and the media�s hysteria over the sequester would be comical.
To put things in perspective, assume that a family brings in $200 a week. They spend $300 a week, putting the extra $100 on the credit card. The loan officer tells them they have to cut spending by 3.2 percent �or $9.60 a week. They can�t reduce their mortgage payment or their car payment, which could represent up to half of the $300. Thus, the terrible burden of $9.60 must be taken from the other $150.
Give us a break. Families do this all the time. And, when things are tight, workers have had to take furloughs. In recent years, county employees, hospital employees and newspaper employees among others have been furloughed in Alamance County for brief periods of time. It was tough, but they got through.
The sequester, which was proposed by the president, was badly crafted because it does not allow managers the flexibility to cut where the fat is. But that doesn�t mean that the government doesn�t need to take a cleaver to outrageous spending. The sequester requires $85 billion in cuts�only $44 billion this year. That is a drop in the ocean when the government spends $1 trillion more than it takes in each year.
We had a $60 billion tax increase imposed in January and promptly spent it all on Hurricane Sandy relief, funding of failing Head Start programs, government cars, and a new roof for the Smithsonian.
The hole gets deeper and deeper.


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Electronic components are basic electronic element or electronic parts usually packaged in a discrete form with two or more connecting leads or metallic pads. Electronic Components are intended to be connected together, usually by soldering to a printed circuit board (PCB), to create an electronic circuit with a particular function.
Ronald Vester
2017/4/24 11:52:19
Free PCB Board by ALLPCB Sponsorship
2017/5/16 12:01:06
Lead-free Solder Paste for 0402 Metric Chip Components
2017/2/2 1:56:32
2017/5/26 16:36:54
Seven common methods for making PCB CCL
2019/5/31 15:00:50
How to Use Allegro to Design Multi-layer PCBs?
2019/1/29 16:14:08
Impedance Matching in High Speed PCB Design
2019/1/29 15:12:52
Brief Talk About Heat Dissipation Of Aluminum PCB and Its Design Method
2019/1/29 11:00:41


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Or download our app "Guided Lessons by Education.com" on your device's app store.
Make a Butterfly Habitat
How would your child like to keep a butterfly as a pet? Create a habitat for a butterfly right in your own home, backyard, or enclosed patio, and your child can enjoy butterflies coming and going all day long! This is actually a simple project that's easy to maintain. It just takes a little patience and some butterfly knowledge to make this real-life science experiment a success.
What You Need:
- Netting (indoors only), such as a piece of tight knit mesh or a net colander from a discount shop
- Flat, plastic or wooden tray around 2' x 2' feet (indoors only)
- Butterfly larvae (available at pet stores) or caterpillars (Note: if this is an indoor habitat, it must include caterpillar or larvae)
- Flowers native to your area
- Twigs
- Leaves
- Dirt
- Small plastic dish
- Salt
- Manure (optional)
- Access to the Internet or library
What You Do:
- First, decide on the location of your butterfly habitat. If you have a nice, sunny location outdoors, this should be your first choice. If you will be creating an indoor habitat, make sure you choose a safe location near a window that gets a good amount of sunshine.
- Butterflies are easy to attract, as long as you know what they like to eat. If you would like to attract butterflies, you will need to provide nectar plants (listed below).
- Help your child to do a little research on which butterflies are native to your region. A book from the library or an Internet search can reveal this information easily.
- Next, set up your habitat. For indoors, lay a flat surface board in the size of 2' x 2'.
- Lay down twigs, leaves, and a small plastic dish with a few drops of water.
- Place a few mounds of dirt, with a bit of water on each mound to make it muddy, in different spots around the habitat.
- Mold netting to a pyramid shape for a cover.
- Add larvae or butterflies and watch your habitat daily. Butterflies should lay eggs in and around mud mounds and larvae should go through the entire metamorphosis stage within the habitat.
- For outdoors, follow Step 4, excluding the netting part.
- Remember to replenish the food supply for your critters often so they can continue to get nutrition and grow. The indoor and outdoor habitat should get a sprinkling of water from time to time if the conditions are dry.
Butterfly Facts:
- Many butterfly species like these plants: butterfly bush, beauty bush, sunflowers, zinnias, snapdragons, lilacs, milk thistle.
- Larvae like leafy green vegetation.
- The body of a butterfly is divided into 3 main parts: thead, thorax (chest), and abdomen (bottom).
- Butterflies have 6 legs and 4 large, scaly wings.
- Butterflies go through four stages in life: egg, larvae (caterpillar), pupa (chrysalis), and butterfly.
- Butterflies live on nectar and pollen.
- There are over 28,000 species of butterflies in the world.


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Performing Arts
Area Stage offers another take on Anne Frank's familiar story
Frances Goodrich and Albert Hackett's 1955 play The Diary of Anne Frank is well known and much produced. Dreams of Anne Frank, a 1992 play-with-music by playwright-lyricist Bernard Kops and composer David Burman, is a lesser-known piece aimed at young audiences.
Area Stage in Coral Gables, known in part for its ambitious conservatory shows, has chosen the latter version for its newest professional production. The cast features Equity actor Carlos Orizondo as Anne's father Otto; adult actors Santiago Sierra (Mr. Van Daan), Javier Alcina (Mr. Dussel) and Yanina Aranes (Edith Frank); and students Andrea Ferro (Anne), Giancarlo Rodaz (Peter Van Daan), Stephanie de Quesada (Mrs. Van Daan) and Shelby Phillips (Margot Frank).
Director John Rodaz, who also designed the impressive set and lighting, has put together a production that is expressionistic, appropriately dreamlike and at times haunting. But the show's roots as a play aimed at younger theatergoers sometimes undermine it. Playfulness is one thing, absurd silliness another, and Kops' just-serviceable script contains both.
The characters familiar from Frank's The Diary of a Young Girl and the Goodrich-Hackett play are present in the hidden Amsterdam annex attic that was home to the Franks, the Van Daans and Dussel the dentist from 1942 until betrayal sent them all to concentration camps in 1944 (Miep Gies, who helped the families and found Anne's diary after the war's end, isn't depicted ).
Choreographer Danielle Kipnis uses movement to suggest the tedium of that life and the moments that break it: Otto and Edith Frank dancing close as Anne belts the Howard Dietz-Arthur Schwartz ballad Dancing in the Dark, Anne and Mrs. Van Daan skittering among Black Forest "trees" (the other actors) toward a gingerbread house and so on.
Musical director-pianist Rick Kaydas and percussionist Riyan Hecker provide unobtrusive but atmospheric incidental music as well as accompanying the actors on such songs as Helping Hands, the peppy When the War Is Over and the not-quite-accurate Hitler Is Dead.
Orizondo anchors the cast as the stoic, responsible, empathetic Otto. Aranes, who sports a great period look, is a stronger actor than singer. Sierra and Alcina are both rather goofy. De Quesada, only a couple years older than the actor playing her son, isn't mature or nuanced enough to play the self-centered Mrs. Van Daan. Phillips is a sweet Margot, and Giancarlo Rodaz brings a deliberately awkward charm to Peter. As Anne, the pretty Ferro has the vocal chops to effectively deliver her songs (though a bit more dreaminess and longing would improve Dancing in the Dark), but the high school junior needs to relax and not push so hard when she's acting.
Dreams of Anne Frank has an educational as well as artistic purpose. It is aimed at enlightening young people about the harrowing truths of World War II and the Holocaust, while celebrating the power of courage and imagination as reflected in Anne's famous diary. But those who already know about this tragic time in history, those who know Anne's story, will take more away from Kops' play, which is painted in broad strokes as it tries to portray Anne's interior life and the fantasies that helped sustain her.


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Full Body Chair Fitness with NickiFit
Date of Event:
Thursday, March 16, 2017 9:00 am to 10:00 am
No matter your limitations, you can still reap the physical, mental, and emotional benefits of exercise. This class is designed to give you a total body workout. Cardio, strength, and flexibility exercises are all performed from a seated position.


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Steve Jobs has reportedly weighed in on the iOS in-app subscriptions controversy with one of his famously terse e-mails, but the latest one-liner from Apple's CEO doesn't clear things up. Responding to an iOS developer's inquiry, Jobs purportedly said apps such as Dropbox, Evernote, Salesforce and other similar software-as-a-service (SaaS) apps would not be required to use Apple's new in-app subscription service, according to MacRumors.
"We created subscriptions for publishing apps, not SaaS apps," Jobs reportedly said in the e-mail. Jobs' note comes soon after Readability -- an online service that allows you to save the text of articles for later reading offline -- complained in a blog post that Apple rejected its iOS app for failing to use the new in-app subscription service. Readability charges a recurring membership fee for its service and then distributes 70 percent of its profits to writers.
What is SaaS?
Apple appears to be drawing a distinct line between apps that deliver content to iOS users such as Rhapsody, Netflix or The New York Times, versus services that offer online document storage, note-taking services, business tools and other subscription-based software tools.
The thin digital line
The problem is that the line Apple draws between SaaS and content publishers may not be so clear. For starters, is Readability a SaaS or a publisher? It's true that Readability offers you news content, but is it publishing that content? Not really. There's little difference between bookmarking this article you're reading right now to access later using Readability or Instapaper or just highlighting the text, copying it into a text file and stashing it in Dropbox. Yes, the Dropbox method is a lot more work, but the end result is the same: a set of text articles set aside to read later. What's the difference? It would seem Apple believes one method is content publishing (Readability) and one is SaaS (Dropbox).
Are things really as they seem?
But there is one important thing to find out: Was Readability rejected for implementing an alternative to Apple's in-app purchase system or for not using the company's system at all?
Readability said in its blog post that it was rejected for violating section 11.2 of Apple's App Store Review Guidelines, which reads, "Apps utilizing a system other than the In App Purchase API (IAP) to purchase content, functionality, or services in an app will be rejected."
That guideline says nothing specific about in-app subscriptions (although it does mention "services"), but dings apps for using payments systems other than Apple's. A few lines down, Apple deals with subscriptions in section 11.11 saying, "Apps offering subscriptions must do so using IAP..."
But Readability wasn't rejected for section 11.11, according to its blog post; it was rejected for section 11.2. That's a significant difference, and it's not clear what's going on. If Readability was penalized for not implementing a payment system at all then you can easily complain about Apple's policies.
But if Apple just said, "Sorry, you can't use your own in-app payment system in your app, you must use Apple's," is it really that bad? Couldn't Readability just implement their app without a payment system, and allow existing members to sign in and pay outside of the app? Perhaps it couldn't since Apple has said that apps offering subscriptions must do so inside the app in addition to the service's own Website. But it's not really clear what's going on here or where Apple's problem with Readability lies. I have dropped Readability a note and will update this post should Readability respond.
Connect with Ian Paul ( @ianpaul ) and Today@PCWorld on Twitter for the latest tech news and analysis.


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I was getting a bit low on the previous Milk Punch, so it seemed like it was time for another batch. Hmmm… What if I use some of the same ingredients typically found in a Sazerac?
Sazerac Milk Punch
750ml Old Overholt Rye
750ml Wild Turkey Rye
375ml Smith & Cross Jamaican rum
7 Lemons
1 1/2 cups water
3 cups Sugar Florida Crystals Natural Sugar
1 Puerh Tea Disk
1 Quart Straus Farm Whole Milk
Combine the spirits in a container large enough to hold them and a little extra. Peel and juice 5 of the lemons. Add juice and peels to spirits and let stand for 2 days.
Steep tea in hot water for 5 mins and add sugar. Stir to dissolve. Strain out tea leaves and cool.
Strain Peels out of booze mixture. Add tea syrup to booze. Squeeze juice from remaining lemons and add to mixture. Heat milk to 145 degrees and add too mixture. Let stand for 30 minutes undisturbed.
Filter through cheesecloth, removing curdled milk solids.
Add absinthe until you can just begin to taste it.
Bottle in clean resealable containers and chill until you are ready to serve. Makes about 3 liters. To serve, pour over ice and top with 1 part soda to 2 parts punch.
Mrs. Flannestad remarked, "If you meant to make this taste boozy, you have succeeded." Not sure if it really tastes much like a Sazerac, but it does taste like a delicious Rye Whiskey Milk Punch. I was going to bring this along to tonight's Savoy Cocktail Book event, but clearly that would be very, very wrong with the new paradigm being enforced by the California Department of Alcohol and Beverage Control.
"Are My Favorite Bartenders Going to be Sent to Jail?"
"ABC Crackdown on Infused Liquors"
"Your Favorite Cocktail Could Get A Bartender Fined"
"State warns Bay Area bars not to infuse drinks"
Illegal Infusions: The Word Gets Out
And the best commentary I've seen so far, from Dinah and Joe over at Bibulo.us: Echoes of Prohibition. Well, Joe is an actual Lawyer…
So let me get this straight, Sangria is illegal!!?? Don't tell the Spanish! Any pre-prepared Punch forbidden? Jerry Thomas turns over in his grave and David Wondrich gets incrementally grayer! Any house made liqueur, tincture, or bitters is now verboten!? I'm so glad that vile commercial products made with corn syrup, artificial flavoring and artificial color are just fine and I can't make an infusion with actual fruit!!!
Basically any alcoholic mixture not mixed a la minute or involving an alcoholic ingredient not purchased through the distribution chain is against the rules?
Time to join the punch making, spirits infusing, speakeasy underground!


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YouTube tests skippable pre-roll ads
Behavioral lab rats wanted
Google has begun testing pre-roll advertisements that users can freely skip in a select number of videos on YouTube.
For an indefinite period of time, a small sample of videos on the website will now include a "skip this ad" button that ditches the pre-roll pitch completely.
On the surface it seems a rather half-baked scheme on Google's part. After all, exactly who would choose to sit through a pre-roll ad when they could simply click through and get on with the show? Well, that's apparently exactly what the company is wondering too.
Google is using the test as an opportunity to gather user data that may lead to a new advertising model based on YouTube user behavior, similar to how pricing and placement is determined for search ads.
YouTube said past dabbling with in-stream ads as early as 2007 showed that as many as 70 per cent of viewers abandoned a video when confronted with long, non-skippable pre-roll commercials, according to the company biz blog.
Skip to my YouTube, my darlin'
However, additional research showed that a variety of factors could increase the number of those willing to see the ad through. If pre-rolls are kept down to only 15 seconds, for example, abandonment rates dropped down to as low as 15 per cent. YouTube said the quality and relevance of the ad also plays a major role in retaining viewers.
YouTube reckons that advertisers are often willing to pay more money for an "engaged" opt-in view, versus a forced view like an in-stream ad. Results of the test would be useful in launching a cost per action advertising scheme, where advertisers pay only for a completed view of the ad, but at an increased rate.
The data could also be used to establish a scaled pricing model based on whether Google thinks an ad is more likely to be viewed or skipped.
YouTube viewers, meanwhile, would have more control over what they watch. The plan is just crazy enough to work - but only assuming there's enough people out there who won't be temped to click "skip" every time. ®


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Tired of tying up presses and personnel as you try to emulate the output of your printing equipment? Discover some powerful methods you can use to improve color matching with any CMYK inkset, substrate, or line count on any printing device.
By Mike Ruff
Here's a statement that many in the graphic-arts community will disagree with: Using a proofing system to simulate the appearance of a press's output has caused the loss of millions of dollars in labor and materials in our industry and has made potentially very profitable printers—the ones who really know how to print—unprofitable. Print-device simulation eats up man-hours and press time like Pac-Man gobbling his way through those little dots. A press should be used to produce sellable product and not be tied up by printers who are trying to simulate color appearance. Large- format presses, regardless of imaging technology, are simply not financially feasible proofing devices. You have other options.
Common sense will tell you that an 85-line/in. print and a 150-line/in. print won't match unless you adjust the tonal values to match. That's why the graphic-arts industry has international standards for color appearance. If a print facility were to conform to international standards, it would need two proofs to simulate the two different line counts. But why? Color management in prepress allows for the adjustment of tonal values, which ultimately leads to color matching. So why work with two proofs when you can just move the tonal values to a specific target? This simple approach to color matching makes it possible for many printers to match their many different print configurations to one standard.
Tonal-value adjustment allows colors produced by offset, screen printing, digital imaging, and other print technologies to match one another. All print devices can be standardized to one color target. A standardized color target can turn print shops into money- making machines. Such companies have a free, unrestricted workflow where litho, screen printing, and digital output all match the same color appearance at the correct viewing distance.
Did you enjoy this article? Click here to subscribe to the magazine.


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Nearby Cities
If there is anything that will stay with you until the end of your life, it is your body. Treat your body like a temple to your soul and it will never leave you till the last breath. Hit a gym or enroll for yoga classes. Perform strength and flexibility exercises. Heal your soul by learning the art of breathing techniques like pranayama or gong. Physical and Mental Health are interrelated and what could be better than performing asanas, learning yoga poses, self-defense techniques, meditation and pilate workshops for training both together.
Health is the ultimate wealth. Check out the Health & Wellness Events in Chungju.


text: Online UK Predictive Dialer Software is an automated system for when telephones are used to make a high volume of outgoing calls, commonly by call centers and telemarketers. The way this software differs from an automatic dialer is that in order to maximize efficiency, a Online UK Predictive Dialer uses complex algorithms based on the number of available agents, the frequency with which calls are answered and other factors. The Online UK Predictive Dialer Software here is offered under the SaaS (Software as a Service) model, meaning that the software is web based, hosted on the Cloud and can be accessed when needed through a client or web browser. If you're looking for similar online software like Online UK Predictive Dialer Software, consider our Call Center or Call Recording Software categories.


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Access billing info
Your Business account's billing information is managed by your admin, so reach out to them with questions.
Business-related billing information is only accessible to Admins within the Admin Console. To learn how to access this information, read our Admin Guide.
If you're curious about billing related to a Plus account, check out our Help Center.


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See what questions
a doctor would ask.
Intermittent gross hematuria: in intermittent gross hematuria blood may be visible, so that the urine appears reddish or darker than normal. See detailed information below for a list of 4 causes of Intermittent gross hematuria, including diseases and drug side effect causes.
» Review Causes of Intermittent gross hematuria: Causes
Home medical tests possibly related to Intermittent gross hematuria:
Real-life user stories relating to Intermittent gross hematuria:
Research the causes of these more general types of symptom:
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Research the causes of related medical symptoms such as:
Research the causes of these symptoms that are similar to, or related to, the symptom Intermittent gross hematuria:
The list below shows some of the causes of Intermittent gross hematuria mentioned in various sources:
See full list of 4 causes of Intermittent gross hematuria
This information refers to the general prevalence and incidence of these diseases, not to how likely they are to be the actual cause of Intermittent gross hematuria. Of the 4 causes of Intermittent gross hematuria that we have listed, we have the following prevalence/incidence information:
See the analysis of the prevalence of 4 causes of Intermittent gross hematuria
The following list of conditions have 'Intermittent gross hematuria' or similar listed as a symptom in our database. This computer-generated list may be inaccurate or incomplete. Always seek prompt professional medical advice about the cause of any symptom.
Select from the following alphabetical view of conditions which include a symptom of Intermittent gross hematuria or choose View All.
Ask or answer a question about symptoms or diseases at one of our free interactive user forums.
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Medical Conditions associated with Intermittent gross hematuria:
Urine symptoms (630 causes), Urinary system symptoms (1228 causes), Bleeding symptoms (1783 causes), Bladder symptoms (1010 causes), Urinary problems (1033 causes), Digestive symptoms (5299 causes), Abdominal symptoms (5930 causes), Urinary difficulty (648 causes), Sexual symptoms (1838 causes), Intercourse symptoms (258 causes), Lower abdominal symptoms (3048 causes)
Symptoms related to Intermittent gross hematuria:
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Dennis Newhall
Jazz Host
Dennis Newhall has worked as an announcer and program director at a number of popular stations including KZAP, KSFM, and KROY in Sacramento and KSJO in San Jose. His visibility in the community makes him a welcome addition to our jazz staff. Asked how he became aware of jazz, Dennis responded:
"My lifelong interest in popular and rock music began early on. I had the radio tuned to the new "Top 40" stations when Hound Dog was a hit in 1957. I was only six years old. In those days, kids were exposed to jazz while listening for the less sophisticated pop hits and novelty songs of the day. I might love hearing the Chipmunk Song and stay tuned for Take Five. Eventually, I looked forward more to Jimmy Smith's Walk on The Wild Side and didn't care so much about Alley Oop.
"At the end of high school, KZAP came on the air in Sacramento playing a wide variety of music, including jazz. Lots of CTI artists, Miles,'Trane, and some really way out stuff. By 1972, I was working at KZAP, adding more to my knowledge and working all kinds of jazz into my show. Back then, we were all excited about new artists like Al Di Meola, Larry Coryell, Chick Corea, and Pat Metheny. Whenever something new by Grover Washington, Jr. or Eddie Henderson came out, we were on it!
"I also found myself listening to the Bay Area's KJAZ whenever I got near enough to tune it in.
"Since its inception, I've been a fan of KXJZ's programming. Even before then,I used to tune in to Gary Vercelli's Jazz International when jazz was on late at night on KXPR. So, to be a member of the jazz staff, and to have an opportunity to immerse myself in what's going on in the world of jazz is really exciting for me."


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HMS Royal Sovereign 1892
Following the collapse of the French naval challenge in the 1860s after the construction of HMS Warrior and a new fleet of British ironclads, there was little public concern over the strength of the Royal Navy for another twenty years. With no obvious enemy and no clear naval policy, naval estimates remained low.
A brief naval scare occurred in 1884 when the editor of the Pall Mall Gazette, W.T. Stead, published a series of articles entitled 'The Truth about the Navy.' Based on conversations with Captain 'Jacky' Fisher Stead, highlighted the weaknesses of the navy and alleged France had a similar number of first-class battleships. Although some of Stead's claims were exaggerated, the government was forced to act and voted £5.4 million for new ships and coaling stations. These ships were the last ironclads built for the Royal Navy, at the end of a period when there was much confusion over the best ship design.
Rumours of a possible Franco-Russian alliance in the late 1880s heightened public apprehension and a report on the 1888 naval manoeuvres revealed shortcomings in many aspects of the navy. Reluctantly Lord Salisbury, the Prime Minister, authorised the formal adoption of the two-power standard, whereby Britain possessed the same strength in major fighting ships as the next two naval powers. Under the 1889 Naval Defence Act, a huge sum of £21 million was earmarked for the construction of ten battleships, forty-two cruisers and other vessels over the next five years.
The seven Royal Sovereign first-class battleships, which became the template for capital ships until the revolutionary HMS Dreadnought in 1906, embodied this new policy. The brainchild of famous warship designer Sir William White, the Royal Sovereigns set new standards for firepower, armour and speed. The main armament of four 343mm guns was housed in two barbettes, rather than turrets, at either end of the ship. The choice of barbettes permitted a high freeboard for seaworthiness, one of the outstanding features of the design. An enhanced secondary armament of ten 152mm quick firing guns was adopted, mounted along the sides of the ship. The increasing power of such weapons made them more important in battle than larger guns with a slower rate of fire.
The main armour belt extended over two-thirds the length of the ship and was longer and deeper than in previous battleships, while the lighter armour above the belt was based on tests conducted on the old ironclad Resistance. Despite the larger hull, speed was increased to a maximum of 17½ knots making them the fastest capital ships afloat.
When the 14,150-ton Royal Sovereign was completed in 1892, she was the largest warship in the world. In delivering ships of unparalleled fighting efficiency, White dispelled the notion that guns and torpedoes were more effective in defence than attack and confirmed the pivotal role of the battleship.
During her career Royal Sovereign served in the Channel Squadron and the Mediterranean Fleet. Since a large number of the class were built, the Royal Sovereigns operated in uniform squadrons greatly increasing their effectiveness. This had not been possible with capital ships since the age of sail, because of the variety of types during the ironclad era. Placed in reserve in 1907, Royal Sovereign was paid off into the Material Reserve in 1909. She was sold for scrap on the eve of the First World War.
Further reading:
- D.K. Brown, The History of the Royal Corps of Naval Constructors 1883 - 1983(London: 1983). R.A. Burt, British Battleships, 1889 - 1904 (London, 1988). A.D. Lambert, "The Shield of Empire, 1815-1895" and D. K. Brown, "Wood, Sails, and Cannonballs to Steel, Steam, and Shells, 1815-1895" in J.R. Hill (Ed.). The Oxford Illustrated History of the Royal Navy (Oxford, 1995).
|Period in service:
|1892 - 1913
|14,150 tons
|115.6m / 380ft
|22.86m / 75ft
|17.5 kts
|4 x 13.5 inch guns 10 x 6 inch guns 16 x 6 pounder quick firing guns 12 x 3 pounder quick firing guns 7 x 18 inch torpedo tubes
4-18 inch belt, 17 inch barbettes
|Sister ships:
|Emperor of India, Ramillies, Repulse, Resolution, Revenge, Royal Oak
Notes: The barbette was an armoured cylinder, which protected the ammunition hoists and the turning mechanism. The breeches of the guns ran back under cover to be loaded using hydraulic machinery.


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The Network Institute is a collaboration between researchers in Computer Science, the Social Sciences, the Humanities, Economics, Law and Philosophy.
The Network Institute studies the technological, economic, social and communicative aspects of networks. It brings together a unique combination of scientists from informatics, social sciences and humanities. There is new science to explore, in order to understand and deal with our increasingly connected world.


text:
Break-away from a standard/template approach to make it easier, faster and cheaper for you to design, customize and manage the brand experience based on the growing needs of your customers.
Work more efficiently and effectively with AI by automating tasks and making recommendations, combined with meticulously designed tools that simplify marketing, merchandising and daily operations.
Minimize risk and security concerns so you can focus on the things that matter most, your customers and continuously innovating on the customer experience.
IBM enables companies to scale and adapt quickly to changing business needs without compromising security, privacy or risk levels when using IBM cloud offerings.Learn more about IBM Cloud security


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Reviewed by Baylee R. (age 11)
I thought Girl Overboard was an awesome book because it was kind of like a roller coaster; it would go from happy to sad to funny! One of the characters is like me because she is very stylish and she is a very good friend just like me! I even learned a little about what it takes to be a Marine Biologist. Did you know that when a dolphin in captivity is first born someone has to watch it for about two days? Which I think would be so cool, don't you?
My favorite part of this book is when Marina and Link watch the new baby dolphin to make sure it wouldn't get hurt. This was an interesting part of the story because Marina and Link showed how they are such good friends.
I think this would be a great book for girls between the ages ten to fourteen years old because this tells about some drama about boys and how you could fix it.


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Accusoft Pegasus, has released its ImageGear for Silverlight v18. Built with Silverlight 4, ImageGear for Silverlight is a tool for building high-performance, custom imaging applications. ImageGear for Silverlight v18 allows ImageGear for Silverlight v18 to enable printing and scanning functionality. Users can print images directly from Silverlight applications, with complete control over the print layout, and acquire images from TWAIN scanners, when running locally.
Additionally, the v18 release includes enhancements to the pageview control. New drag-and-drop events and multi-touch display support has ImageGear ready for the next generation of touch-based devices. Also with this release, support for DICOM Presentation State allows image display and annotations to stay in accordance with presentation state definition.
ImageGear for Silverlight is a fully-managed solution that runs on the client system, enabling continued operation when disconnected. Server-side processing is expensive, complex and time consuming, and ImageGear for Silverlight can reduce data center expenses by migrating the processing to the client systems. Using this Silverlight SDK, developers can implement a single UI that lets users view more than 100 image file types, including raster files such as TIFF, JPEG and Camera RAW.


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With her most recent commission, Cincinnati's Contemporary Arts Center, architect Zaha Hadid becomes the first woman ever to design an American museum. This long awaited first monograph on one of the world's most important architects collects Hadid's entire oeuvre-more than 80 built and unbuilt projects over 20 years- in one significant volume.
Throughout her training at London's Architectural Association, and her work with Rem Koolhaas at OMA, to the establishment of her own worldwide architectural practice, Zaha Hadid has been acclaimed for her vanguard architectonic language. Only a handful of her projects have been built-all to great critical success- and each new project astonishes the world of design with its commitment to revolutionary forms and ideas. As a result, she has an enormous following of students and practitioners, visionaries and builders


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I was just browsing on eBay a few times and found some reallllllly good prices on games and consoles especially the retro ones and thought if anyone wants to post links on this thread it might be good for others to find the deals and buy stuff. so if u hav any listings that r good just post em here if u want.
codboy....do you happen to own a xbox360?
do you happen to play call of duty on that xbox360?
are you related to codkid?
D*** n balls.
When making d*** and ball structures.
D*** n balls.
I think they are better to play with than COD
sadly i was expecting these type of replies from this community. such a downer.
Stop thinking you're so f*****g superior over people.
No thank you codboy. I am good with my retro games needs, I use steam.
sadly i was expecting these type of replies from this community. such a downer.
We've had multiple threads on this kind of subject though, and every game related thread gets bombarded with "where to buy cheap". So I don't really see the need to make another.


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Concerns about job security increased in Q4 2012 to match worries about the economy, according to findings from the Nielsen Global Survey of Consumer Confidence and Spending Intentions. Fifteen percent of global online respondents were worried about the economy in Q4, a decline of three percentage points from the same period in 2011, while concerns about employment held steady at 15 percent. Differences, however, prevailed by region.
The level of economic worry remained most prevalent among North American respondents (26%)—double the level of concern over job security (13%). The opposite was expressed by both Middle East/Africa and Latin American respondents, who said they were most concerned about employment status. Twenty-two percent of Middle East/Africa respondents said job security was the biggest concern in Q4, followed by fears over the economy (12%). In Latin America, anxiety about job security (19%) was nearly double the level of stress over the economy (10%).
The Nielsen Global Survey of Consumer Confidence and Spending Intentions measures consumer confidence, major concerns and spending intentions among more than 29,000 respondents with Internet access in 58 countries.
Eight percent of global respondents said they were most concerned about increasing food prices and utility bills in Q4, rising one and two points, respectively, from the same period in 2011. Work/life balance concerns (9%) and health worries (7%) both declined by one percentage point from Q4 2011.
Fewer North American respondents were concerned about debt in Q4 on a year-over-year basis, declining six percentage points from the same period in 2011, while worries about crime among Latin Americans increased five percentage points year-over-year. In Middle East/Africa, political concerns declined four percentage points to 8 percent.
Other notable findings include:
For more detail and insight, download Nielsen's Q4 2012 Global Consumer Confidence Report.
The Nielsen Global Survey of Consumer Confidence and Spending Intentions was conducted Nov. 10-27, 2012 and polled more than 29,000 online consumers in 58 countries throughout Asia-Pacific, Europe, Latin America, the Middle East, Africa and North America. The sample has quotas based on age and sex for each country based on their Internet users, and is weighted to be representative of Internet consumers and has a maximum margin of error of ±0.6%. This Nielsen survey is based on the behavior of respondents with online access only. Internet penetration rates vary by country. Nielsen uses a minimum reporting standard of 60 percent Internet penetration or 10 million online population for survey inclusion. The China Consumer Confidence Index is compiled from a separate mixed methodology survey among 3,500 respondents in China. The Nielsen Global Survey, which includes the Global Consumer Confidence Index, was established in 2005.


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"Royal" shows will be presented this weekend and throughout the summer at Shawnee Playhouse, Shawnee-on-Delaware.
"Royal" shows will be presented this weekend and throughout the summer at Shawnee Playhouse, Shawnee-on-Delaware.
Disney's "Beauty and the Beast Jr.," 7 p.m. today, 10 a.m. Saturday and Wednesday. The brainy and beautiful Belle yearns to escape her provincial life and her brute of a suitor, Gaston. However, Belle gets more adventure than she wanted when she becomes a captive in the beast's enchanted castle. The production, which features songs such as "Be Our Guest" and "Beauty and the Beast," runs through Aug. 24. Tickets are $10. "The Emperor's New Clothes," 10 a.m. today and Thursday. Emperor Marcus the Third wonders how he can run an empire when he's only 14 years old. In an attempt to appear more mature to his people, he accepts the credo that "clothes make the man," but soon finds himself the center of a hoax. He gets into a royal mess, and finds that no matter how large or small someone appears, it's what's inside — a person's heart — that counts. The show runs through Aug. 23. Tickets are $10. "The King and I," 8 p.m. Saturday and Wednesday. In the 1860s, the King of Siam engages Anna to teach his royal princes and princesses. As the story unfolds, Anna feels she and her son must leave Siam, and prepares to return to England. Before she can leave, the King falls ill. On his death bed, the King implores her to stay on in Siam, and the royal children join his plea. The show runs through Aug. 24. Tickets are $28 for adults, $25 for seniors and $15 for children. "Broadway Cabaret," 7 p.m. Thursday. Actors perform some of the best-loved songs from the "Great White Way." A second cabaret show, "A Few of Our Favorite Things," will take place at 7 p.m. Aug. 22. Admission is $8.
For information or to purchase tickets for any of the shows, call 570-421-5093 or visit theshawneeplayhouse.com.


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A collection of images and other items from Disneyland, theme parks and other amusement parks. Also look for images and items I find interesting, amusing or both.
We have just added your latest post "Swimming Under the Sea" to our Directory of Sports You can check the inclusion of the post here . We are delighted to invite you to submit all your future posts to the directory and get a huge base of visitors to your website.
Warm Regards
Sportstrove.info Team
These are GREAT, heck the weird '70's film stock just add's to the mood! This is exactly how I remember the Sub's, ah the smell of Diesel Fumes, Chlorine, dank-dampness and A/C that never worked good enough - ah the good old days! The one with the lobsters(?) fighting is cool, I'm pretty sure they are still there today somewhere! Thanks for sharing these!
I wonder if these were taken late in the day as well? Or perhaps it was overcast. In any case they are very welcome!
The fighting crabs! One of my favorite parts of the sub ride.
I love that first shot, with that multi-layer effect! Thank you for posting these and all the rest of these pictures!


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Free Entry
A Brisbane bayside soldier statue memorial has had a harsh life in serving to remind its community of the 16 local men who died in WWI. The original Carrara marble soldier statue above a plinth was unveiled by state parliamentarian WH Barnes MLA in March 1921. The designer and stonemason are unrecorded.
Names on the front of the plinth are those of men from Manly who died in WWI. The western face bears the names of locals who died in WWII.
Years of vandalism culminated in the marble statue being pulled from the pedestal and the head broken off in 1992.
A concrete replica replaced the statue in 2007.


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Violence and Narcissism: A Frommian Perspective on Destructiveness under Authoritarianism
Keywords: narcissism , violence , destructiveness , authoritarianism , Erich Fromm
This article offers a sympathetic appraisal of Erich Fromm's concept of narcissism as it relates to the emergence, sustenance, and resolution of authoritarian violence. The discussion is first placed within the methodological debate over the analytic operations that are required for an adequate understanding of authoritarian violence, explaining why a psychoanalytic perspective is necessary.The focus then shifts to Fromm's take on the Freudian concept of narcissism,before proceeding to explore in some depth his account of the symbolic mechanisms and contextual climate that must combine in practice in order for narcissistic energies to be channeled into authoritarianism and violence. Attention in this regard is paid both to the populace and governing elites. The article concludes with a short exposition of Fromm's notion of benign narcissism, from its specific content to the conditions of its possibility.


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Forget sleep; this is Sunday Morning Staying Up.
If you've partied hard or you're preparing to do so, always ensure you have good friends, good music, good vibes and good times.
This is Good Times; your happy place chockablock with party starters and dance floor fillers, indie killers, secret weapons and super surprise nuggets.
Get around it and get into it and let the good times roll.


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From GODORT
Daniel 16:48, 31 December 2007 (CST) Looks like people are off to a good start with this. Is this meant to copy or to replace the current version of the Handout Exchange? I'm asking to see if I need to change my links once this version is done.
Pending discussion at the Midwinter Meeting, the intent is to copy and then replace the current version of the Exchange. The idea is that a wiki version will be simpler to maintain (multiple editors) and add content (as contributors can add and revise links themselves).Jmburroughs 15:13, 2 January 2008 (CST)
Daniel 17:18, 2 January 2008 (CST) That sounds like a great idea! Looking forward to hearing how the discussion turns out.


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Pre-Medical Professions
Click to Schedule a Personal Tour Click to Find out more about VU Click to get Started and Apply Now
Physician Assistants
Physician assistants (PAs) do routine and emergency tasks under the supervision of a doctor. They are trained to deal with many medical emergencies and perform a wide range of duties including: performing physical examinations; ordering lab tests, prescribing medications, setting simple fractures, and assisting in surgery. In areas where doctors are in short supply, PA's may be the only providers of health care
Medical doctors maintain or restore human health through the practice of medicine. He or she will diagnose and treat human disease, ailments, injuries, pain or other conditions. A doctor can be found in several settings, including public health organizations, teaching facilities, private practices, group practices and hospitals.
Pre-Physical Therapist
Physical Therapists help injured or ill people improve their movement and manage their pain. These therapists are often an important part of the rehabilitation, treatment, and prevention of patients with chronic conditions, illnesses, or injuries. Physical therapists typically work in private offices and clinics, hospitals, and nursing homes. They spend much of their time on their feet, actively working with patients.
A chiropractor is a health care professional focused on the diagnosis and treatment neuromuscular disorders, with an emphasis on treatment through manual adjustment and/or manipulation of the spine. Most chiropractors seek to reduce pain and improve the functionality of patients as well as to educate them on how they can account for their own health via exercise, ergonomics and other therapies to treat back pain.
Opportunities Abound
All of these medical careers require a Bachelor's Degree prior to admission to the program. By taking the first two years at VU, you will be in the type of environment you need to build a solid foundation for your Bachelor's Degree.
Learn more about the courses required for this program
For more information about this program, please contact Professor Curt Coffman at 812-888-4373 or firstname.lastname@example.com.


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Calgary's Best Soup
Last week, I put a call out on Twitter asking people to name their favourite soup in the city, looking for a little help with my research. I expected a sprinkling of responses, but what I got was a deluge. It turns out us Calgarians are soup superfans, and opinions run strong and plentiful.
Soup season has barely started and runs a long time so why not branch out and try some of the great suggestions put forward by the soup aficionados? Pho – Vietnamese noodle soup — is a huge fan favourite, the wor wonton at King's got many mentions and Caffe Rosso seems to have soup dialed in as several of its soups garnered mentions. Cassis Bistro and Catch also got general props for their soup-making skills.
So here they are, 21 of them, not ranked or rated — just highly recommended.
Borscht from Perogy boyz. (food truck, perogyboyz.com, @perogyboyz)
French onion at Caesar's Steakhouse. (512 4 Ave. S.W., 403-264-1222, caesarssteakhouse.com)
Beachfront hot pot at The Coup. (924 17 Ave. S.W., 403-541-1041, thecoup.ca, @thecoupcalgary)
Italian wedding soup will warm your soul on a cold day. Photo by land_camera.
Italian wedding soup at the Primal Soup Company at the Kingsland Farmers' Market. (7711 Macleod Tr. S.W. 403-255-3276, kingslandfarmersmarkter.com)
Roasted Butternut and Sage at Sky 360. (101 9 Ave. S.W., 403-532-7966, sky360.ca)
Spicy Thai chicken at Caffe Rosso. (803 24 Ave. S.E., 403-971-1800 and Telus Convention Centre 140 8 Ave. S.E., caferosso.ca, @cafferosso)
Tomato bisque at Caffe Rosso. (803 24 Ave. S.E., 403-971-1800 and Telus Convention Centre 140 8 Ave. S.E., caferosso.ca, @cafferosso)
Fire roasted tomato at Famoso. (105, 2303 4 St. S.W., famoso.ca, @famosopizzeria)
Pho at Saigon Annam. (11566 24 St. S.E., 403-457-3885)
Pho sate at Pho Pasteur Saigon. (207 1 St. S.E., 403-233-0477)
Pho sate at Saigon's Baguettes. (718 17 Ave. S.W., 403-457-0669)
Roasted red pepper soup Eat! Eat! (1325 9 Ave., S.E., 403-532-1933)
Spicy miso at Muku Japanese Ramen House. (326 14 Street N.W., 403-283-6555)
Thai lobster bisque at Raw Bar. (119 12 Ave. S.W., 403-266-4611, hotelarts.ca)
Tortilla soup from Los Chilitos Taqueria. (1309 17 Ave. S.W. and Calgary Farmers' Market, 510 77 Ave. S.E., 403-228-5528)
Truffled mushroom soup at Fresh Kitchen. (2042 42 Ave, 403-214-7771, freshkitchen.ca, @fresh_kitchen)
Wild mushroom soup at Borgo. (818 16 Ave. S.W., 403-245-2202, borgo.ca, @borgotrattoria)
Wor wonton at Kings. (104 Meridian Rd. N.E., 403-272-2332, kingsrestaurant.net)
Featured in this ArticleCaesar's Steakhouse & Lounge Raw Bar at Hotel Arts
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But the other day, I saw on the ili-l discussion list that the iSchool at Sheffield University was going to start a journal club in Second Life to talk about articles relating to information literacy instruction. After attending less interactive webinars more recently I thought maybe a visually-oriented, interactive web meeting would be more intriguing. I decided to just give Second Life a shot and thought I could attend the session while at our quieter, satellite campus.
To set myself up, I created an avatar and tried to get comfortable with the program (you need to download the browser to your computer (it's free)). Making my avatar look how I had sort of hoped was very awkward and seemed janky to me, but I feel like it's good enough -- she is no longer bald and wearing both a skirt and pants at the same time. Walking, running, and flying aren't as tedious as I had thought they would be, and for the most part, I think I get the basic functions.
The article we discussed in the session was:
Kuhlthau, C. C., Heinström, J. & Todd, R. J. (2008) "The 'information search process' revisited: Is the model still useful?." Information Research [ejournal], 13(4), paper 335. [Available at http://InformationR.net/ir/13-4/paper355.html]
Organized by "Sheila Yoshikawa" and with the discussion led by "Pancha Enzyme," which are Second Life handles of course, it was a smooth session with a lively discussion (my avatar's name is "Beach Jupiter"). It felt more interactive than a standard webinar, and granted it was meant to be a group discussion rather than a presentation, the visuals certainly made me feel more inclined to participate than an anonymous chatbox.
I'll summarize what I took away from the discussion, but won't spend too much time on summarizing the article itself since it's easy to access:
First, Pancha gave an overview of the article we read to reiterate the main points:
- it covers knowledge construction and feelings in information seeking
- the article showed it is still relevant today, changing for the information environment (technology)
- the method can be diagnostic in figuring out point-of-need to assist students struggling with assimilating information
- it offers recognition of discouraging and motivational emotions in the research process
- initiation
- selection
- exploration
- formulation
- collection
- presentation)
We talked about strengths and weaknesses in the article as well:
Weaknesses first:
- article illustrates research process as linear, when it truly is not
- students could not describe their own emotions; they had to rate pre-chosen terms
- confidence intervals were small (for emotions)
- much information now comes from browsing and encountering (not just searching), so is the article still fully relevant today with the expanse of technology?
- individuals have different emotions when there is no grade involved (or money/time constraints for non-students)
- seems prescriptive: those who follow the process of this emotional rollercoaster during research will not be as successful, as it says the students who followed the process more closely did the best grade-wise and with learning
- could be used as a marketing tool for libraries to appeal for more student/class time
- can use the process to show students that their frustrations and anxiety (as well as other negative emotions) are very common and do not represent a sign of failure
- could be used as a guide to time management
- (should be explicit for learners and not a secret guide for librarians/teachers)
They are looking for discussion leaders in future sessions, as well as articles to recommend. Seems like a great thing to keep up with, and I will be attending sessions as I am able.