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What better way to get into the end of the year holiday mood than visiting a Christmas market? You get to taste some delicious holiday treats, catch up on your presents buying and generally enjoy the magical atmosphere with decorations and carols. Christmas markets are also a great pretext to visit a foreign country and learn more about interesting and fun Christmas traditions in other cultures.
We picked 10 of the most spectacular Christmas markets around the world for you to choose from this year. Happy Holidays!
1. Christkindlmarket in Chicago, USA
The Christkindlmarket in Chicago, Illinois, USA is opened this year from November 18th until December 24th. As you might have guessed from its name, this Christmas market has German origins and it was actually inspired by the annual Christkindlesmarkt held in Nuremberg, Germany.
Americans willing to have a taste of the Bavarian Christmas holidays will not be disappointed by this Christmas market. It is held in Daley Plaza in Chicago, Illinois, United States and features a large Christmas tree, a nativity scene and over 60 booths with goodies. While there, you must try out the Bavarian curry wurst and the potato pancake.
Lately, the Christkindlmarket in Chicago has become the largest Christmas market in the United States, with over 1 million visitors annually. Besides the German booths, vendors from Ukraine, Austria, Unites States and other countries sell beverages, baked goods, toys and Christmas decorations.
2. Christkindlesmarkt in Nuremberg, Germany
One of the oldest and best known Christmas markets worldwide is the Christkindlesmarkt held annually in Nuremberg, Germany. In 2016, it will take place between November 25th and December 24th.
Its name translates as Christ Child Market and the Christkind or the Christ Child is actually an important part of the market. Every year, a young woman with blond curls, dressed in a golden dress and wearing angel wings and a crown opens the market with a speech from the balcony of the Frauenkirche church. The Christ Child is chosen in an online competition by a dedicated jury. Besides the opening speech, the Christkind also takes pictures with the crowd and appears in schools, hospitals etc. visiting children.
The Christkindlesmarkt is held in the central square in Nuremberg's old town and has over two million visitors every year. If you find yourself there this year, you can enjoy a stagecouch tour, shop for the perfect Christmas gifts for your loved ones and browse through Christmas tree decorations. Some of the treats to try out include the Nuremberg bratwurst, a mug of hot mulled wine and the traditional Lebkuchen – a sweet gingerbread baked for more than 600 years in Nuremberg.
3. Christmas Markets in Vienna, Austria
In Vienna you can visit not one, but over 10 different Christmas markets! From mid-November to Christmas Eve the city becomes the perfect holiday season destination with its decorations, Christmas trees and special culinary delights.
Dating back to the Middle Ages, Viennese Christmas markets take place in large squares and pedestrian areas and are mainly renowned for their elaborate handmade Christmas tree decorations. The market with one of the most beautiful settings is the one held in front of the Schönbrunn castle, open this year between November 19th and December 26th. The Wintermarkt at Riesenradplatz (Vienna Giant Ferris Wheel) is a serious contestant, especially because you can visit it until January 8th.
Special treats you can try out at a Viennese Christmas market include Maroni (sweet chestnuts), gebrannte Mandeln (toasted almonds), Bratkartoffel (baked potatoes) and different types of Punsch (glogg).
4. Christmas Market in Zagreb, Croatia
Recent winner of Best Christmas Market Award (from a poll of 100,000 travelers), the Christmas market in Zagreb, Croatia is definitely not a traditional entry on a list like this, but it's quickly picking up as a fresh alternative to Austrian or German winter markets. In the past 6 years, Zagreb surprised its holiday tourists with an ice sculpture festival, a huge skating ring, brass band fanfares, themed tours and many concerts.
The sausages and the cinnamon donuts are the most popular delights you must taste when visiting the many illuminated and decorated market stalls. The Christmas market in Zagreb is open between 26th November 26th, 2016 and January 8th, 2017.
5. Christmas Markets in Prague, Czech Republic
The festive atmosphere of Christmas markets in Prague, Czech Republic is guaranteed by the school choirs performing Christmas carols and the many original ornaments made of natural materials such as pine needles and cones, wood and mistletoe. Prague hosts both big size markets (at the Old Town Square and Wenceslas Square) and smaller ones (at the Republic Square, Havel's Market, on Kampa Island, and on the square in front of St. George's Basilica at Prague Castle). Most of them are open to receive visitors from November 26th, 2016 to January 6th, 2017.
Delicious foods are being prepared right on the spot. Traditional Prague ham is roasted on spits and Trdelník (a hot sugar coated pastry) is made in front of you. You can accompany your meal with a famous Czech beer a hot beverage, such as svařené víno or svařák (a hot cup of mulled wine).
6. Christmas Market in Copenhagen, Denmark
Even though Denmark doesn't have a long tradition in hosting big Christmas events compared to other European countries, the coziness of Copenhagen markets will definitely get you in a holiday mood.
Copenhagen Christmas market stalls feature Christmas decorations handmade by local artists, lamb wool and fur items brought from Greenland, a great variety of candy and many other fun attractions, like a Ferris wheel and an abundance of sparkly Christmas trees .
The wooden houses await their visitors starting November 19th until December 31st, 2016. While enjoying the fairy tale atmosphere, don't forget to try out this traditional Danish Christmas dish – æbleskiver, consisting of ball-shaped pancakes. Danish people also make a special variety of glogg (or gluhwine) by adding different spices, raisins, almonds, and even rum.
7. Christkindelsmärik in Strasbourg, France
The oldest Christmas market in France (organized since 1570) and one of the largest in Europe, the Christkindelsmärik in Strasbourg takes place in Place Broglie from November 25th until December 24th, 2016. It hosts over 100 chalets with handmade toys and decorative items, glass jewelry, Christmas tablecloths and napkins, cakes, traditional pastry (Kougelhof, strudel etc.), beer and mulled wine.
In fact, Christmas markets in Strasbourg spread across 11 squares and other places, with a total of over 300 stalls. One of them, the Market of Christmas Delights of Alsace is dedicated to the culinary traditions of Alsace Christmas: the bredle, the foie gras, the famous wine of Alsace and many more. Another Christmas market in Strasbourg, The Children's Village, is entirely designed to accommodate children and their families with dedicated workshops and entertainment areas.
8. Christmas Markets in Stockholm, Sweden
Sweden is another country that hosts many Christmas markets during the holiday season. The oldest market in Stockholm is the Skansen Christmas Market (Skansens julmarknad), which has been held since 1903. With Christmas carols from the nearby church of Seglora in the background, you can visit wooden stalls displaying traditional Swedish food and candy, as well as handmade Christmas ornaments.
The Rosendal Palace Christmas Market, held near Skansen, hosts a spectacular nativity scene, wreaths of flower and gingerbread.
Swedish specialties awaiting visitors at the Christmas market booths include pepparkakor (thin ginger biscuits), saffransbullar (saffron buns) and reindeer meat sausages.
9. Christmas Market in Toronto, Canada
If it's more convenient for you to visit a Christmas market on the American continent, make sure to keep in mind the Christmas market in Toronto, Canada. Between November 18th and December 22nd, 2016, Toronto's Distillery District will be transformed in a Christmas fairyland.
Interesting attractions that set the Canadian Christmas market apart from others include a forest of pink Christmas trees and a huge heart with a mistletoe hanging above it. Add some gospel, jazz music and children choirs singing Christmas carols and you will get a better feel of what this original Christmas market is all about.
Regarding food, you should expect the traditional Canadian dish poutine (French fries and cheese curds topped with a light brown gravy), grilled cheese, giant turkey legs, bratwurst.
10. Christmas Market in Basel, Switzerland
Around 900,000 people travel each year to Basel to participate in the Christmas market held here. The near-200 market stalls take up two separate areas or squares: Barfüsserplatz (the central hub of the Old Town) and Münsterplatz (a vast rectangular square outside Basel's twin-towered cathedral).
Basel opens its Christmas market for visitors on November 24th and closes on December 23rd, 2016. After getting tired from browsing through handmade gifts, toys, clothing items and jewelry, you can pick up some local edible specialties such as the Läckerli biscuits, jagertee (tea), glühwein (mulled wine), roasted chestnuts, orange or pomegranate hot juice among others.
The part of the Christmas market situated in Münsterplatz includes a Christmas fairy tale forest where children learn how to decorate candles, make torches, forge metal objects, bake cookies, decorate gingerbread and make Christmas floral ornaments. They can also eat campfire bread and drink hot chocolate, take a train ride, have a go on the wheel of fortune and much more.
Hopefully, our recommendations will open your appetite for Christmas markets and will make it easier to choose the best holiday destination for this end of the year!


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Two connected COP23 SIDE EVENTS on climate-finance risk and impact
Concept and Agenda
Click here to register for the side events
Mon Nov. 13th, EU Pavillion 18 :30- 20:00
Wed Nov. 15, German Pavillion 10 :30- 12 :00
Aims and scope. UZH, WU and IDB co-organize two side events (the first one also in collaboration with Climate KIC) to provide actionable information on the current progress driven by development organizations and professionals of sustainable finance, as well as the contribution of academic research in addressing the major challenges ahead to achieve the Paris Agreement. Our two side events contribute to the broader conversation about the opportunities for climate-finance in climate change adaptation and mitigation.
EU Pavillion Nov. 13th
How new climate risk and impact metrics can empower development finance institutions.
University of Zurich (UZH), Vienna University of Economics and Business (WU), Inter-American Development Bank (IDB), Climate-KIC.
Moderator: Stefano Battiston (UZH)
Panelists: Amal-Lee Amin(IDB), Rodolphe Bocquet (Beyond Ratings), Gael Giraud (AFD), John Firth (Acclimatise), Irene Monasterolo (WU and BU), Monica Scatasta (EIB), Claire Souch (OASIS and Insurance Develop. Forum)
18:30-18:35 Welcome by the moderator and brief remarks about methods to capture climate risk and impact as relevant dimensions for climate finance decision-making.
18:35-19:05. First round: climate risk and impact assessment; strategic mapping within development institutions.
19:05-19:35. Second round: identifying the stakeholders in cooperation (funders, clients, agencies and academia); strengthening climate-finance network
19:35-19:45. Third round of interventions: Q&A from the audience.
German Pavillion Side Event, Nov. 15th.
Embedding new climate risk and impact metrics throughout the project pipeline of development financial institutions.
Organizers: University of Zurich (UZH), Vienna University of Economics and Business (WU), Inter-American Development Bank (IDB)
Moderator: Irene Monasterolo (WU and BU)
Panelists: Stefano Battiston (UZH), Luigi Carafa (Climate Infrastructure Partnership), Etienne Espagne (Agence Francaise Developpement).
10:30-10:35 . Welcome and brief introduction by the moderator, Irene Monasterolo
Implementation at project level with joint efforts across all relevant department and scientific support from academia
10.35-10.40. Brief presentation of the panelists and their role in climate-finance
10:40-11:00. First round of interventions: requirements for project level climate-finance assessment and current development
11:00-11:20. Second round of interventions: infrastructure needed for collaboration between the academia and the institutions
11:20-11:30. Third round of interventions: Q&A from the audience.
Background and policy context.
There is a growing support among scholars and practitioners to the view that mitigating and adapting to climate change could represent an opportunity for green growth, both at the macroeconomic and microeconomic level. In either context, a stable long-term framework of economic and environmental policies is regarded as key to make risk-return profiles of investments sufficiently predictable to trigger private actors, and to scale up the impact of climate-finance projects. In addition, sustained consumers' demand for green projects is also recognized as an important factor.
Development banks and national promotional banks play a crucial role in climate-finance. In particular, their expertise and credibility in designing, implementing and monitoring projects, together with the financial structure of private-public partnerships, enables them to catalyze and scale up investments by leveraging on the private sector. In this regard, academic research aimed at developing robust and targeted methods is key to enable development and national promotional banks to fulfil their role in climate-finance.
Two connected dimensions deserve attention. On the one hand, there is need for methods to measure progress towards climate action (e.g. the Sustainable Development Goals) at the level of project portfolios in order provide actionable information. Progress needs to be measured both in terms of risk and impact. Regarding risk, it is crucial to integrate climate physical and transition risk factors in current financial risk metrics. Regarding impact, we need to assess the contribution of projects' portfolios to climate action.
On the other hand, there is the need for appropriate governance processes (within and across organizations) that allow decision makers to (i) process the information from projects' climate risk and impact assessment, and (ii) timely react upon it at various levels of the lending chain.
Click here to register for the side events
The SIMPOL Project is currently funded by the H2020 European grant DOLFINS (no. 640772) in the Global Systems Science area of the Future Emerging Technologies program.

subset: commoncrawl


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Jason Sudeikis has once again hinted that he is leaving Saturday Night Live.
The actor has been rumored to be following Kristin Wiig and Andy Samberg in departing the NBC series, but he had declined to offer any specifics in recent months.
Sudeikis again stopped short of confirming a possible SNL exit in an interview with Men's Journal (via The New York Daily News), but it was revealed that his current contract has expired.
"I've left places before. This is very, very different," Sudeikis said of possibly leaving the sketch comedy show.
The actor also addressed his emotional demeanour in SNL's farewell to Wiig in the season finale, saying: "Goodbyes are tough."
Sudeikis went on to admit that he is conflicted about his eight seasons on Saturday Night Live, where he became known for his popular impressions of George W Bush, Mitt Romney and Billy Ray Cyrus.
"[SNL is] an amazing job and a horrible job," he explained.
The show's producer Lorne Michaels previously claimed that no additional cast decisions about Saturday Night Live would be made until July.
"I'm not really certain myself [what the changes will be]. I know there will be some," Michaels said in May. "It's just the nature of our work that no-one talks about it until the season is done."
Saturday Night Live returns later this year on NBC.
Watch Jason Sudeikis in a Saturday Night Live sketch below (US only):


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Sokharoth Hotel, Siem Reap Siem Reap Cambodia0 reviews
A newly beautiful and romantic 4 star property, nestled in the heart of Siem Reap Central Area, Sokha Roth Hotel is an ideal spot, a suitable place for your stay to discover Siem Reap. The hotel offers the most modern and comfortable accommodation and all the facilities you can imagine, and it's one among the very few we can recommend...
The Aviary Hotel Siem Reap Cambodia0 reviews
Set in the heart of Siem Reap town, the Aviary Hotel is a sophisticated urban oasis that has been inspired by nature and Cambodia's rich heritage of traditional crafts. The 25-room eco-friendly hotel is a relaxing sanctuary filled with locally commissioned artworks, which celebrate the beauty and diversity of the Kingdom's birdlife. You are invited to take a refreshing dip to cool off from the heat of the day, or relax on our comfortable loungers and enjoy the urban jungle that surrounds you.
Navutu Dreams Resort Siem Reap Cambodia0 reviews
Just few minutes from Angkor Wat and Siem Reap town, Navutu Dreams Resort is Siem Reap's only resort and wellness retreat, they bring the beach to Siem Reap. This intimate and quiet luxury resort is a tropical island dream, offering 28 Mediterranean-style spacious and bright rooms and villas around three pools. Navutu Dreams boasts the largest green space of all Siem Reap hotels and resorts, offering well-appointed accommodations and a rejuvenating holiday where you can fully rest, relax and retreat from the mid-day sun.
Jayahouse River Park Siem Reap Cambodia0 reviews
A newly, peacefully luxury hotel, located alongside the Siem Reap River, surrounded by fully grown trees, is a hidden gem. A small hotel with only 36 rooms, two swimming pools, a Spa and an all-day-dining restaurant. Each of their 36 rooms has either a balcony or direct garden & pool access. The hotel is located about a 6-minute remork journey from town in the direction of the magnificent temples of Angkor Wat.
Treasure Oasis Hotel Siem Reap Cambodia0 reviews
Treasure Oasis, the colonial-style design Hotel with the traditional Khmer ornaments enhance their guests' experience of the captivating architecture and showcase the refined culture of Cambodia, offers a range of comfortable accommodation choices ranging from Superior Rooms to Junior Suites as well as delectable dining options and an inviting pool. Wi-Fi is available throughout the hotel.
Victoria Angkor Resort & Spa Siem Reap Cambodia0 reviews
The 1930's colonial architecture design, Victoria Angkor Resort & Spa is ideally friendly and comfort. Located in the city center, in front of the "Royal Park" and completely immerged into its natural environment, the resort is few minutes away from the Old Market, 7 km to/from the Siem Reap International Airport and 6 km to/from the Angkor Temples. "The freshness, comfortable, elegance and refinement of the French's Lifestyle".
Sofitel Angkor Phokeethra Golf-Resort and Spa Siem Reap Cambodia0 reviews
Sofitel Angkor Phokeethra Golf & Spa Resort, a luxury hotel in Siem Reap with 238 rooms and suites entreat with serene design reflecting French sophistication and refinement. A lavish swimming pool beloved by guests is surrounded by lush and opulent landscaping, a beautifully setting International 5-Star.


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text: Netduma Alex 2,004 Posted May 7, 2019 Hello, I'm Alex, I just started working at Netduma. My main role is to deal with tech support across the forums, social media and so on. I'm also going to deal with community stuff in general, and i'm impressed so far that Netduma's community seems so dedicated. I'm amazed at all of the mods and incredibly helpful community members I've seen so far! I'd like to have community events and things that aren't soley related to tech support. Some information about myself: I'm a lifelong gamer, I was a Nintendo fanboy in my youth but have since diversified. I don't like to take sides in the console wars, or the pc vs console argument, but I suppose if pushed i'd say I prefer using a controller... Sorry! I like JRPGs, platformers, racing games... Currently very into looter shooters like Destiny 2 or The Division 2... Haven't really got into the whole battle royale thing yet but I get the feeling that I will do, given that people in our office play PUBG and CoD Blackout. Also having 100 people connected at once is such an interesting networking challenge, it's like the ultimate benchmark. Anyway i'll definitely see you around the forums, Thanks for reading, Alex 6 Alerstel, Netduma Admin, Zippy and 3 others reacted to this Share this post Link to post Share on other sites


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Fuzzy Hybrid Computing in Construction Engineering and Management: Theory and Applications
Aminah Robinson Fayek
University of Alberta, Canada
Aminah Robinson Fayek
University of Alberta, Canada
List price $141.99 Add to basket Recommend to Library
Product Details
- Format:
- Hardback
- 9781787438699
- Published:
- 05 Oct 2018
- Publisher:
- Emerald Publishing Limited
- Dimensions:
- 536 pages - 165 x 240mm
This book provides an introduction to fuzzy logic and surveys emerging research trends and the application of state-of-the-art fuzzy hybrid computing techniques in the field of construction engineering and management. Authors cover the theory and implementation of fuzzy hybrid computing methodologies for arithmetic, optimization, machine learning, multi-criteria decision-making, simulation, cognitive maps and data modelling. The practical application of these techniques to solve real-world problems across a wide range of construction engineering and management issues is also demonstrated and discussed.
The completion of effectively planned, executed and controlled construction projects is dependent on numerous interacting factors and human activities, both of which introduce vagueness and subjective uncertainty into already complex processes. While expert knowledge is an essential component of effective decision-making, analysis and consideration of expert knowledge expressed in linguistic terms remains a challenging aspect of construction engineering and management.
Fuzzy logic, which has applications in many disciplines, has the potential to address certain challenges inherent in construction engineering and management, in part because of its strengths in modelling human reasoning, dealing with subjective uncertainty and computing with linguistic terms. However, fuzzy logic alone has a number of limitations that can only be overcome by its integration with other, complementary methodologies, together leading to advanced and powerful fuzzy hybrid computing techniques.
This book is of particular interest to students, researchers and practitioners who want to learn about the latest developments in fuzzy hybrid computing in construction engineering and management.
Part One: Introduction to Fuzzy Logic and Overview of Fuzzy Hybrid Techniques in Construction Engineering and Management
1. Introduction to Fuzzy Logic in Construction Engineering and Management; Aminah Robinson Fayek and Rodolfo Lourenzutti
2. Overview of Fuzzy Hybrid Techniques in Construction Engineering and Management; Nima Gerami Seresht, Rodolfo Lourenzutti, Ahmad Salah, and Aminah Robinson Fayek
Part Two: Theoretical Approaches of Fuzzy Hybrid Computing in Construction Engineering and Management
3. Fuzzy Arithmetic Operations: Theory and Applications in Construction Engineering and Management; Nima Gerami Seresht and Aminah Robinson Fayek
4. Fuzzy Simulation Techniques in Construction Engineering and Management; Mohammad Raoufi, Nima Gerami Seresht, Nasir Bedewi Siraj, and Aminah Robinson Fayek
5. Fuzzy Set Theory and Extensions for Multi-Criteria Decision-Making in Construction Management; Long Chen and Wei Pan
6. Fuzzy Consensus and Fuzzy Aggregation Processes for Multi-Criteria Group Decision-Making Problems in Construction Engineering and Management; Nasir Bedewi Siraj, Aminah Robinson Fayek, and Mohamed M. G. Elbarkouky
7. Fuzzy AHP with Applications in Evaluating Construction Project Complexity; Long D. Nguyen, Long Le-Hoai, Dai Q. Tran, Chau N. Dang, and Chau V. Nguyen
Part Three: Applications of Fuzzy Hybrid Computing in Construction Engineering and Management
8. The Fuzzy Analytic Hierarchy Process in the Investment Appraisal of Drilling Methods; Olubukola Tokede, Adam Ayinla and Sam Wamuziri
9. Modeling Risk Allocation Decisions in Public-Private Partnership Contracts Using the Fuzzy Set Approach; Ernest Effah Ameyaw and Albert P. C. Chan
10. Flexible Management of Essential Construction Tasks Using Fuzzy OLAP Cubes; Nicolás Marín Ruiz, María Martínez-Rojas, Carlos Molina Fernández, José Manuel Soto-Hidalgo, Juan Carlos Rubio-Romero, and María Amparo Vila Miranda
11. Using an Adaptive Neuro-Fuzzy Inference System for Tender Price Index Forecasting: A Univariate Approach; Olalekan Shamsideen Oshodi and Ka Chi Lam
12. Modeling Construction Management Problems with Fuzzy Cognitive Maps; Denise M. Case, Ty Blackburn, and Chrysostomos Stylios
13. Crane Guidance Gesture Recognition Using Fuzzy Logic and Kalman Filtering; Xin Wang and Chris Gordon
Aminah Robinson Fayek, Phd, Professional Engineer, is Professor in the Faculty of Engineering at the University of Alberta, Canada. She holds a Tier 1 Canada Research Chair in Fuzzy Hybrid Decision Support Systems for Construction, and she is in her third term as Natural Sciences and Engineering Research Council of Canada (NSERC) Industrial Research Chair in Strategic Construction Modeling and Delivery. Applications of her research have led to improved efficiency across industry and helped shape construction practice in Canada. She is an editor for the ASCE Journal of Construction Engineering and Management and the CSCE Canadian Journal of Civil Engineering.
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Scottish First Minister Alex Salmond has announced that Scotland's referendum on independence will take place in the Autumn of 2014.
There will be a period of consultation to establish both the process and the nature of the question(s) in the referendum.
The announcement this evening (10 January 2012) was made shortly after a statement on the issue by Westminster Scotland Minister Michael Moore in London.
Between 28 per cent and 38 per cent of people in Scotland currently favour full Scottish nationhood.
Those arguing in favour of an end to Scotland's dependent status within the current British union, including the SNP, Scottish Greens and others on the independent left, believe that the mood of the country is swinging in their favour.
The confused attempts of UK Prime Minister David Cameron to dictate terms of the referendum have been seen by many commentators as a gaffe further illustrating how out of touch he is with the mood in Scotland.
At present there is just one Scottish Tory MP in Westminster, and the Liberal Democrats have been plummeting in the polls. The Labour Party has also been licking its wounds after its election mauling at the hands of the SNP.
The Westminster government this afternoon tried and failed to wrest control of the referendum agenda by offering the Scottish Government extended UK constitutional powers to hold a binding vote, in exchange for a range of limitations - including the exclusion of a third 'devolution max' question on the ballot paper.
But Mr Salmond immediately rebuffed these attempts at "interference", and set out a timetable for a vote which will be open to legal challenge, but which, he argues, is about recognising the right of the Scottish people to choose the conditions of the vote.
The unionist parties are arguing that independence is about power for the SNP, but privately acknowledge that a large number of non-nationalists want to see greater or complete autonomy for a country which consistently votes against Conservative policies but has to live with them because of voters in England.
Supporters argue that independence is not about 'going it alone', but giving Scotland the capacity to shape its own policies and alliances with other British nations, Nordic allies, Europe and the world.
Commenting earlier on the Westminster intervention yesterday, Mr Salmond said: "The UK Government is in a state of total confusion. Overnight, yesterday's 18-month sunset clause had disappeared into the sunset; the coalition is riven with tensions; and Westminster is backtracking in the face of the massive thumbs down from opinion in Scotland to Tory interference in the Scottish democratic process."
He continued: "The issue is not Section 30 of the Scotland Act. The issue is the entirely unacceptable Tory attempt to impose London strings on Scotland's referendum, from a Westminster government with absolutely no mandate for these matters.
"In stark contrast to Westminster's disarray, the Scottish Government will continue with the orderly process of bringing forward the referendum in the second half of this parliament. And this afternoon the Cabinet will put the final touches to a consultation document setting out the Scottish Government's detailed proposals for the referendum, which will be published later this month," concluded the First Minister.


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A state-of-the-art overview of global documentary programming ranging from independent films to "reality" TV shows such as Big Brother and Survivor.
Television and globalization have transformed the traditional documentary almost beyond recognition, converting what was once a film genre devoted to public service and education into a popular televisual commodity with productions ranging from serious public affairs programming to TV "reality" shows and "docusoaps." Realer Than Reel offers a state-of-the-art overview of international documentary programming that investigates the possibilities documentary offers for local and public representation in a global age, as well as what actually constitutes documentary in a time of increasing digitalization and manipulation of visual media.
David Hogarth focuses on public affairs, nature, and reality shows from around the world, drawing upon industry data, producer interviews, analyses of selected documentary programs, and firsthand observations of market sites. He looks at how documentary has become a transnational product through exports, co-ventures, and festival contacts; how local and regional "place" is represented in global documentary, especially by producers such as Discovery Networks International and the National Geographic Channel; how documentary addresses the needs of its viewers as citizens through public service broadcasting; and how documentary is challenging accepted conventions of factuality, sense, and taste. The concluding chapter considers the future of both documentary as a genre and television as a global factual medium, asking whether TV will continue to "document" the world in any meaningful sense of the term.
- Preface
- 1. Introduction
- 2. Documentary in a Global Market
- 3. Global Documentary and Place
- 4. Global Documentary and Public Issues
- 5. Global Documentary and Meaning
- 6. Digital Documentary
- Notes
- Selected Bibliography
- Index
Browse the book with Google Preview »
By many accounts, these are either the best or worst of times for documentary and ultimately for its chief medium, global television. For the editors at Television Business International, the world is being swept by a wave of "documania"—by an unprecedented volume and velocity of real-life images that inform viewers about world affairs as never before. For veteran director Albert Maysles, on the other hand, global television is suffering from a glut of "McDocumentaries"—standardized factual products offering few aesthetic surprises and no political punch, serving to fill "500 factual channels with nothing on." This book assesses documentary as a genre and global television as a medium in light of these debates. It is organized as a study of nature and history shows, public affairs investigations, the "first person" real-life experiences featured in British and Australian "docusoaps," and the "staged but real" events showcased by American-style reality programs. In this book I examine variations of these genres around the world, focusing on their ability to represent places and public issues in meaningful and coherent ways.
Realer Than Reel: Global Directions in Documentary is principally designed to raise questions about documentary in a period of global and televisual transition. Documentary's factual authority, for instance, may become uncertain in the wake of digital manipulation techniques on the part of global producers and new modes of "aesthetic reflexivity" on the part of global audiences. In the same way, documentary authorship and point of view may have to be reconceived in the wake of series production and multimarket programming practices. Similarly, documentary aesthetics may become "post-cinematic" as sounds and images are produced on video for high-definition TV screens around the world. Finally, documentary's relationship with other genres may shift and blur as programs are produced, promoted, and distributed in increasingly "nondocumentary" ways. In short, this book begins with the observation that documentary must be rethought as a generic category in a global televisual age.
But documentary itself can also tell us something about global television. If television today is really best understood as a "homogenous, meaningless fantasy factory," a genre traditionally dedicated to the representation of places and public issues in more or less orderly ways would appear to be either a public service hangover or a market anomaly at best. A study of documania thus allows us to question, in a grounded and empirical way, conventional wisdom concerning local representation, free speech, and meaning in a contemporary televisual universe. It lets us investigate, that is, the ability of global television to document places and issues of collective importance for citizen-viewers around the world. This book is thus designed as an up-to-date critical assessment of documentary and the medium that carries it within and across borders. As in these preliminary comments, my intent throughout this study is to ask what has happened to documentary and what this tells us about television today.
Documentary as Film
Perhaps we should first take a look at documentary and the broad structural changes it has undergone in recent years. How, specifically, are factual sounds and images produced in new ways, and how has the genre evolved since its "Golden Age"—since its days as a form of public service cinema for the nation-state?
To begin with, documentary can be said to involve an entirely new medium and project—specifically the production of entertainment-oriented, mostly commercial programming for television. It was not always this way. As is well known, the public service documentary tradition—the tradition with which most documentary studies are still concerned—involved the production of factual films mostly unconcerned with immediate appeal or profit, designed to inform viewers about the world in which they lived. Film itself was an integral part of the plan. As productions, publicly supported factual films were seen to encourage diverse images and ideas, more or less free of the assembly-line compromises of broadcast culture. As texts, documentary films were seen to allow for formal experimentation and rigorous factual argument. And as viewing experiences, documentary films were seen to elicit the sort of dedicated, undivided attention by which mass audiences might be transformed into educated citizenries. Productions of this sort were supported by national film services around the world, particularly in Europe and areas influenced by it, from the 1930s to the present.
Documentary thus had its roots in twentieth-century notions of filmmaking and public life. Canada's National Film Board documentaries were exemplary in this respect. From the 1940s to the 1980s, NFB productions took anywhere from six months to six years to complete, according to former director Sidney Newman. They varied in style and substance depending on the complexity of their subjects and the approach of their filmmakers. And they tackled weighty social issues in an effort to provoke thought and even action on the part of citizen-viewers. Documentary filmmaking was thus largely conceived as a collective and specifically national cultural project.
Of course, these productions never encompassed documentary everywhere at every time. Throughout the twentieth century, many documentarists concerned themselves with formal and avant-garde experimentation rather than staid, civic-minded documentation per se. At the same time, many public service producers were less serious or sober than Golden Age accounts suggest, with nature filmmakers, for instance, often deliberately shocking and entertaining viewers, particularly in the broadcast sector. Finally, and crucially, viewers rarely responded to documentary messages in predictably public ways, at least not on a widespread or regular basis as far as we know. In short, documentary was always something more than civic-minded cinema. But be that as it may, it seems fair to say that filmic public service was the genre's dominant guiding principle, subscribed to in theory if not practice by producers, policy makers, and pundits around the world, from the beginning to the latter part of the twentieth century.
Documentary as Television
This makes recent changes to the genre all the more remarkable. In a word, documentary has been radically televisualized in recent years, giving rise to modes of production and consumption quite at odds with those described above.
The signs of televisualization itself are everywhere. In Europe, 94 percent of documentary funding now comes from broadcasters, domestic or foreign. In the United States, television money is nearly as dominant, often undermining various modes of cinematic and online distribution. And around the world, documentary investors look beyond cinema, with just one of thirty-seven recent RealScreen production workshops concerning itself with film distribution per se.
Televisualization in turn has entirely transformed the practices and pleasures of documentary as we knew it. In the televisual era, for instance, documentary production has largely broken with filmic modes of craftsmanship and public service. It may be unfair to call today's factual programs "McDocumentaries" with all the low-culture connotations that term carries. But for the most part, broadcast productions are quickly and cheaply produced compared with their filmic counterparts, often undermining a single producer's vision along the way. Unlike national cinema institutions, production markets like the specialty channels generally seek efficiently predictable factual products that build a brand image and fill a lineup (see chapter 4). They tend to commission series installments rather than stand-alone features (see chapter 5). And they usually pay rock-bottom license fees that encourage producers to coproduce with numerous partners for different markets (see chapter 3).
At the same time, these productions may compromise authorial integrity in entirely new ways. Certainly few documentary programs involve the imposition of a personal vision on an inviolable text (see chapter 2). Even fewer can be regarded as "authentic" projects of a single, grounded artistic creator. With productions routinely "co-ventured" and "re-versioned" for multiple markets, most of them concerned with broadcasting, notions of authorial control are increasingly subject to question. It is perhaps a sign of the times that the world's largest programmer in this area, Discovery Communications, plans to stop screening producer credits at the end of its shows, arguably making documentaries more anonymous than ever in the global broadcasting business. Indeed, one early observer's "shock" at "how little a director's work was considered" at a 1979 MIP world television market now seems almost quaint for its auteuristic concern.
As documentary production has changed, so have documentary texts. Clearly, factual sounds, images, and graphics have been fundamentally reworked for television markets, even if there is little precise agreement on what these changes have involved. For some critics, television produces flat, standardized texts; French cultural theorist Felix Guattari derides an obsession with meaning and "semiotic order." For more conventional public service advocates, television offers up "depthless" documentaries in which linear (and often lengthy) arguments are compromised by commercial interruptions and frivolous recaps. And for postmodern observers, television encourages genre-blurring and even semiotic disorder on the margins and in the mainstream (insofar as we can still distinguish them). It is true, as I will argue, that the "television effect" on documentary has been both more profound and less predictable than these models imply (see chapter 5). But critics are right to say that television has decisively changed the way factual images are packaged and produced.
Finally, documentary reception has to be reconceived in a televisual age and again in fundamental ways. The very structure of a documentary program—that is, the often incoherent mix of commercial interruptions, internal and external narratives, and direct and indirect modes of address—may lead viewers to engage with programs in a cooler, more detached way than traditional cinematic models of audiences suggest. Theories of textual interpellation, for instance—themselves subject to question in contemporary film theory—hardly explain the power and the pleasure of broadcast documentary. Certainly, a collage of sights, sounds, and styles—the overall documentary intake of a single night's multichannel viewing—hardly qualifies as a coherent diegetic space where a straightforward process of "identity formation" can take place. At the same time, a juxtaposition of documentary styles (insofar as it exists in most television schedules) may encourage a degree of critical distance on the part of viewers, undermining traditional notions of documentary authority along the way. Questions concerning the factual foundation of reality television and docu-animation can be seen as examples of this type of "aesthetic reflexivity," which seems to be both widespread (among critics and laypeople) and worldwide (see chapter 5) in scope. Again, in all these ways television requires us to rethink documentary, and from the ground up.
Documentary as Public Service Broadcasting
Clearly then, television tells us something about documentaries. But what do documentaries tell us about television? For instance, how have documentaries helped define systems and structures of broadcasting? And how specifically has the genre shaped and reshaped the medium that delivers it to viewers around the world?
Documentaries have shaped television in a number of ways. To begin with, factual programs in the documentary tradition have helped constitute public service broadcasting as we know it. It is not just that documentary television has been incidentally associated with the effort to represent events and issues in various parts of the world—there is more to it than that. Indeed, in the last half-century, documentary programs have introduced public service technologies such as videotape, color television, and digital broadcasting, which have recorded various aspects of the national life particularly in Europe and North America. They have helped create and define the discourses by which public broadcasters address national publics. And they have come to embody a dominant social realist aesthetic by which fact and fiction programs have been judged for truth and occasionally beauty.16
Of course many documentaries have fallen well short of these ideals, but the genre's overall contribution to public service programming has been undeniable. In Britain, documentary programs are seen to exemplify the BBC's ability to inform and entertain a national audience. In Singapore, they "nurture an intelligent and discriminating public." And in Canada, they demonstrate the Canadian Broadcasting Corporation's ability to produce "high impact programming" that reaches audiences as citizens. Around the world then, documentary is seen as a public service bellwether—and even more importantly as a test of the nation's ability to represent itself to itself in a world without borders (see chapter 4). It is fundamentally in this sense that documentary remains a signature piece of national public service culture in a global age.
Documentary as Market Commodity
But there is another way of looking at documentary, a way that again requires us to rethink if not repudiate many of the public service assumptions which have guided its theory and practice for nearly a century. That is, aside from showing citizen-viewers life as it is or should be, documentaries serve to make money for their handlers, both domestic and foreign, around the world. For better or worse, documentary programs are increasingly produced and exchanged for profit within and across borders, independent of any easily discerned national "cultural" mandate. In part then, documentary must be regarded as a transnational commodity that tells us a good deal about commercial as well as public service culture in a global age.
On the face of it, this way of looking at things seems much less plausible than the first. To begin with, the arguments against global market television, documentary or otherwise, are compelling and varied. Curran, for instance, reminds us that most programs, factual and fictional, are produced "at home" for domestic markets. By most accounts, audiences prefer local shows where they are available—which they are in most genres and in most places. A number of recent market studies support these conclusions, and we can only agree with the author's dismissal of earlier predictions that "most people, most places will be watching 'Dallas' or the Olympics at the same time." Television, documentary or otherwise, shows no signs of going global, at least in a straightforward way.
Just as television has resisted globalization in the grand sense, it may have avoided the all-consuming commercialization process that goes with it. Public service television continues to dominate many broadcast territories, with many services dedicated to local culture first and global profits second. If people do not actually watch public channels, they may watch others with similar commitments, and much of their intake is guided by state regulations requiring, among other things, local information.
In short, documentary programs seem to be a perfect, stubborn case of broadcast domesticity. Indeed, even economists who defend the idea of a global cultural market consider documentary to be outside of it. Programming of this type is generally seen to be burdened with a high "cultural discount"—that is, an inability to cross borders with market value intact. At the most basic level, documentary's public service values—its concern with local places, local issues, and culturally specific ways of seeing—is seen to impede its ability to "travel." And if cultural economists have been wrong before—many assumed comedy would never travel well, for instance, until NBC's The Cosby Show became an international syndication hit—the obstacles to border crossing seem insurmountable in documentary's case. Kilborn's (1996) observation that the genre still does best in isolated public service pockets has been backed up by recent studies which suggest that, strictly defined, documentary has survived in Europe, parts of North America, Australia, and some of Asia and the Pacific Rim while disappearing in most of the rest of the world.
Empirical research thus suggests that documentary is a place-bound, commercially inert genre—a stubborn anomaly in a global market age. Even recent worldwide corporate projects—such as the various offerings of the Discovery network—can be dismissed as specialty services in the most diminishing sense of the term. Transnational documentary channels, for instance, seem to attract much smaller audiences than their domestic competitors, and many seem to operate as "duty" offerings that lend the cable and satellite services that carry them a much-needed public service veneer. For all these reasons, documentaries seem firmly grounded in the supportive terrain of local public service cultures. And as such, they seem to refute the existence of "post-national" television—at least as it has been conceived by its most exuberant market boosters.
But for all that, a closer look at documentary makes the idea of global television more credible, if more complex. First, statistics suggest that the worldwide market for documentaries is larger and healthier than most academic studies claim. Even if we exclude popularized documentary types such as reality television and docusoaps (which I will argue below we should not) the genre appears to account for at least 8 percent of the world television market, a sizable proportion compared with other seemingly more commercial categories such as quiz shows. Industry studies further have predicted that between 1995 and 2005, television documentary production will have grown at an annual global rate of 8.3 percent by volume and 2.4 percent by value, considerably above the industry average and probably an underestimate if one takes into account what other studies call the "seismic shock" of reality television on worldwide markets.
Not only have critics underwritten documentary's market value, they seem to have underestimated its global implications. It is important to remember—as many documentary studies do not—that the global and the local are not easily kept separate in today's factual marketplace. For instance, "global" documentary programs that receive transnational financing for exhibition around the world are usually produced by local companies, regulated by national policy agencies, and consumed primarily by "home" audiences. But just as surely, "local" independent documentaries often receive commissions from global corporations and funding from foreign investors, after which they may be entirely revamped for "local" screenings abroad (see chapter 2).
Even historically grounded public service projects have been "globalized" to this extent. Recent cooperative ventures between national broadcasters like the BBC and global operators like Discovery, for instance, suggest not just a degree of rapprochement but a more transnational market outlook on the part of the former. Though public service channels still serve home territories, more and more look for profits in foreign markets, independently of any easily discerned local "cultural" mandate. Expanded coproduction and syndication ventures are two examples of this trend, but there are others (see chapter 4), and it is important to keep in mind that public service documentary must now be seen as something more than a national or even international project, conceived within or between nation-states. In fact, as we shall see, global markets and local cultures routinely collide in ways that compromise the integrity of each. It is in this ambivalent "glocal" sense that documentary has taken a global direction. That is, while documentary remains grounded in local and national markets around the world, the creation, distribution, and reception of the programs is no longer strictly contained within national borders. In short, documentary encourages us to question the lines and flows of cultural production today. And in this way it may tell us something about global culture and its ability to represent our worlds.
Documentary as Global Culture
But tell us what exactly? There are, in fact, several questions concerning global culture that documentary might help us address in specific terms. Perhaps most important, at least in terms of the critical attention it has received, is the issue of cultural homogenization—the fear, as Arjun Appadurai has put it, that overcoming physical distance will result in overcoming cultural distance within information networks. In this view, places could look the same and eventually be the same, partly for want of proper documentary representation. For instance, globally circulating reality television formats could serve up homogeneous accounts of the "everyday everywhere"—dictated by standardized licensing arrangements and universal style guides (see chapter 3). Similarly, copycat nature shows could display generic flora and fauna, presented in a stultifying and ubiquitous American entertainment style (what one bemused Swedish producer calls the "feed, fuck, and kill formula"). Zygmunt Bauman's nightmare scenario of "everyone, everywhere . . . feed[ing] on McDonald's hamburgers and watch[ing] the latest made-for-TV docudrama" (or a glibly localized version thereof) seems to be in the making.
Also at stake here is the ability of global documentaries to deal effectively with issues of collective concern. The tendency of documentaries, particularly "dumbed down" commercial documentaries, to offer emotional first-person reports that circumvent any form of logical empirical argument has been the subject of much comment lately. So has an insularity of output, with documentary producers and programmers allegedly taking little interest in affairs beyond their own market borders (see chapter 4). Our question here is whether documentary has become a critically empty form incapable of dealing with local and global public issues of the day.
Finally, there remains the question of what global documentaries actually mean. Some observers have concerned themselves with issues of documentary coherence, that is, the ability of multiply authored, dispersed, and disorganized texts to make sense of the world in more or less unified ways; others have focused on facticity, that is, the ability of "post-representational" infotainment forms to support the epistemological foundations on which documentary "truth" was built. In both views, documentaries may be moving toward an amorphous "space" with few geographic and generic borders (see chapter 5).
There are other issues concerning global documentary, but these, it seems to me, are the outstanding ones. In this book I consider whether and in what way factual images will continue to allow for documentation in a hard or even a soft sense. And more specifically, I ask whether and in what ways global television will continue to represent places and public issues. In short, Realer Than Reel is concerned with the ways audiences around the world might understand and shape their lives in years to come.
Global Documentary in Theory
In doing so, I hope this book breaks new ground. To begin with, in Realer Than Reel, I deliberately focus on commercial and popular offerings particularly in the broadcast sector, and in this sense it is somewhat of an anomaly. For Steven, for instance, TV productions are barely worth considering because "new documentary," by its very definition, departs from "media-driven" formulas. For Zimmermann, only public service shows merit attention because "critical [documentary] investigations" have all but disappeared from commercial television. And for Roscoe, multicultural public service programs are interesting, but not domestic market shows that "play it safe." Even Stella Bruzzi, who sets out to examine "contemporary and accessible" British documentaries, devotes only one chapter of six to television per se. Realer Than Reel, by contrast, begins with the assumption that documentary should be scrutinized in the mainstream as well as the margins to better assess new types of local and public representation emerging in a global cultural marketplace (see chapters 3 and 4).
Further, the chapters that follow are specifically concerned with globalization, again at odds with the thrust of most documentary research. The few studies of global documentaries that do exist tend to be cursory and mostly abstract. Zimmermann's analysis of transnational market pressures, for instance, offers virtually no analysis of core institutions such as copyright regimes and coproductions. Similarly, Longfellow's study of Canadian historical reenactment exports ignores global production and promotion patterns entirely. In studies such as these, "real" documentary is still seen to emerge from the film circles of the nation-state. Here I focus on productions largely beyond these confines (see chapter 2).
Finally, in Realer Than Reel I consider the importance of documentary for global culture, again at odds with most research in the field. Documentary is not even mentioned in Verna's survey of global communication, which takes the "Live Aid" broadcast of the 1980s as its paradigm text. Similarly, Chris Barker's introduction to global television only considers news and live broadcasting as factual types. Meanwhile, studies by Winston, Corner, and Kilborn and Izod focus mostly on national public service documentaries and the ways they have been affected by internal and external market forces. In short, transnational research is largely absent from documentary research, while documentary analysis is mostly nonexistent in work on global television. My intention here is to bring documentary research up to date and global media analysis down to earth (or at least down to cases) by focusing on the specific ways documentaries circulate within and beyond borders. This involves a sensitivity not just to multiple national contexts but to the penetration of those contexts by forces that are no longer, strictly speaking, national or even international in scope. It is these "global" televisual forces that are the focus of this book.
Documentary: A Global Approach
But the question remains: What sort of global forces and global documentaries should we be concerned with here? What is a "global" documentary anyway, and how should we study it? And what might a global approach to documentary look like? Here I want to argue for a broad-based, contextual way of proceeding.
First, I believe a global approach to documentary should involve a more open-ended view of the genre itself. That is, we should adopt a flexible definition of documentary to suit the social, cultural, economic, and technological circumstances in which it now operates. After all, if television calls into question cinematic theories and markets partly undermine conventional notions of public service and transnationalization challenges Eurocentric models of all these institutions, then a wide-ranging global understanding of documentary would seem to be not just appropriate but indispensable.
In practical terms, a global approach would begin by investigating so-called documentary "mutants" and transgressions. Rather than dismissing reality shows, for instance, as bastardizations of long-held documentary truths or the dumbing-down of conventional documentary styles or even the "sexing up" of traditional documentary program packages, a global approach would investigate the ways these shows may, under certain circumstances, be as natural, unstaged, and epistemologically secure as their national public service counterparts, as serious and socially engaged as conventional public affairs programming, and as sober and even self-important as the most pompous public service package. It is worth pointing out, for instance, that studies in France and the United States have noted a progressive blurring of documentary and reality TV substance and style, a trend that may become more pronounced as generic (and geographic) boundaries take new shapes. Here I will argue (particularly in chapter 5) that documentary fringe forms can no longer be dismissed as simple counter types outside a "real" documentary corpus.
Second, a global approach to documentary should consider new types of information concerning new types of programming—specifically information about markets, much of it coming from producers themselves. That is, just as we take into account a global range of documentaries, we should keep in mind the complex interrelations between these programs and the cultural, technological, and political-economic spaces in which they now operate. In other words, no matter how inclusive, textual analysis is not enough. A global approach should attend to the material as well as symbolic forces that give rise to documentaries in different contexts.
Again in practical terms, a global approach would view documentaries as something more than symptomatic texts—texts that tell us something about larger texts such as particular cultures or deep-seated social preoccupations, for instance. Instead, we should examine documentaries more broadly as contingent outcomes of particular technologies, budgets, and scheduling needs emerging in conjunction with broader cultural forces. To return to our old example, reality shows should be viewed not just as postmodern paradigms but as organizational artifacts—for instance, as lineup items that helped British public service programmers compete with their fiction-focused private counterparts or marketing devices that allowed U.S. network producers to align new products with new ads. Programs like these—along with other documentary types—arguably reflect specific industrial conditions as much as they do a broader zeitgeist. As such they remind us of the need for contextual as well as textual study in global documentary analysis.
Finally, a global approach should pay more attention to the testimony of cultural producers in various countries and various markets. That is, if we are contextually concerned with the ways economic, political, technological, and cultural-textual forces come together to produce documentaries around the world, then we should also attend to what I will call the metadiscourses of the documentary market. Of course, this involves paying attention to techno-forecasts, investment reports, and policy statements. But more, it requires that we concern ourselves with discourses about documentary discourse that emerge from market as well as academic circles. Simply put, documentary producers and handlers may have a good deal to tell us about the conditions and consequences of their work. After all, many practitioners regularly appear at theoretical sites such as festivals, forums, and conferences where they must explain their work, and most of them work under the scrutiny of cultural guardians, near and far, policing the borders between information and entertainment, good taste and bad, and the "authentic" and the "staged." For all these reasons, documentary may have become a globally reflexive practice—a practice that draws upon local and distant understandings to make documentaries differently (if in the most incremental of ways). This makes the views of global documentary "agents" all the more worth attending to.
With these considerations in mind, this book examines a wide range of documentaries from a number of perspectives. Specifically, Realer Than Reel examines public affairs, nature, and reality shows from around the world, drawing upon industry data, producer interviews, selective textual analyses, and firsthand observations of market sites. These issues are approached from a number of points of view. Chapter 2 considers documentary globalization through a region-by-region breakdown of market activity in Europe, the Americas, Asia, Australia, Pacific islands, and Africa, focusing on growing transnational links in the form of exports, co-ventures, and festival contacts. The chapter concludes with an examination of the global documentary channels serving these markets, providing a wide-ranging snapshot of documentary production today.
Chapter 3 takes a more conceptual tack, considering what documentaries tell us about the representation of place on global television. This discussion challenges the assertion that emerging "international styles" have made the genre largely incapable of dealing with the particularities of regions and locales and takes as its case study the "glocalization" strategies of Discovery Networks International, the National Geographic Channel, and France's Odyssey service. Recent regulatory efforts to impose domestic content quotas are examined in Europe, Australia, and Canada, along with producer initiatives to ensure local self-representation. The chapter concludes with a critique of the way "place" has been conceived in all of these discourses.
Chapter 4 considers whether and in what ways documentary programming will address its viewers as citizens. Issues of free speech and documentary diversity are considered in light of recent patterns of consolidated program distribution (by a small band of documentary super-channels) and "post-fordist" specialized production (by a growing number of independent and semidependent producers). This discussion is followed by an examination of censorship, copyright laws, and various other restrictions on the free flow of documentary images across borders. Best- and worst-case scenarios of documentary public service are considered, based on an analysis of public service broadcasting in Canada, "diasporic" public programming in Europe, and reality television in a number of markets (including the migration of the Survivor series from Sweden to Britain to the United States). In light of this evidence and drawing on recent discussions concerning post-national public spheres, chapter 4 considers whether, as one critic puts it, "the space for documentary to explore difficult issues in faraway places is shrinking every year."
Chapter 5 is concerned more broadly with documentary meaning in a global age. This discussion focuses on the supposed collapse of notions of facticity and taste, coherent viewing practices, and, indeed all temporal and spatial boundaries in factual program service. Chapter 5 examines digitalized production, channel zapping, and computer-assisted distribution in this light and concludes with a case study of hybrid docusoap programming around the world—where distinctions in conventional meaning have arguably collapsed while at the same time allowing for the reassertion of traditional (and often local) notions of facticity, sense, and taste.
Chapter 6 considers the future of documentary as a genre and television as a global factual medium, taking as its case study a new wave of documentary multimedia services being developed at CNN, PBS, and the BBC. This chapter, like the three preceding it, includes selective but in-depth analyses of national, public service, postmodern, and "post-televisual" texts. All of this material is designed to consider whether television will continue to "document" the world in any meaningful sense of the term.
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text:
Christine Peterson has been the Reading Eggs coordinator for the entire time the program has been in use at her school. She is the Learning Support Aide for junior and middle school, and is currently in the final year of her Bachelor of Education at USQ, with a middle years focus.
Christine has attended Reading Eggs workshops for her own professional learning and delivers PD for staff at her school, sharing how to integrate Reading Eggs as part of a multimodal learning framework.
Her HOD Simon Edgar has supported her certification and Christine's drive to improve literacy levels at the school. A focus for 2016 is the rollout of literacy rotations for years 1-4, together with building consistency in resource usage.


text:
Mamma Mia (Here I Go Again! My My!)
Prior to watching the movie, I only had a faintest idea on the story. So really, I didn't know what to expect at all. In fact, I wasn't even familiar with ABBA or their songs.
As soon as the first song, "Honey Honey", started, I was loving it! And not just with the music, but also the sparkling blue water and the rocky cliffs. The scenery was just beautifully amazing! The story was fun and had laughs for all ages. The dancing scenes were great and well put together.
The movie was filmed on the islands of Greece, which made me want to go more than ever.
I was also really surprised with Meryl Streep's awesome performance. The last time I saw her was in Devil Wears Prada, in which she played a very serious business woman who never smiled. It was fun seeing her climb on top a roof singing "Mamma Mia!" and swoon and the dance teenage giddy girl dance! :)
I am hooked on all the songs. For the past few days, I have been jamming to the tunes in my car. I sing along and my head instinctively bops up and down. It makes my drive to and from work much more enjoyable.
I have never seen the musical live, but now really want to! For those who have seen both, are they very similar?


text:
Here they are... yes they look unreal... but they are real enough...a few of the most beautiful women... I think they are someone truly special... I can't really explain why I feel that they are so wonderful in positive appearance and dignity.
Give it up... there's no use in anyone denying them the beauty that they have in every way.
These beautiful women are what the world have been searching for...whatever they want we the proud and bold are going support them- they are worth more than what words can be said.
And too much of them is good for you. Because the more they give the more we want. And it's about time someone give something good in this cruel world.
These women self identify who they are... they are adults who need no acceptance from anyone. Remarkable.
Irreplaceable they are with every passing moment-impossible to replace if lost or damaged.
The Blackness (in White-Skin-Tone or Black-Skin-Tone) rise once again through the darkness world of humanity.
And they are among Van Stone today.
Amanda Marin Gordillo is beautiful on the magazine cover pages.
Another One Of Our Golden Black Princess!
We have the top beauty from Colombia- has always been a true natural beauty.
Learn Your History... Know Yourself... True History Tells... Beautiful Peoples Are White And Black
Embrace The Blackness! From Many Places All Over The Whole World- We Are The Same Peoples No Matter The Skin Color.
True to us all. Both White and Black.
There they are: Beautiful and Happy and Fashion in all of their Style glory.
It is so hard to find the Black Woman Model on the Internet.
Thanks to Van Stone, Icon Editor and Publisher and Promoter of Positive Black Children, The Van Stone Black Children Models can be found.
Good and Beautiful Black Children will be wonderful as long as the man and woman want and need them to be.
Hot! Local, National and International. Loving you.
They are Van Stone Black Women Models.
Black Is Always Lovely Collection.
Philadelphia Front Page News-Magazine and Media Key 307 Magazine.
Latin America (Colombia), (Dominican Republic) Southeast Asia, Middle East, Cuba, Africa, Canada, and the USA.


text:
First let me say, that although my roll cookie is fantastic to work with, decorating these cookies, if you do it like this, with all of these variations, takes a LOT of time. It took me about 10 hours to decorate 65 cookies. If you are going to making these with kids, stick to the easy decorating – patterned 'fabric', tie-dye with or without the 3-D flowers, etc. On the other hand, if you have the time or inclination to make many different ones, these are the cutest things and everyone will love them. Don't let the fondant icing scare you away – it's homemade marshmallow fondant, which tastes good and is pretty easy to make.
Before you start, you'll need to buy the cookie cutter set. I wanted the mini cookies (about 2-inches) because I knew that I would be making other desserts. I bought a set that included the the onesie cookie cutter and a bib cutter (which I didn't use) and 3 texture mats. If you search on Amazon for 'Onesie cookie cutter', this item will come up – Texture Cookie Cutter Set-Mini. This will give you the duck, ABC and striped designs.
You also need some food coloring, good brushes (Loew-Cornell) – the pointy one in the middle is the one I used most for painting the detail. The left-hand brush was used for brushing off excess powdered sugar, and the one on the far right was great for brushing on luster dust for a shimmery look (it's a very inexpensive watercolor brush that I bought in the supermarket).
nonstick fondant rolling pin
Long rolling pin and Perfect-A-Pie (rings) – Available from http://www.fantes.com/ (nice to have but not required – this will help you to roll the dough and the fondant to a consistant thickness)
Makes 75 Mini Onesie Cookies
Ingredient List
2 packages (10 ounces each) miniature marshmallows
4 pounds powdered sugar
1/2-1 cup solid vegetable shortening (Crisco)
3-1/2 teaspoons vanilla or other flavoring
3 sticks (12 ounces) unsalted butter
1 teaspoon salt
1 large egg
4 cups ( 520 grams) all-purpose flour, fluffed, scooped and leveled into measuring cups
6-8 tablespoons pasteurized egg whites (about 3 egg whites)
1/2 teaspoon cream of tartar
corn syrup
food coloring
2.5 gallon ziptop bag – not required but very nice for rolling out dough and fondant
Ingredients will be repeated for each recipe – they are INCLUDED in the ingredient list, above.
For the Marshmallow Fondant
2 bags (10 ounces each) miniature marshmallows
4-10 tablespoons water, divided
9-1/2 cups powdered sugar divided
2 teaspoons vanilla, or other flavoring, divided
It will probably be too hard to make all of the fondant at once, so use the directions below and make it twice:
Place 10-ounces of marshmallows and 2 tablespoons of water in a microwave-safe bowl. Microwave 30 seconds on high; stir until mixed well. Continue microwaving 30 seconds more; stir again. Continue until melted (about 2 1/2 minutes). Stir in 1 teaspoon vanilla.
If you want to make the fondant in a heavy-duty mixer, grease the bowl well with some of the vegetable shortening. Add 4-1/2 cups of the powdered to the mixer bowl. Grease a spoon and spoon the melted marshmallow mixture into the greased bowl. Mix the ingredients together on low until the mixture becomes dough-like. You can now use a dough hook, or knead the mixture by (greased) hands on a greased countertop, until the mixture is smooth and non-sticky. Add more water or up to another 1/4 cup of sugar to get the texture the way you want it. It should not crack, nor should it be overly sticky by the time it is finished. It should be supple and smooth. Repeat with the remaining ingredients to have 2 batches of fondant.
If not using a mixer, add about 4 cups of sugar to the marshmallow mixture. Stir with a greased spoon until shaggy. Place 1 cup of powdered sugar on a countertop and transfer the mixture to the powdered sugar. Knead together (with greased hands), adding more water (up to a total of 5 TB per batch) as necessary to get the powdered sugar completely mixed in and the ball of fondant smooth and supple, but not overly sticky.
If you know what colors you want, it's easier to knead it in now, while the fondant is still soft. You might want to wear gloves when kneading in color. I used a toothpick to spread a small bit of color onto the fondant, and then kneaded it in, adding more color as necessary. After you are done, coat the fondant with solid shortening, wrap in plastic and place into a plastic bag. Let the fondant rest at least overnight. For longer storage, place it in the refrigerator. If refrigerated, it will be very firm when you take it out. It can be softened in the microwave prior to using, but don't overdo it. Depending on the size of the ball (you may have broken off small balls to color them), it could take a few seconds on power 1 or 2, or up to 10 seconds on power 1 or 2. Better to under heat than over, because over heated fondant will be too soft to work with, and it will get stale as it cools. It will keep in the refrigerator for several weeks.
For the cookies
3 sticks (12 ounces) unsalted butter – cool room temperature
1 teaspoon salt
1 teaspoon vanilla
1 large egg, room temperature
4 cups ( 520 grams) all-purpose flour, fluffed, scooped and leveled into measuring cups
up to 4 teaspoons room temperature water, if needed
Preheat the oven to 350 degrees F. with shelves in the bottom and top thirds of the oven. Line 2 cookie sheets with parchment paper.
In a large mixer bowl beat together the butter, sugar, salt and vanilla extract on low to medium speed, just until well blended.
Break the egg into a small bowl and fork-whisk until blended. Gradually beat the egg into the butter mixture.
Add the flour, all at once, to the mixer bowl, and beat on low speed until the mixture comes together into a dough. If the dough does not form, add the water a little at a time, using just enough to bring the dough together. Press the dough into a ball, wrap in plastic, and refrigerate for 15 minutes.
Cut the dough into 4 pieces and return 3 pieces to the refrigerator.
For a foolproof rolling method, cut open a jumbo zip-top bag so that it is hinged on one long side. Flour the inside of the plastic and place one piece of dough inside.
To roll dough to an even thickness, you can use a pastry board with a dropped bottom or a plastic dough ring that is the exact thickness needed (see picture, above). The rolling pin runs on the edges of the ring, or the pastry board, allowing the dough to be rolled to the exact thickness needed (see Easy Dough Rolling Technique).
Roll the dough to 1/8-inch thick or slightly thinner. Cut out the dough using cookie cutters of your choice. Set the cookies on the prepared cookie sheets. Bake for a total of 12 -15 minutes, moving the top cookie sheet to the lower shelf and the bottom sheet to the top after half of the baking time, until the cookies are lightly browned around the edges. Slide the parchment onto cooling racks, and let cool completely before storing.
If using the cookies within 2 days, store covered with waxed paper to retain the cookies crispness. Otherwise, freeze the cookies for up to 3 months. Defrost them on wire racks, and then place in a storage container, loosely covered with waxed paper.
Remove the fondant from the refrigerator and soften it as directed in the fondant section above. Cut three sides of a ziptop bag so that you have a hinged piece of large plastic. Sprinkle on a light coating of powdered sugar. Roll a piece of fondant out between the sheets of plastic to about slightly thicker than 1/16th inch, using the Perfect-A-pie Rings, mentioned above. You don't want to cut more than 5-10 pieces at a time, because they will dry out, especially if you are piecing together to make stripes, for example. If using the texture mats, you want to place them on the fondant, roll the nonstick fondant rolling pin over the mat and then use the cookie cutter to cut out the onesie shape. I like to use the texture mats with the convex side facing up, so that the design in the fondant will be raised not convex. It's easier to paint the raised designs than try and fill convex ones. Once you have them cut, brush a light coating of corn syrup onto a cookie and place the fondant on the cookie. Place the cookies on a cookie sheet and cover them with waxed paper to prevent them from drying out too much. You'll want to go back and paint these once you have all of the cookies done.
To make patterned onesies like these:
You can make the dominant color and the accent color reversed onesie at the same time. Roll out the two colors of fondant. In one of the pieces, cut out the accent pieces. For the ones above, I used a mini-poinsetta cutter, but you could use a star, circle, fruit blossom, or any other tiny cutter that you have or buy. Place the cut-outs on the other piece of dough, and roll the two together.
Now you can see that besides the patterned piece of fondant you have just made, you also have the purple piece with the cut-outs removed. Lift up the purple piece and set it on the unpatterned pink piece.
You can either roll the two together to make a patterned piece of 'fabric' in opposite colors from the one you just made, or you can affix the purple piece with corn syrup, making a onesie with depth. Now use the cutter to cut out the onesie, and affix it to the cookies with a light coating of corn syrup.
To make this onesie with dots, I cut out the circles from the purple piece and then affixed the purple piece to the cookie. Then I cut out the white and pink circles, and inserted them into onesie. If I had tried to roll the circles into the purple piece, they wouldn't remain round, although that probably would have been an interesting pattern, too.
To make wide-striped onesies, you can use the striped onesie texture mat. Roll out the colors you want to use, and press the texture mat into the main color. Cut out a onesie and then use a sharp knife to cut the onesie where you want the stripe to be.
To line everything up, I like to place the cut pieces on top of the piece for the stripe and recut everything so that I can make sure that the cuts will line up nicely, and then I place the cookie cutter back onto the onesie and recut it so that I know it's the right size.
Brush a cookie with corn syrup. Place one piece of fondant on the cookie and press down lightly so that it adheres well ( I usually work from the shirt downwards). Place the second piece on and push it upward so that it nicely abuts the first piece, and then put on the last piece.
In the picture below you can see that I used the texture mat on purple fondant to get the duck. I cut that piece rougly and then set it on top of the white fondant. Then I used the cookie cutter to cut the onesie through both layers of fondant, and then I cut out the white piece underneath the purple fondant. Then I attached everything as described above. You can see that when you do it that way, the onesie looks seamless like the stripe was woven right into the 'fabric'.
If you want to make a 3-D flower, cut out the shape with a tiny flower cutter (I used a gumpaste fruit flower cutter). Cup the flowers with your fingers or a wooden skewer, and let the flowers dry for 15 minutes on the skewers. This will dry them just enough so that they will retain some shape, but they won't be so dry that you wouldn't want to eat them, and they will still be soft enough to reshape them if you have cupped them too much.
If you are very gentle, you won't make a hole in the center, as I've done in the flower, below.
But whether you have a hole or not, you can put a tiny yellow ball of fondant in the middle to finish the flower. Attach the flowers to the fondant onesie with a dot of corn syrup, after the fondant has been affixed to the cookie. In the picture below, you can see the 3-D pink flowers and also some flat white flowers.
To make the tie-dyed onesies above, simply put some food coloring on the fondant, but don't knead it in completely.
You can also use luster dust to give the onesies a glittery effect.
At this point you could be done OR you could really punch up the designs by painting accents on the cookies. For that you need royal icing, which dries hard.
Royal Icing
I use pasteurized egg whites that come in a carton. Don't follow the conversion chart (amount from carton to equal 3 egg whites), but instead just use the 3-5 tablespoons listed below. If separating out the whites from pasteurized shell eggs, be very careful not to get any yolk or grease into the whites or they won't whip up.
3-5 tablespoons pasteurized egg whites (about 3 egg whites)
3-3/4 cups and 1/4 cup powdered sugar, divided
1/2 teaspoon cream of tartar
1/2 teaspoon vanilla or other flavoring
water, as needed
Reserve 1/4 cup sugar and mix together all other ingredients. Beat for 7-10 minutes until the icing holds a strong peak, adding the remaining sugar if necessary.
Keep the bowl of frosting covered with a damp cloth to keep it from drying out. Divide the frosting into however many bowls of different colors you need. I used yellow or white (no food coloring) on the ducks, white with a tiny bit of purple in it to accent the white cookies, a few shades of purple for the ABC's and to punch up the purple multi-striped onesies, several shades of pink, etc. Here you can see that I've painted not only the duck and ABC but also the detail on the onesie. It really makes a difference!


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OCEAN VIEW, DE – The medical electronics market is poised to surpass $148 billion by 2024, up 12%, says Global Market Insights.
An increasing number of healthcare practitioners and a rising number of community healthcare centers, along with increasing adoption of better technologies for diagnosis and treatment, will propel medical electronics demand, the research firm says.
Increasing technological advancement will drive medical electronics market growth over the forecast period. Furthermore, growing disposable income levels in developing economies, along with the introduction of innovative products, will surge industry expansion.
Favorable regulatory policies for expansion of medical electronics industry and healthy reimbursement environment will propel business growth. However, high-costs associated with medical electronics will impede industry expansion, the firm says.
Lucrative return on investment and the ability to save considerable time compared to conventional methods will fuel increasing demand for surgical robots over the forecast period.
Respiratory care devices will witness significant revenue growth, owing to an increasing geriatric population and increasing prevalence of COPD, asthma and other respiratory diseases. Technological advances aimed at developing more efficient and cost-effective respiratory care devices will further propel market growth.
Hospitals are adopting innovative medical electronic devices to provide improved healthcare facilities to patients. Rising healthcare costs and growing disposable income levels will spur business growth over the forecast years.
The US medical electronics market will witness significant growth, owing to a favorable regulatory scenario and presence of leading regional business players. Growing disposable income and rising adoption of technologically advanced products will stimulate business growth over the forecast period.
Domestic medical device companies such as Siemens, Baxter General Electric, and Philips dominate the Russian medical electronics market. A favorable business environment and increasing adoption of technologically advanced products will fuel industry expansion over the forecast years, says Global Market Insights.
Some of the prominent players include Phillips, Siemens AG, GE Healthcare, Maxim Integrated, Carestream Health, and Allengers Medical.
The smart medical device market is projected to experience significant growth from 2017 to 2024. The size of the smart medical device market is likely to witness momentous growth because of soaring adoption of smartphones across the globe, surging demand for smartphone-compatible and wireless medical devices, rising awareness and focus on health and fitness, says the firm.
The Biochip market is projected to witness significant growth from 2017 to 2024. Wide-ranging applications in the fields of proteomics, genomics, genotyping, and drug discovery, coupled with rising adoption of personalized medicines, are major factors driving growth.


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Biodegradeable Office Supplies Offered at UH Bookstore
Textbooks Rental
Department of Public
Click It or Ticket
HUB Vendor Show
Today's Business Solutions Workshop
Historically Underutilized Business (HUB) Statistics
Green UH
Green Hints - Cook Smart
Call2Recycle Program Recycles Batteries on Campus
Parking and Transportation
New Digital Parking Meter Used Near Calhoun Lofts
Permits Available for
Construction Improves
Parking and Roads
Plant Operations
College of Architecture Gears up for Summer Upgrades
Fleming Building Construction Set to Begin
Policies and Procedures
SAM Approvals
Tip: For enrollment services
questions, students can call
If you have comments or would like to submit an article to future newsletters, contact Alexandra McGuffey at
email@example.com by the 20th of each month.
New Digital Parking Meter Used Near Calhoun Lofts
A new digital parking
meter system has been installed in
the visitor parking area next to
Calhoun Lofts.
This meter, called the LUKE, is a
multi-space pay station which is
able to regulate the entire visitor
lot, instead of having a meter at
each parking space.
The meter is the same model being
used in Downtown Houston for street
parking. The machine is able to
accept dollar bills and credit
cards, including Visa and
There will be 3 rates applied to
parkers in this visitor lot. During
business hours, Mon-Fri 7am to 5pm,
it will cost $1 per hour with a
maximum of 2 hours allowed. In the
evening, Mon-Fri 5pm to 7am the next
morning, it will cost $3 for the
entire stay. On weekends and
holidays, there will be a flat $3
charge per day.
�The Parking and Transportation
department is planning to install 3
more of these machines in the near
future to serve the needs of
visitors coming to campus,� said
Fidel Ramirez, Assistant Director of
Parking & Transportation.
For more information about Parking
and Transportation, visit


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Urban Jungle - Metal_01.jpg
Monday, November 26, 2012 - 01:14
The authors of this content agree to license it under later versions of the licenses they selected above.
Texture Dimensions:
metal_01.jpg 239.5 Kb [102 download(s)]
Texture Pack Description:
Urban Jungle is a collection of photographic textures of decaying inner city elements. Originally a commercial collection, these textures are now considered low resolution for mainstream games so I pulled it from sale in 2009. The textures should still be good for many indie or web based projects so I'm releasing them here under full public domain license.


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USCB Celebrates New Chapter with Hilton Head Island Campus Groundbreaking Ceremony
February 10, 2017
HILTON HEAD ISLAND, S.C. – A new chapter in the history of the University of South Carolina Beaufort begins today with the official groundbreaking for the new Hilton Head Island Campus starting at 11 a.m. at 21 Office Park Road, Hilton Head Island, SC.
This facility will house the USCB hospitality management program including undergraduate education, a center for the hospitality industry and executive education, a teaching and learning facility for the Osher Lifelong Learning Institute and a civic gathering place and resource for the community. Construction will begin soon and the facility will open in the fall of 2018.
"The University of South Carolina Beaufort is continuing a 30-year partnership with Hilton Head Island, with the groundbreaking marking a significant milestone in our history, and we can't be more pleased," said Chancellor Al Panu. "I am delighted that we have so many of our wonderful partners at the groundbreaking today that helped make this dream a reality. We know that this partnership with the Island will be impactful and transformative for our region."
Through key partnerships with the Town of Hilton Head Island, Beaufort County, the Beaufort County School District, the Technical College of the Lowcountry and Hilton Head Public Service District, this innovative idea is coming to fruition.
Local industry leaders have been partners with USCB for many years providing learning opportunities for USCB students. They will now benefit even more during the shoulder seasons and winter for students to fill key roles in both large enterprises and entrepreneurial businesses on the Island. Students are working all summer in the industry as well, gaining leadership experience and paying for their education.
The facility will feature state-of-the-art classrooms, a demonstration kitchen, beverage laboratory, fabrication laboratory and classroom for distance education. This campus is also a key partner in Palmetto College, the USC online education provider.
In addition, USCB faculty have demonstrated their intellectual contributions to the hospitality industry on the Island, from market research with guests to student leadership at key events. Also, student projects have helped the Island think more deeply about how to communicate its benefits to the next generation of guests and retirees in a digital age.
Located in the heart of the Carolina Sea Islands, the University of South Carolina Beaufort (USCB) is a baccalaureate member of the USC system, serving the southeast coast of South Carolina and Georgia. Since 2002, USCB has tripled its academic degree programs, doubled its FTE enrollment, opened its first on-campus housing (now serving more than 900), joined the NAIA Sun Conference, and fielded conference and national award-winning Sand Shark athletes in nine sports. The university's two campuses serve a diverse student body of 2,000 students. The Hilton Head Gateway campus in Bluffton, SC, offers cutting-edge Computational Science and Nursing laboratories, and a broad range of academic degree programs. The Historic Beaufort campus, located on Beaufort's downtown waterfront, houses an innovative baccalaureate Studio Art program in close proximity to Beaufort's many art galleries. The University of South Carolina Beaufort offers students an exceptional place to learn and live in an environment focused on growth, preservation and opportunity.
For more information about the University of South Carolina Beaufort, contact Kerry Jarvis, public information coordinator, at 843-208-8030 or firstname.lastname@example.com. More information can be found at www.uscb.edu/hhicampus.


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Latest News
In Full . . .
Crime concern in Barnt Green
Posted on September 29 2017 at 1:39:15
Shopkeepers in Barnt Green have been urged to report any suspicious behaviour to police, after several break-ins and thefts of charity boxes.
At a Town Team meeting to address traders' concerns, they were told that all incidents need to be reported so that the village continues to receive the same level of police support.
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