text: Hello wizards of Mydigitallife! I need a miracle. I modded and flashed hundreds of bioses during my time as computer-technician. never failed me before since I always check in your forum and double-check my result. but today something went very wrong. I have a HP pavillion p6100la from a customer here and it comes with vista. The MoBo is a MSI MS-7525 ver.1.0. so i downloaded the bios from HP website for this model. and extracted the BOS5.22 file, opened it with AWARD SLIC Mod v.1.35 and it gave me as Manufacturer COMPAQ. I changed it to HP, SLIC file HP.bin, SLP file HP.txt. Then i did verify with COMPAQHP-HPQOEM-2.1.XRM-MS in ISA mode and got error. so i repeated it with SSV3 and got error again, as well as in dynamic. When i tried 0+2 method it said that the slic successfully had been created. Then i made a bootable USB stick, copied the new slic bios file and AWDFlash but it hang, si i tried another version of Awardflash, also it didn´t flash. Then I committed the mother of all crimes, I know you will tell me that i am crazy. I flashed with WINFLASH, and actually it finished without error. But after rebooting i don´t get that blue HP screen, it shows me all the details of the pc, memory, cpu, disksbut then it goes to a black screen and just the white curser blinking, nothing more, keyboard blocked. I can´t go into bios with F10, can´t go into boot menu with ESC. it says it goes into bios and boot menu, but it jumps straight to the black screen with the curser. I tried using the awart recovery method with the bootable floppy, awardflash and the original bios file, but without any luck. Can anyone of you magicians perform a miracle and help me out? I will upload the modded bios i made, maybe you can find out what went wrong. there might be hope, since i get the post screen. Thanks for any help you can offer me and i promise i will NEVER EVER flash under windows again. Stephan


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So after I went for tests and interviews at two different recruitment agents in one day you will be glad to know that I got a job!
I went for an interview on Wednesday 14th September and found out that I had the job on Friday 16th and then I jetted off on holiday on the 18th!
Three years ago I finished a degree in Marketing and since then I have been planning trade-shows for a company in Watford.
It has been a mad whirl wind of a month but I am now in a position where I know that I will be doing what I love, Marketing.
Thanks for everyones support and I promise that I will get back to blogging crafts and lifestyle :)

subset: commoncrawl


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Referral Program
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If your friend manages:
- 1 to 100 units, you'll both earn $50 of account credits
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- 201 units or more, you'll both earn $200 of account credits
All you have to do is fill out the form below using the same email address you use to log into your Buildium account. Once your friend becomes a Buildium customer, you'll both see the credits reflected in your accounts.
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Any prospective customer granted a referral credit from an existing customer must sign up within 90 days of the date of referral. The Company has no obligation to provide this credit in the future and the referral is deemed null and void outside of this 90 day period. Existing customer must be a Buildium customer for at least 90 days to be eligible to participate in the referral program. Existing Buildium customers purchasing a new subscription are ineligible for credit. Prospective customer must be a Buildium customer for 30 days before either party is eligible for credit.


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Thank you for taking the time to urge Congress and the President to tax the wealthy more heavily than the rest of us. Can you please take two more seconds to post on Facebook and Tweet it out, and to email your friends with the form below?
Send mail from your own address book
No more than 20 emails can be sent through this page at any one time.
Action for a Progressive Future (the organization that runs RootsAction) is a nonprofit, progressive, public policy advocacy group that engages people in the democratic process and helps make sure legislators hear their voices.


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PHOENIX — The Dodgers anticipated a financial windfall by moving their preseason home from Vero Beach, Fla. to Arizona, thousands of miles closer to the vast majority of their fans and to a sparkling new training complex expected to attract the attention of deep-pocketed corporate sponsorship.
It hasn't worked out that way.
The Dodgers, who open camp Saturday, had a goal of selling 4,000 season tickets for spring training but will probably sell about half of that, chief operating officer Dennis Mannion said.
And those corporate sponsors?
They're staying away too.
"The economy is a huge, huge factor right now," Mannion said.
The Dodgers and Chicago White Sox, who share the facility, were so excited about their new home's potential as a revenue producer that they ignored the proven spring training model of seeking local advertisers and focused their efforts on finding national sponsors.
The concept -- called "The Starting 9" -- was designed to allow nine major sponsors paying $200,000 annually to secure the naming rights for different parts of the facility.


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A lot of thought has been put into the mating of Goldenpaw Wendy to Bekim Bale. We are duplicating Westmead Flight which is a very important component in the makeup of Bekim Bale offspring. By doing this we are bringing in a common ancestor to both Bekim Bale and Goldenpaw Wendy which helps pedigrees to succeed. Top class Bekim Bale offspring that carry this same duplication are Quasi Bale & Opec Bale, two of the quickest middle distance and staying greyhounds in Australia at the moment. The Obama Keeping litter has this duplication as well and has been tremendously successful winning over $100,000 in their first year on the track.
Lizzy has been purchased by a group new to the sport and are excited to follow her progress.
After breaking in well at Kevin McNamara's property, Amy pre-trained with Paul Osborne at Shepparton and is now with Eddie Lieshout at Drouin preparing to debut.


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I know this because I have captained many boats myself and the so called maritime rules of the road are pretty clear. When 2 boats meet at nearly perpendicular angles, the one on the right gets the right of way. From the pictures below it is pretty easy to see that the left (AKA "port") side of the cargo ship's nose hit the right (aka starboard) side of the Fitzgerald. That means the cargo vessel was to the right of the Fitzgerald upon collision.
As diagramed below, when 2 boats meet like this the one on the right is designated the "stand on" vessel and it should hold course and speed but the one to the left is called the "give way" vessel which must take all steps needed to not collide. This rule is put into practice using boat navigational lights. Those on the port side of the boat are red. On the starboard side they are green. The commander of the ACX Crystal could see the green light of the Fitzgerald so it told him he had the green light for right of way. Conversely, the Fitzgerald could only see the red light of the AXC Crystal meaning that it should stop or otherwise maneuver out of the way. Its a very clever system that has been in place for a long time.
Furthermore, there are other maritime rules which essentially indicate that the less maneuverable vessel should not be counted upon to maneuver and the more maneuverable vessel should use its capability to do so in order to avoid the collision. Container ships under steam are not known for their stopping power or their maneuverability. There is a lot of momentum to overcome. Conversely the Fitzgerald is a fighting vessel which sports high speed and high maneuverability for a ship of its size.
That's 2 strikes against the Fitz. We need to just admit that the Fitz was wrong and not try to blame someone else for our failing. Many people should be drummed out of the service for this and the captain should be held criminally accountable. You know, just like you or I would if we were at fault.


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Posted on Thursday, February 3, 2011
by Denise Richardson
There should come a time in the life of an "ADULT" no matter how young or old we may be, take a stand and become the mature adults that we're suppose to be. It's time for people to be held accountable for what they do as well as say no matter what position or title you may hold and STOP blaming others for your short comings. God kno...ws no title nor position because there is NONE higher than HE! But he tells us: "If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land." (2Chron. 7:14) We don't have to prove ourselves to anyone, but God so be you!, Do you! but in all your doing keep God first in your life. And for those who continuously turn a deaf ear to the Word of God just know your life will continue to be in ruins.
May the peace of God and His blessings flow richly in your life.
Here you'll find quotes, or words of wisdom to help you.


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Metro Tyres exports superior quality three wheeler tyres to various countries like Pakistan, Chile, Zambia, Sri Lanka, Bangladesh, Mexico, Brazil, Chile, Sudan, Argentina, etc.
DURO is one of the best Plywood companies in India, offering high quality BWP grade ply for bed base, walls and other wood work in office & homes
With a promise of longevity and durability, DURO has been a leading decorative teak plywood supplier in India for over a span of almost 6 decades.
DURO presents premium natural decorative veneer - India's largest engineered wood collection of different shades & colors ensuring best interior wall designs.
Metro Tyres is one of the best motorcycle tyre manufacturers in India. Its best range of hi-end tyres has dominated the market for five decades.
Metro Tyres is a leading automobile tyre and tube manufacturer and supplier in India. Its extensive range of bike tyres are appreciated for their quality and dependability both in India and abroad.
Metro Tyres is a leading city bike tyre manufacturer in India. The company manufactures resilient and reliable tyres for tough city conditions.
Maral Overseas is one of the leading manufacturers and suppliers of zero twist supima acrylic cotton yarns in India.
What is Pligg?
Pligg is an open source content management system that lets you easily create your own user-powered website.
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BOSTON (AP) -- Nineteen batters. Six pitchers.
One hour, 5 minutes.
Eight runs.
Two lead changes.
And when the seventh inning was over on Friday night, the Boston Red Sox were back in front and on their way to a 9-6 victory over New York and a five-game advantage in the AL East.
"We sent a number of guys to the mound; they put a number of balls in play -- hit batters, walks in there," Red Sox manager John Farrell said. "But then Addison Reed came on in the seventh to shut it down."
Saturday night's game continued after The Sun's deadlines. Go to lowellsun.com for details.
Reed and fellow Red Sox reliever Joe Kelly retired presumptive AL rookie of the year Aaron Judge with the bases loaded in back-to-back innings, and pinch-hitter Mitch Moreland delivered a two-run single to rally Boston to its 13th victory in 15 games.
Reed (1-1) got five outs, striking out three. He was the seventh Boston pitcher, after starter Drew Pomeranz left mid-batter with back spasms in the fourth. Craig Kimbrel pitched the ninth for his 29th save.
The Red Sox opened a 3-0 lead on homers from Christian Vazquez and Rafael Devers, who hit his fourth in five games and his seventh in his 19-game major league career. But Todd Frazier hit a two-run homer in the sixth, then New York scored four in the seventh to take a 6-3 lead.
Boston loaded the bases in the bottom of the seventh against Tommy Kahnle (2-4), scored one run on Mookie Betts' sacrifice fly and another on Andrew Benintendi's single. Hanley Ramirez walked to load the bases again before Moreland lined an 0-2 pitch to center to make it 7-6.
Jackie Bradley Jr. hit a two-run single in the eighth off Aroldis Chapman to make it 9-6.


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Workplaces and situations that may benefit from the Hazardous Substances Course include:
- Cleaners using heavy duty cleaning/sanitising agents
- Food preparation areas where sanitisers, food processing aids and food additives may be used
- Wineries and bottling factories
- Laboratories (eg schools, food businesses, industrial)
- Manufacturing industries that use hazardous substances
- Any other situation where hazardous substances are used
The course is run in-house for organizations, and the content is normally customized to suit particular workplace situations.
Topics may include:
- Identification of hazardous substances
- Risk assessment and risk management
- Following workplace procedures
- Emergency procedures
- Employers and employee responsibilities
- Reading and interpreting labels and Safety Data Sheets (SDS)
- Poisoning and personal safety
- Storing, transporting and handling hazardous substances safely
Please note – this is not an accredited course.
Contact us for more information, and for a quote to present the course at your workplace.


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Restaurant Porn is a regular column of daydreams presented as a means to introduce Vancouver diners and designers to concepts, looks, and fully-formed ideas that they might draw an inkling of inspiration from. We do our best to pair the foreign rooms with local addresses so as to let everyone in on the daydream.
(via) Multi-level restaurants are rare in Vancouver and typically the preserve of big box chains, which is why we are salivating over the look of Bamboo's and wishing it was over here instead of over there.
WHAT IT IS: Bamboo's Eatery is straight up gorgeous; a sprawling, beautiful, three-storey stunner imagined and executed by local firm Minggu Design using both traditional (namesake) and modern materials.
WHERE IT IS: The ancient city of Nanjing, capital of China's eastern Jiangsu province, 300km up the Yangtze River from the coastal city of Shanghai.
WHERE WE WISH IT WAS: Pick an address on East Georgia St. between Main and Gore in Chinatown; the same block that is home to Fat Mao, Matchstick, Phnom Penh, Ramen Butcher and Mamie Taylor's.
WHY WE WISH IT WAS THERE: Because it would be cool to have a mid-to-high end Chinese restaurant in the neighbourhood that employed vernacular aesthetic elements both old and new on three different levels.


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Phone number: (02) 6297....
Additional phone: (02) 6297....
URL: http://www.tauntons.com.au
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Nearby Businesses within 5 km
- A 0.0 km Queanbeyan Elec & Battery Serv
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- D 1.5 km Autopro: Queanbeyan
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Nearby Suburbs
- Queanbeyan (6) - 1.35 km
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Semiconductor Sales over last 25 years [1988 – 2015]
The semiconductor industry recorded its highest ever sales of US $336 billion in calendar year 2014. Logic devices (FPGA's, SoC's, ASIC's, etc.), Memory (DRAM, Flash, SRAMs, etc.), Analog devices (Amplifiers, Filters, Power Management devices) and Processors (excluding microcontrollers) made up nearly 80% of sales. See: Overview o tf the Semiconductor Ecosystem and Product Segments. Year 2015 fell only marginally behind at US $335 billion. Semiconductor Industry Association forecasts the market to grow to $336 B in 2016 and about $348 B by 2017.
Sign-in to download the data xls with the charts: Semiconductor Sales for Last 25 years
Tracing semiconductor sales over the last 25 years, we see that the industry grew from US $55 B in 1991 to $335 B, at approximately 7% CAGR. This is 2% better than the global GDP growth rate of 5% over the same period.
However the growth journey has seen its share of ups and downs. Year 2001 saw a decline of $65B (-32%) taking the market to 1995 levels. This was due to burst of the "Internet bubble". Year 2008-2009 also saw a decline of about 10%, setting the industry back by $30B. This time the global financial crisis was to blame.
Observing incremental growth in dollar terms, in the last 25 years there were only 7 years when the market posted a negative sales increment. If we leave out the two global meltdowns, which anyways affected all industries, we have only 5 years of negative incremental growth. Each major fall in the market was almost immediately followed by a period of strong recovery and stability (decreasing incremental growth eventually leading to a fall in the market). Assuming that this cycle will repeat we are perhaps in the phase of marginal incremental growth and we should be expecting a fall during the 2019-2020 period. This time period perhaps coincides with the relative maturity of the IOT market. By then a much more clearer view on practical adoption of the IOT technologies would have emerged and the demand will stabilize. This will potentially lead to correction in the related semiconductor product segments namely Microcontrollers, Sensors, Optoelectronics and to some extent logic devices.
The cyclical nature of the semiconductor industry is typically attributed to the excess inventory and capacity build up. Overall excess capacity and lack of demand results in pressure on prices. At the same time technological advances continue to better the price to performance ratio for semiconductor devices. In fact the improvement in semiconductor technology in accordance with Moore's law has been foundational in enabling ubiquitous availability of powerful computing across the industries.
Figure 1 illustrates the continuous change in semiconductors' constant-quality prices over time. [Note the logarithmic scale in the chart] Therefore to ensure business sustainability, the market needs continuous stimulus for innovation from innovative end application uses. In the recent past, digital consumer devices like (cameras, music players), smartphones, tablets etc. have provided this impetus for continuous innovation in Semiconductor industry. Going forward the "Internet-of-Things" trend can be seen to drive the Optoelectronics, Sensor and the MCU (micro-controller) market.
The overall shipment data from IC Insights indicates that overall Semiconductor shipments are likely to exceed One Trillion devices in 2017. The data also indicates that 2001 (dot com bust) and 2008-09 (global financial crisis) were the only years in the last 40 years when the shipments actually declined significantly. Shipments when viewed together with the general sliding price trend indicate that despite exponential growth in shipments, the price decline is weighing down on the overall revenue growth.
The IMF has projected the global growth to be at 3.4% in 2016 and 3.6% in 2017. The semiconductor industry product segments like processors, memory, logic devices (SOC's, ASIC's etc.), Analog Optoelectronic and sensors have applications spread across Industrial, Communications, Computing and Consumer Electronic devices and Automotive industries. Given wide spread of application, the overall market growth pretty much is aligned to the global GDP trends.
Logic Devices, MCU's, Optoelectronics and sensors are likely to drive the growth for the semiconductor industry; driven by higher automation and connectivity (IOT) across the industry segments. However these product segments are also challenged with continuously reducing prices. The revenue growth is likely to hit the USD $350B mark by 2018 at a CAGR of 1.5%. By 2019-2020 time frame we should see saturation setting in and expect a decline in the market.
More on semiconductor product segment revenue performance in the next post.
Please share your insights on factors impacting the semiconductor industry sales and how the growth- decline cycles can be better analyzed and predicted.


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Time to peck for New Zullend.... For now, "Dosvedanya Tovarisch"
About Me
- Richard Black
- Melbourne, VIC, Australia
- 2nd Grade Teacher at a school in Melbourne, Australia. My job: push kids to think. My passion: helping kids to tackle the life-long skill of searching for meaning, skills, answers and more questions.
Saturday, 7 July 2012
6 ways you can take ACTION - Poster Draft #1
Time to peck for New Zullend.... For now, "Dosvedanya Tovarisch"
9 comments:
- Joan Young said...
I really like this idea and how you shared it out for feedback! I teach 4th grade in California, US and love connecting with teachers all over the globe. So.. I do have one idea and it is about the order of the categories: I wonder if you might consider that thinking and feeling are sometimes what lead to there others: Thinking, feeling, doing, having, saying, being sort of makes sense to me. Just my 2 cents! Thank you!
- 8 July 2012 at 02:16
- Richard Black said...
Thank you so much for taking the time to comment, Joan. Fantastic! Great suggestion too. Thank you.
- 9 July 2012 at 08:59
I think the purple is a bit dark to read the writing - and I don't much like the orange colour. Can you get a better orange?
- 14 July 2012 at 13:04
- Richard Black said...
Yup! I changed the colours around and made the text white. Way clearer. Want one for your classroom, Fezz?
Thanks for the suggestion, champ.
- 15 July 2012 at 18:54
- bridget said...
I would actually LOVE a copy for my IB school in Colorado if you don't mind sharing!
- 5 October 2012 at 03:44
- Richard Black said...
This should give you a look at the 'new improved' setup.
A colleague in year 3 found my poster online and changed it.
Then I saw it, recognised the idea and asked where she'd found it.
She had no idea it came from her own school!
Cool huh!
- 5 October 2012 at 08:31
- Lynne Scollay said...
This was a great idea. A friend shared your blog when I posted that I had to write an article for my school newsletter about Action in the PYP. I quoted your idea. I checked out the new improved set up on twileshare but is there somewhere/somehow I can actually download the file - happy to pay for it on teachers pay teacher or other such site. Totally love the display and idea!! Many thanks for sharing!
- 15 March 2014 at 17:17
This is awesome - I am using it in my class (Year 5) and I plan to share it with my colleagues. Using these words help the students to notice their actions, they become aware that actin is not always a big "doing". Thank you.
- 11 September 2014 at 16:37
- Ashley J said...
Hi Richard,
This is just what I was looking for. Do you mind if I use the idea at my school?
- 27 April 2015 at 19:07


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Harvest Appeal 2018
Harvest Appeal
"Our food is in the hands of water. Water is life. It's water that makes crops grow and provide us with food. It's also water that gives us health. We use it to do everything. Without water we can do nothing."
For Moustapha, 41, from Burkina Faso, water is life. He relies on it to grow food and make money for his family. Since WaterAid began working in his village Moustapha's life has been transformed. He's learnt to monitor and manage water levels and is now able to grow a huge variety of crops. He advises others in his community how to do this too. Thanks to water, Moustapha has been able to turn his harvest into food, clothing, education and healthcare for his children.
This harvest, your congregation can help us reach even more communities like Moustapha's and give them a harvest worth celebrating. If you've held a harvest supper or collection, please pay in your fundraising using the form below.
Download paying in form (PDF) >


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Chris has remained home alone because his family went on a holiday in the States. He is sick of eating sandwiches so today he is about to cook a parmigiano sauce recipe. Lets show him how to cook something delicious because he is really hungry. Enjoy playing this online cooking game for girls.
Thanks for taking your time to give us feedback!
Your feedback has been received.


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Having just extolled the virtues of Slut in print after diligently documenting the parental potholes to be found along Avenue Q I claim a special credibility as I turn with alarm toward the wretched efforts of local arts organizations to publicize events that offer clean wholesome entertainment to parents who still care. You can easily rely on Childrens Theatre of Charlotte to provide a consistently clean slate of family-friendly fare their web site helps you to steer clear of programming thats too juvenile for full family enjoyment. Parents can also navigate past programming targeted toward high schoolers where issues and subjects may be too advanced.
Otherwise, only Charlotte Symphony offers a convenient gateway if youre already hip to their fine LolliPops series. Try hooking up with NC Dance Theatres Matinee Magic series and your surfing isnt nearly as easy. You basically need to sift through the complete 2008-2009 Season to find the kid-friendly fare because none of these are on the Matinee Magic page, which confines itself strictly to subscriber benefits. Want to know when the matinees begin? Scroll to another page, please.
Jungle is densest at the NC Blumenthal PAC site. You need to scroll through all upcoming events and make your own parental judgments, a daunting task when you consider how much is happening at their seven venues in coming months.
True, PAC webmasters have thought about simplifying navigation. You can easily find an EVENTS tab on the home page. Yes, when you point your mouse there, a menu opens and behold, FAMILY FRIENDLY appears among the choices. Trouble is, you get a No Results Found message when you click on it. Although you will find kid-friendly NCDT events among the 14 on the DANCE page, none have migrated to the PG page. Parents who cant discriminate between Chicago and Mamma Mia are treading through a minefield on the BROADWAY page.
Two words to all of our sleepwalking big presenters: Fix it!


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I recently attended my friends' wedding in the D.C. area, but some other friends and I had a few days to burn beforehand. We decided to visit the Little Stony Man cliffs at Shenandoah National Park. We simply weren't after beautiful vistas; we went there to rappel down and climb up the 100+ foot cliffs. The cliffs of Little Stony Man can be intimidating, but fears can become mitigated with proper training, experienced company, and redundant security ropes. We tied off ropes and webbing to trees and boulders in order to climb two different routes with difficulties ranging from around a 5.6 to 5.8. My friends, being more experienced than me, had few problems climbing the cliff. I was able to make it after some failures.
The view from the top is spectacular, as the entire Shenandoah Valley is presented before your eyes.
While we hiked up the trail to the summit in order to tie down, I suspect it is more rewarding to climb.
After I finally made it to the ledge, we switched routes at the top and rappel down.


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|Sikkim Chief Minister Dr.Pawan Chamling
Gyalshing, July 14: Sikkim Chief Minister Pawan Chamling offered to rename Sikkim Government College at Tadong as Nar Bahadur Bhandari College should the former Chief Minister gives his consent.
"Our government has been honour our former leaders and recognizing their contribution to Sikkim, we have been naming the government infrastructures after them. If former Chief Minister Nar Bahadur Bhandari gives his consent, we will name the government college at Gangtok after his name", said the Chief Minister in his address during the 197th Bhanu Jayanti celebrations held at Kyongsa near Gyalshing.
|Nar Bahadur Bhandari
In his address, Dr. Chamling asserted that there are only two leaders in Sikkim so far. "My direct political adversary is Nar Bahadur Bhandari. He has a vital role in the inclusion of Nepali language in the Eight Schedule of the Indian Constitution and I appreciate his contribution", he said.
"Credit goes to Bhandari for establishing college in Sikkim but Dr. Pawan Chamling is the leader who established Sikkim University", said the Chief Minister. Earlier, the Chief Minister inaugurated the Nepali Literature and Culture Research Centre at Kyongsa and unveiled the statue of Adikavi Bhanu Bhakta Acharya.
"The Sikkim Democratic Front (SDF) government has given full protection to the languages and cultures of all communities in Sikkim. We are also giving lot of thrust on intellectual initiatives. The people should be conscious as how to harness the potential and protect this centre at Kyongsa", said Dr. Chamling. He urged that nobody should think that the centre is meant for Nepali speaking community only. The Chief Minister also assured to meet all the additional infrastructural requirements of the center which will be under the care of the West district collector. He directed the concerned department to prepare an estimate of all the additional requirements of the centre.


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Contemporary signage for your home and business
Our stylish house name and number plaques are made from durable modern materials and are designed especially for you.
Sleek 5mm acrylic sheets with diamond polished edges
Brushed aluminium studs for a contemporary 3D finish.
Printed on outdoor grade photographic material reverse bonded to the acrylic.
A choice of three sizes and endless colour and font options.
Some popular styles are shown here, but if you would like different colours or fonts, please let us know. There is no extra charge for bespoke designs.
All house plaques come with full straightforward fitting instructions.
Designed for you and made to last:
Box Clever Creative, Unit 14 Merritt Road, Greatstone, Kent. TN28 8SZ.
|As with all of our printed products, we do everything possible to make the most of your image and we pride ourselves in ensuring that every customer is 100% satisfied.
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For more information please
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Section Chief, Breast Surgery
- Location
- Chapel Hill, NC
- Posted
- Jul 12, 2017
- Faculty Jobs
- Health & Medical, Medicine
- Executive Administration Jobs
- C-Level & Executive Directors
- Institution Type
- Four-Year Institution
Position Type: Permanent Faculty
Department: Surgery - Surgical Oncology - 414020
Appointment Type: Open Rank
Vacancy ID: FAC0002046
Position Summary: The Department of Surgery at The University of North Carolina is seeking applications for a full-time academic breast surgeon to join our Division of Surgical Oncology and Endocrine Surgery. The Division of Surgical Oncology is among 9 clinical Divisions in the Department of Surgery. The Division currently includes 11 faculty members that provide exceptional care to patients from across the state of North Carolina. The ideal candidate will have an interest and proven track record of at least 5 years of experience as an academic breast surgeon. The chosen candidate will be expected to work to grow surgical volume through referral networking, develop academic activities, and work closely with the leadership team in medical oncology, radiation oncology, reconstructive surgery, and genetics. Preference will be given to individuals who bring unique skills, interests or qualifications to the current faculty in a complementary fashion. Individuals with a strong interest in research are encouraged to apply. Faculty members within the Division of Surgical Oncology and Endocrine Surgery must possess a desire to commit to all three mission of the department and school of medicine, including the clinical, education, and research missions. Regarding the education mission, faculty members are expected to regularly participate in the education of medical students, residents, and ACGME Complex General Surgical Oncology fellows. Regarding research, a commitment to any one of a broad array of research interests is desirable, including but not limited to clinical, outcomes, health services, basic science, translational, ethics, education, or global surgery research. Regarding the clinical mission, faculty members must be committed to delivering high quality clinical care that is of value to the patients of UNC. Selected candidate must be team-oriented and have the ability to interact well with colleagues inside and out of the Division.
Application Deadline:
Education Requirements: BC in General Surgery
Qualification and Experience: Required completion of a Society of Surgical Oncology approved breast fellowship or Society of Surgical Oncology approved Surgical Oncology Fellowship or ACGME approved Complex General Surgical Oncology Fellowship is preferred. Experience in multidisciplinary breast cancer care/delivery is essential. Chosen candidate should either have a current North Carolina Medical License or be eligible for application.
Equal Opportunity Employer: The University of North Carolina at Chapel Hill is an equal opportunity and affirmative action employer. All qualified applicants will receive consideration for employment without regard to age, color, disability, gender, gender expression, gender identity, genetic information, national origin, race, religion, sex, sexual orientation, or status as a protected veteran.
Department Contact Name and Title: Jana Ross, MA, Manager of Professional Affairs
Department Contact Telephone Number or Email: [email protected]
Special Instructions for Applicants: Interested applicants should apply via: http://unc.peopleadmin.com/postings/123415


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- feroAsked on August 23, 2014 at 07:42 PM
you close this account
what can i do to dont close my forms :(?
- JotForm Supportashwin_dAnswered on August 24, 2014 at 02:10 AM
I have already responded to you in the following thread: http://www.jotform.com/answers/419682-Why-is-my-account-suspended#2
Your account is now active. Do try to sign in to your account and get back to us if you have any trouble.
Thank you!


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Alzheimer's Disease, Climate Change Among Priority Issues
Endangered species and other wildlife around the world are under siege like never before. Thanks to a public affairs and public relations firm in the United States, they have a powerful ally.
Crossbow Communications, award-winning and record-setting public affairs and public relations consultants with offices in Denver, New York and Phoenix, won't let them go down without a fight. The company's president, Gary Chandler, is a veteran advertising, public relations and public affairs consultant. He is passionate about all things outdoors, especially wildlife and critical habitat.
"I can't sleep at night knowing what is happening to animals around the world, especially endangered species like the rhino, tiger, elephant and orangutan," Chandler said. "The human condition and human nature are killing the entire planet. How many species will we push into extinction before the web of life collapses on us?"
Chandler is a Colorado native and a world explorer who authored the Language and Travel Guide to Indonesia, (2009, Hippocrene Books, New York, NY). Chandler devoted much of the book to wildlife and environmental issues. He is donating all profits to wildlife conservation causes in Indonesia.
Chandler also founded Earth News, a pioneer in the world of environmental journalism and publishing. He is the author of another eight books about environmental success stories, including Guardians of Wildlife (1995, Henry Holt, New York, NY).
As such, Chandler is devoting his consulting practice entirely to wildlife and sustainability causes. He's even launching two related projects of his own.
"I feel like I'm starting a second career," Chandler said. "Except, now we will be very selective about the clients that we tackle and we plan to increase the amount of pro bono work that we handle every year. That's alright, these causes are rewarding in and of themselves. I'm here to put money in their pocket and leverage in their sail."
Chandler says that the firm is eager to hear from organizations around the world that advocate for wildlife and sustainability causes. They also hope to join forces with groups promoting sustainable cities and reforestation, including urban forestation.
Crossbow Communications is a full-service advertising agency and public relations firm in Denver, Colorado and Phoenix, Arizona. The firm specializes in issue management and public affairs, with an emphasis on healthcare, natural resource conservation and human rights. Crossbow has helped influence public opinion and public policy around the world. It has won state and national awards, while setting state and national records for our clients. Visit http://crossbowcommunications.com/public-affairs-firm-phoenix/


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December 12, 2009
Waldorf School Winter Faire
The scent of beeswax, the soft guitar, twinkling fairy lights, cedar boughs...it was so peaceful and full of joy. It was hard to leave the candle dipping room, it really was like a dream. With full hearts & belly's we headed home - lighter, more blessed and with a renewed sense of spirit.
Posted by Genevieve at 8:08 PM
4 comments:
- jodi said...
beautiful! x
- December 15, 2009 at 12:55 PM
- Jasmine said...
You have such a beautiful blog over here. Thank you for your visit, I hope to see you again :)
- December 16, 2009 at 10:51 PM
- Naturalearthfarm said...
We didn't get to a winter faire this year - but they are such a joy to visit.
Warm wishes.
- December 17, 2009 at 7:22 AM
- Gen said...
Thank you all for your kindness.
- January 13, 2010 at 6:42 AM
Subscribe to: Post Comments (Atom)


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Microsoft has unveiled that seven games are now backwards compatible on the Xbox One with the biggest titles being Battlefield 3 and Bad Company 2.
In a tweet sent out by Larry "Major Nelson" Hryb, Director of Programming for Xbox Live, confirmed that both Battlefield 3 and Bad Company 2 are now backwards compatible. Those who have a physical copy can play it like a normal game while those who have a digital copy will have to download it to the Xbox One hard drive.
Back in May 2015, Microsoft set up a user poll to receive feedback after it announced that some Xbox 360 games will be backwards compatible for the Xbox One. Both Battlefield 3 and Bad Company 2 were among the top 20 most requested titles as of early 2017 while Call of Duty: Black Ops II has been on the #1 spot since 2015.
Other titles that are now backwards compatible are Dragon Age: Origin, Strania, The Splatters, Scrap Metal and Ghostbusters.
Battlefield: Bad Company 2 was the 10th game in the series and it follows a group of Army misfits who are assigned risky operations. Battlefield 3 was the 11th in the series and a direct squeal to Battlefield 2. Both titles were released on major consoles and were highly praised.


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Inception Cask Aged Gin
Availability: In stock
Woodstock's Grape distilled Inception gin is matured in American Oak barrels for a period of three to four months. During this time the stringency of the Grape distilled Inception gin is lowered and rich vanilla and marzipan flavours are now present in the gin. This provides for an extra premium gin, which can easily be sipped on its own or paired with lime and red peppercorns and Woodstock's natural tonic water


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Touch the Soil News #582
Recently, the USDA gave approval to Del Monte to go ahead with the commercial cultivation of pink pineapples. The new pineapple has been genetically engineered to produce lower levels of the enzymes already in conventional pineapple that convert the pink pigment lycopene to the yellow pigment beta carotene. Lycopene is the pigment that makes tomatoes red and watermelons pink.
The new pineapple will be raised in Costa Rica. Del Monte will label it as an "extra sweet pink flesh pineapple."
The FDA, during its review of the pink pineapple, said that there are no unresolved safety or regulatory questions about the pink pineapple. What do you think?
Following is a short video on the pink pineapples:


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Dramaturgy Essays
This article will provide an overview of dramaturgical analysis. The article outlines the theory of Erving Goffman's analysis of social interaction in "The Presentation of Self in Everyday Life". A summary of the conceptual concepts of Goffman's work and a practical expression of these concepts within the dynamics of social interaction is also provided. This article also explores the significance of Goffman's ideas and writings. An explanation of the impact of Goffman's theories on the fields of sociology and psychology is included as well as a synopsis of subsequent research that confirmed many of Goffman's ideas and empirical critiques that questioned some of his conclusions. Specifically, this article explores some of the main criticisms that researchers have levied against Goffman's theories. These criticisms include the observation that Goffman's ideas do not account for the encounters an individual may have with subsets of their main audience wherein the individual assumes a partial "face" of the character or role normally played. This idea of fractional identities is a reality in daily life but is not covered in Goffman's writing. This article also summarizes the criticism that most individuals have a fluid concept of self that is constantly changing or is necessarily distinct from their authentic self because certain identities are assumed solely for a specific purpose or finite period of time. Lastly, this article explores the moral critique of Goffman's writings, which points out that not striving to live up to an authentic self is a morally inferior approach to life. Finally, this article discusses some of the applications of dramaturgical analysis. For instance, modern consumerism and simulated reality are both influenced by Goffman's theories.
Keywords Acting; Back Regions; Barriers to Perception; Character; Dark Secrets; Expressive Behavior; Front Regions; Given Acts; Given Off Acts; Impression Management; Inside Secrets; Performance Teams; Self; Social Self; Tact
Dramaturgical Analysis
Erving Goffman believed that individuals continually perform for each other during every day interactions. what others see is "rarely a person's "true self" but rather a contrived set of behaviors and props used to complete the performance" (1959, p. 22-24). Goffman termed this collection of behaviors and props the "front stage," which is what an individual continually shows to others. An individual's "backstage," is where the person can "relax, step out of character, and drop the act in an attempt to be more real" (p. 112), and is rarely seen by others. Goffman suggested that since the secret behavior of the person's 'performance' is visible in the backstage where people behave out of character, the passages between backstage and front stage (which everyone can observe) must be kept closed to members of the audience. However, sometimes when an individual interacts with an audience member, he or she may unintentionally reveal a part of the backstage. Goffman calls this revelation a 'break in character.' These lapses "demonstrate that our interactions are in fact performances that occasionally suffer from spontaneous and unexpected peeks into our backstage areas" (Wosick-Correa and Joseph, 2008, p. 203).
The Presentation of Self
In Goffman's seminal work The Presentation of Self in Everyday Life (1959), he describes the work that individuals do to project and maintain images of themselves during social interactions. This work, called impression management, is achieved through conscious, deliberate actions as well as through gestures and verbal and nonverbal communication. Many of the principles of Goffman's theory are patterned after dramatic and theatrical phrases and concepts. The following sections will describe Goffman's theory as well as its conceptual categories and practical expressions in more detail.
Although Goffman wrote broadly about the individual and social interactions, he is best known for his analysis of the ways in which individuals present and manage their identities and the impressions others have of them. In The Presentation of Self in Everyday Life, Goffman postulated that, depending on their audiences and desired objectives, individuals use impression management, or techniques to control and shape others' impressions of them, to fluidly shift in and out of various characters. Like an actor, individuals have an authentic self that is shielded from others and prepped for public performances in private (i.e. the "back stage"), and a public self that performs a character for audiences in the "front stage." In some instances, performers may move from one stage to another in a single environment. Goffman cited courtrooms, hospitals, and department stores as environments in which individuals may shift from back stage to front stage appearances by stepping into character to play out a role (Sarbin, 2003).
Goffman's work not only identified an individual's presentation of self as a social product but also suggested that while individuals are able to strategically manipulate their social situations and others' impressions of them, they are not entirely free to define their images of themselves. Rather, people's definitions of themselves are constrained by the statuses, roles, and relationships that the social order accords them. As a result, individuals can manage their own self and the impressions others have of them, but only within the social structures that they are accorded through birth, family, marriage, work, socioeconomic status, and other social constructs.
Conceptual Categories
Goffman (1959) coined a unique vocabulary to describe how people socially interact with one another. He drew many of his concepts from stagecraft. Impression management refers to the process through which an individual creates performances in which he or she becomes an actor within his or her own life. Through impression management, the individual carefully strives to present a convincing image of him or her self to dialogue partners and other audiences. In Goffman's view, men and women are less "individuals trying to enact conventional roles" than they are actors trying to be someone or something. Thus, behavior is often assumed rather than reflexive, and is used to further the impression the individual desires to convey to his or her audience.
Further, Goffman believed that people shift between what he called the front stage, or front regions, and the back stage, or back regions. Each of these regions is defined by barriers to perception. Performances are acted out in the front regions, while, in the back regions, actors consciously contradict the performances they give in the front regions. Impression management occurs on in the front regions, while in the back regions actors shed their assumed roles. These two regions can be divided by different kinds of barriers to perception depending on the social situation. In a restaurant, for example, the kitchen door may be a barrier dividing the dining room, a front region, from the kitchen, a back region. A server's behavior in the dining room may be polite and courteous, while in the kitchen he or she may mock or complain about the customers.
In addition, some expressive acts of the performer are "given" while others are "given off." Given acts are deliberate verbal and gestural behaviors that the actor performs to create a particular impression of himself or herself. Given off acts are unintended or unwitting expressions, and are mainly nonverbal. Both types of acts are important cues to dialogue partners and other audience members. Some individuals are capable of finely tuned impression management skills and can simulate acts that appear to be given off. The ability to simulate apparently reflexive emotional expressions challenges the claims that most facial and bodily emotional displays are not under the individual's control but are instinctive and often unbeknownst to the individual (Sarbin, 2003).
Practical Expression
The presentation of self through impression management is not an isolated experience, according to Goffman. In fact, in most real-life situations, actors are parts of performance teams in which individuals collaborate with one another to perform a role or function. For instance, a performance team may be a doctor and nurse, teacher and student, supervisor and employee, or even husband and wife.
Although the concept of a performance team is suggestive of cooperative, consensual and apparent conduct, Goffman also alleges that performance teams may create and harbor secrets. For instance, to facilitate their performance team members necessarily share inside secrets. Meanwhile, dark secrets are secrets that would undermine the team's performance, and thus must be kept hidden. Additionally, strategic secrets are information or plans that may be used against an adversary (Sarbin, 2003).
Goffman pointed out that teams rarely keep their secrets perfectly because the individuals constituting the team all perform divergent roles. In addition, the team may be infiltrated by what Goffman calls an informer, or a person who, gaining access to the team's backstage region, reveals the team's secrets to the audience watching the front stage region (Sarbin, 2003).
However, groups acting as performance teams can be highly effective. Members of groups or performance teams may be fully aware of their participation in the performance team, and members may even discuss among themselves how to enhance their roles or further the performance team's objectives. Goffman used the term staging talk to describe a discussion in which performance team members confer about the problems of staging a performance. For instance, the members might talk about how their most recent performance, a practice that is often intentionally done by corporate employees or athletes. Staging talk strengthens the team's morale, and helps members recover from poor performances (Sarbin, 2003).
Performance teams may even adjust their performance while in front of an audience, yet without the audience's knowledge of the practice. Goffman termed this subtle technique team collusion, describing it as a strategy through which team members communicate backstage information to one another while still maintaining their front stage performance. Through it, they can express thoughts that might be objectionable to the audience and undermine their performance (Sarbin, 2003).
Significance of Goffman's Theory
Goffman's theory on the presentation of self had an immediate and significant effect upon his contemporaries' research and discourse. Not only were his theories read and analyzed widely, his objective, nonjudgmental writing style was groundbreaking and highly acclaimed.
Impact on the Field
Goffman's central work, The Presentation of Self in Everyday Life, had a substantial and sustained impact on the fields of sociology and psychology. The book sold hundreds of thousands of copies worldwide and attained the status of a modern classic (Sarbin, 2003). Published in 1959, the book struck a chord with its proposition that human behavior was significantly shaped by the nuances of social situations. Up...
There has been a lot of talk about criticism lately asking what it is, why is it important, what is the difference between "good" criticism and "bad" criticism and who gets to do it, anyway? This is understandable for many, many reasons, not least of which is that the general tone of discourse in our culture is at an extraordinary low while the need for thoughtful criticism is at an all-time high. We live in incredibly complicated times that require examination and circumspection. Yet things have devolved to the point that a political campaign can literally reject truth as a criteria for making allegations and a state political party platform can reject the teaching of values clarification and critical thinking skills in schools; ignorant pugnacity in the pursuit of extremism passes for discourse in the public realm and people communicate their approval through clicking a "like" button. At the same time the traditional hierarchies for determining the "legitimacy" of critics have begun to fail. Att the risk of endlessly re-stating the obvious, the internet has changed everything and it has mostly demonstrated the truth of two time-honored sentiments:
- "Opinions are like pieholes, everyone has one."
- "Better to remain silent and be thought a fool than open your mouth and remove all doubt."
Yes, the internet has enabled many intelligent, thoughtful people to share their ideas and insights on countless things, but it has also created the very serious problem of having conversations regularly reduced to the least common denominator. For most of us this is now a fact of life that merely demands that we be more discerning in whose opinions we trust and more prudent about who we engage in conversation. For others, it seems to be an existential threat. Michael Kaiser, hysterically over-reacting to the emancipation of the great unwashed, ruffled feathers when in an essay on The Huffington Post he stated:
"… the growing influence of blogs, chat rooms and message boards devoted to the arts has given the local professional critic a slew of competitors…Many arts institutions even allow their audience members to write their own critiques on the organizational website. This is a scary trend."
Suffice it to say that we here at Culturebot vehemently disagreed with him on several levels – one, the presumption that arts audiences are too ignorant and uninformed to have thoughtful opinions; two, that institutions should be opaque, resistant to change and indifferent to the opinions of their audiences and three, that there is any longer such as thing as a "professional critic" in mainstream arts journalism. I am not going to completely re-hash our responses in this essay; you can read Jeremy's response here and my response here. One key issue though is Kaiser's dismissal of "amateurs" and his outmoded and unrealistic attachment to the idea of a critic vetted and approved by the socially empowered arbiters of distinction, that approval being largely specious to begin with. As I say in my response, it is worth noting that "amateurs" in the 21st Century are frequently quite knowledgeable:
Are we amateurs? No. Kaiser's derogatory use of the term indicates a startling lack of respect for audience members and a lack of knowledge about the composition of that audience. He might be surprised to learn how many people in the audience actually know what they are talking about. Not everyone can afford to get a Master's in arts admin, criticism, dance, theater, etc. only to come into a job market where your best option is a $30K/year, 60hr/wk job in one of the most expensive cities in the world. Much less take time off from their life to study with Kaiser in the Kennedy Center Fellowship for Arts Management. Thus the established arts infrastructure tends to skew to people who are either willing to live penuriously or have other resources to draw on.
Even fewer people can make a living as an artist.
So the audience for the arts – and the people who are passionate enough to frequent cultural institutions, comment on their sites or start their own blogs – are frequently educated, knowledgeable, committed individuals who, you know, have actual jobs. They are artists and former artists, they are friends and families of artists, they are people who grew up or into an appreciation of the arts for any number of reasons but because of the necessities of making a living are relegated to "amateur" status. Sure there are some ill-informed writers and commenters out there, but as I've watched arts writing on the internet evolve over the past eight years I've been surprised by the quality of writing, the knowledge of the writers and the vitality of the discussion.
You can also read my account of a panel I participated in at the Dance Critics Association where I articulate the difference between reviewers and critics and the underlying assumptions of print vs. new media.
But on some level I owe Kaiser a debt of gratitude, because he compelled me to closely examine what we do at Culturebot, why we have always been different, why what we do is important and how we can do it better. This line of inquiry has been very fruitful, not only in defining and improving Culturebot's critical practice, but in opening up a deep conversation about the role of the critic, the nature of spectatorship (Ranciere, et al) and the transformative potential of the arts. Fortunately Jeremy has been keeping things going on the editorial front and been an invaluable sounding board, resource and collaborator as we tease out these questions looking for answers. Culturebot has been doing what we do for almost nine years and now we are finally explaining it. Over the past year we have published (and will continue to publish) a series of essays articulating the challenges and promises of the changing arts landscape. The essay you are currently reading will propose a new framework for the critic in this emerging landscape and a vision for how that role can facilitate change and innovation sector-wide.
Many people have taken on this question of late. Daniel Mendehlson's recent manifesto on The New Yorker blog, which I encourage you to read in its entirety, has some thoughtful insights. While we don't entirely agree with his positions, there are two in particular that resonate:
"The serious critic ultimately loves his subject more than he loves his reader—a consideration that brings you to the question of what ought to be reviewed in the first place. When you write criticism about literature or any other subject, you're writing for literature or that subject, even more than you're writing for your reader: you're adding to the accumulated sum of things that have been said about your subject over the years. If the subject is an interesting one, that's a worthy project. Because the serious literary critic (or dance critic, or music critic) loves his subject above anything else, he will review, either negatively or positively, those works of literature or dance or music—high and low, rarefied and popular, celebrated and neglected—that he finds worthy of examination, analysis, and interpretation. To set interesting works before intelligent audiences does honor to the subject. If you only write about what you think people are interested in, you fail your subject—and fail your reader, too, who may in the end find himself happy to encounter something he wouldn't have chosen for himself."
This is the heart of what we have always strived to do here, to identify those things that we find "worthy of examination, analysis, and interpretation" and "set interesting works before intelligent audiences". We are passionate about the work we cover and want to share it with intelligent, engaged audiences. We are not in the business of being a consumer advocate for Joe Ticketbuyer, we are facilitating discourse.
Secondly, Mendelsohn asserts:
The role of the critic, I repeat, is to mediate intelligently and stylishly between a work and its audience; to educate and edify in an engaging and, preferably, entertaining way.
I would add to this assertion by suggesting that the critic be deeply informed and widely accessible, which is something we strive to do here at Culturebot. This is probably where we part ways with Mendelsohn, in that I suspect he is suggesting, like Kaiser, that a "real" critic must receive the imprimatur of legitimacy from the appropriate cultural "authorities".
In contrast, Culturebot has been working to cultivate a critical voice that embraces subjectivity and the informality/intimacy of the internet – its humor, irreverence and informality – while acknowledging the need for intellectual rigor. Our critical endeavor is not about reviewing, it is not about what the writer did or didn't like – it is about information, examination and exegesis; creating context by connecting the work at hand to larger ideas, to historical and aesthetic precedents and to the world in which we live.
In a related essay in the New York Times entitled "A Critic's Case for Critics Who Are Actually Critical", Dwight Garner proposes:
Marx understood that criticism doesn't mean delivering petty, ill-tempered Simon Cowell-like put-downs. It doesn't necessarily mean heaping scorn. It means making fine distinctions. It means talking about ideas, aesthetics and morality as if these things matter (and they do). It's at base an act of love. Our critical faculties are what make us human.
Interestingly, Garner uses the word "love" in a similar way to Mendelsohn. This may be a contentious idea (and the fact that it resonates with me may have more to do with my Jewishness than anything else) but criticism is an act of love. It means you care enough to devote time, energy and thought to really paying attention, to taking the work seriously, to asking questions and having a meaningful conversation that will, hopefully, support your audience in having a considered life; one in which ideas, aesthetics and morality matter, one where art is a forum for parsing the complexities of human experience and guiding us towards right action. Does this love of art or these qualities of personality require the imprimatur of a cultural hierarchy to be realized in the public sphere? Because in a very real sense the critic is a public intellectual, someone who is passionately devoted to a life of the mind as a means for deepening lived experience generally, serving as an expositor and mediator between the artistic endeavor and the audience. More on this later.
CRITICISM IN THE 21st CENTURY
The first step of re-framing the critic in the 21st century is to abandon the reviewer-based model of criticism predicated on traditional consumer print media. I am not going to completely re-state Culturebot's concept of critical horizontalism here. For a fuller explanation please read this essay. In brief what I am advocating is the following:
Culturebot proposes a new framework for arts criticism that we refer to as "critical horizontalism". In this framework criticism is a creative practice unto itself and the writer exists in subjective relation to the work of the artist. The writer's response is the continuation of a dialogue initiated by the artist. If this response is then published on the Internet, this creates a horizontal field of discourse with the work. This model resists the commodification of the performing arts as "entertainment" but rather situates it as time-based art. The performance itself is an ephemeral nexus where audience, artist and ideas converge. The critic supports the continued investigation of the art event across multiple platforms.
The practical implementation of this is expressed in the idea of "embedded criticism", something we recently explored in our Exit Art project and a term that has been used more frequently of late. (Andrew Haydon discusses it thoughtfully here.) Embedded Criticism further removes the writer from the traditional arts journalism model by encouraging the writer to engage with the artist's process over time in the dual role of dramaturg and expositor. In this arrangement a writer is attached to a given project and works internally as dramaturg and sounding board throughout the life cycle of the project. At the same time the writer is responsible for writing about and documenting the process in a public-facing way on the Internet and through "horizontal" audience engagement strategies. Alternately a writer may be embedded in a presenting institution and serve this function with multiple artists over the course of a season. In fact, our advocacy of this methodology has its origins in Culturebot's initial iteration as in-house blog of Performance Space 122 where we worked closely with artists throughout their creative process, sharing that with audiences and colleagues alike to enhance outreach and community engagement.
This notion of embedded criticism is not entirely new, of course. I haven't read the collected essays in Doug Borwick's book Building Communities, Not Audiences, I would assume that this idea is represented in there somewhere. The idea of an organizational critic-in-residence has been prototyped at the Cleveland Orchestra, though from here it looks like this is more of a gussied-up marketing tactic than actual dramaturgy or criticism, and I haven't found any reporting on the success or outcome of the initiative. Danspace Project currently has a scholar-in-residence, Jenn Joy. In conversation with my old friend and colleague Gwydion Suilebhan, I learned that the theater folks in Washington, D.C. have started to use the term "auditurgy" to describe "The process of providing theatre audiences with context regarding a theatrical piece prior to seeing the show without spoilers" which is probably a little closer to what Culturebot is proposing. The key distinction is in the particulars of implementation, which I will more fully articulate in a later section of this essay.
Culturebot's conception of the embedded critic also implies a re-positioning and re-imagining of the performing arts "presenting" institution in the culture at large, layering the ideas of Harold Skramstad's seminal 1999 essay "An Agenda for American Museums In the 21st Century" (10MB PDF download here) onto performing arts institutions. Skramstad asserts:
The great age of collection building in museums is over. Now is the time for the next great agenda of museum development in America. This agenda needs to take as its mission nothing less than to engage actively in the design and delivery of experiences that have the power to inspire and change the way people see both the world and the possibility of their own lives. We have many practical institutions to help us work through our day-to-day problems. We have enough educational institutions that focus on training us to master the skills we need to graduate from school and get a job. Yet we have too few institutions that have as their goal to inspire and change us. American museums need to take this up as their new challenge. Up to now much of their time has been devoted to building their collections and sharing them through to the larger world. Now they must help us create the new world of in-reach in which people, young and old alike, can reach in to museums though experiences that will help give value and meaning to their own lives and at the same time stretch and enlarge their perceptions of the world.
Culturebot's primary field of interest is contemporary performance and as such the notion of an embedded critic seems more viable in that context. Institutions that support contemporary performance, whether tending towards theater, dance, "live art" or the undefinable, tend to embrace a more investigative approach to the commissioning, development and presentation of work than institutions dedicated to more traditional modes of producing and presenting existing repertory from the canon. One hopes that this idea of embedded criticism will gain traction throughout the performing arts sector, but it seems most likely to thrive, initially, amongst contemporary arts centers and festivals.
Another component of this re-framing is perhaps a bit more esoteric but, in my reading, nonetheless essential. In an earlier essay available here, I discuss the different aesthetic propositions of different kinds of performance. In brief, I assert that the nature of engagement and attention demanded of the audience by contemporary performance is fundamentally different than that of other kinds of more entertainment-oriented performance. This is important because in this context, as has been asserted elsewhere, the audience's engagement with the performance begins as soon as they hear about it and continues until they no longer think about it. This is a belief that I have long held and continue to have re-affirmed, most recently through the final performances of the Merce Cunningham Dance Company at the Park Avenue Armory. I was profoundly moved by way the ensemble subtly entered the space, performed with grace and transcendence and then undramatically concluded, leaving the space with a quiet, understated humility. It was not an ending, it was a caesura. To me the unified aesthetic experience of the entire production reinforced the notion that the dance is always there. For a specific moment in space/time the performers, the audience and the artist's ideas come together, we focus our collective attention to make the work manifest, and then it vanishes back into the ether. But it is never really gone, it is just disembodied and abstract, living in memory and mind, waiting to reappear.
So let's start there: the actual performance is only a blip (an important blip, but merely a moment nonetheless) on a much larger creative arc of investigation. Let's re-imagine the performing arts institution as an "engager", not merely a "presenter" and let's re-frame the critic within the institution or within the artist's creative process rather than on the outside passing judgement. In this new world, what does this new critic actually do?
ON BEING A 21st CENTURY CRITIC
Building on Mendelsohn's idea of the critic as mediator between artist and audience and Culturebot's framework of "critical horizontalism" as outlined above, we propose that the contemporary critic expand their text-based responsive practice to include three new functions:
- Dramaturgy
- Advocacy
- Engagement
These functions, taken together, form the foundational work of the 21st Century Critic. So what do these terms mean and what is the work?
Here when we speak of dramaturgy we are referring to a mutually beneficial collaborative relationship between differently-tasked generative artists. The dramaturge is an intellectual and aesthetic companion engaging in constructive inquiry and investigation alongside the director, choreographer, designers and performers. At the same time the critic/dramaturge is a scribe and documentarian. In the digital age this means assembling video and audio documentation of the process as well as generating text-based analysis and exegesis. The critic/dramaturge may assemble a bibliography as well and ALL of this material, thoughtfully edited and arranged, can be shared on the internet. More on that later.
It is incumbent on aspiring critics to reassess the practice of dramaturgy in the Information Age. The way we relate to information has been profoundly changed by the internet, both practically and aesthetically. Google was invented in no small part due to a desire by its founders to invert and innovate the traditional system of citation in academic research. For that matter, anyone who has been involved in web design has had to learn how to create Information Architecture documents. Website are built using something called "the document object model" that is far too complicated to go into here but basically is a way of assembling information (code, content, scripts, data) from multiple sources in one place.These are new ways of approaching, analyzing and structuring the relationships between information and how we engage with it. The web has revolutionized experience design and user interfaces and is more and more reframing our experience of narrative.
At the same time it is casting doubt on the efficacy of text as a means of transmitting information – is text archaic? What playwright hasn't watched a wretched production of their work and been frustrated by the limitations of text to convey their vision? If text is a medium to convey emotions and abstract thought, if it serves as evidence of experience, then is it not subject to the inaccuracies of translation both between languages and the slippage from page to stage as translated through actors/directors? Not the mention the semiotic slippage of meaning as words change through time. Is text the most effective use of notation for movement-based and body-based performances and how do we now reassess the ideas of ownership, authorship and intellectual property? (vis a vis Factory 449's appropriation of Temporary Distortion's work, Beyonce's alleged appropriation of Anne Teresa de Keersmaeker and Sarah Michelson's alleged use of Twyla Tharp's choreography in Devotion).
Dramaturgy in the Information Age demands a broader reach and more expansive skill set than ever before, and a willingness to exploit the tools and terms of our time to re-assess the contexts, meanings and implications of performance. The critic/dramaturge cannot merely be a historian or fact-checker but must be an innovator of forms of intellectual inquiry. S/he must be engaged in thoughtful conversation around the nature of performance and the multiple valences given to words, actions and embodied presence. This dramaturgical function must make use of all available tools and strategies to identify important questions, assemble information and present it both to the artist and the engaged observer.
Advocacy is here meant to imply the expository function of the embedded critic, serving as mediator between artist and audience during the developmental process or, if institutionally embedded, throughout a season, prior and subsequent to the performance. Advocacy means disseminating the ideas and investigations, identifying people, texts and other relevant sources outside the work and sharing them with potential audience members to engender dialogue and promote conversations.
Too often this function is left to the artists themselves or to marketing departments that don't have the expertise, experience or resources to successfully implement these initiatives. Unfortunately most institutions are still deeply invested in a commodity-based communications strategy predicated on an "entertainment" model of presentation. While there is certainly a role for that in the culture at large (just as there is a role for consumer-oriented reviewers in popular general interest publications), the task of the 21st Century Performing Arts Presenter is to move away from commodity-based models of entertainment marketing and to explore ongoing deep engagement.
At this point I would like to re-emphasize the importance of the critical voice. As mentioned previously, since the beginning Culturebot has consciously worked to cultivate a critical voice that embraces the subjectivity and informality of the internet while aspiring towards intellectual rigor. That being said, we do not aspire to be academics. The function of the 21st Century critic is not only to mediate between artist and audience but between academic and audience as well. At the moment the bulk of thoughtful writing about contemporary performance happens in academic settings or esoteric industry publications. It is frequently jargon-laden and obscure, alienating all but the most deeply invested of audience members. Theory, of course, is a vital and essential component of a healthy arts ecosystem, but the biggest challenge facing contemporary performance today is not a lack of people with Masters degrees and Doctorates exploring theory but rather a perceived lack of relevance and a noticeable lack of audience. The Performing Arts in America generally is suffering from audience attrition and the perception of irrelevance due, in no small part, to wider cultural assumptions around what the performing arts are and who they are for. We are now presented with the extraordinary opportunity to look deeply into the origins and potential of live performance, revisit our assumptions about spectatorship and rebuild the arts institution.
As part of this re-building and re-imagining the Embedded Critic fulfills an Advocacy function as the first step towards engagement. S/he will use the internet, social media and other tools to build knowledge and awareness of the work of the institution, the contexts and ideas of the artists and support transparency, porousness and connection. Marketing still has its place, but it is a diminished role as we shift our emphasis from trying to "sell a ticket to a show" to offering our communities a space to observe or participate in transformative experiences and engage with each other. In a sense we are metaphorically and literally re-building civic space and public life – but more on this later.
If Advocacy is the "information distribution" function of the 21st Century Critic, then Engagement is the social function. The Engagement function puts the idea of critical horizontalism into practice with ancillary, contextual public programs designed to transform audiences into communities by bringing artist, critic and audience together for non-hierarchical discourse, subverting and innovating traditional models of artist talk backs and panel discussions.
Culturebot started exploring this in earnest last year, after our conversation series at Under The Radar. We received a lot of positive feedback from the conversations but also some very thoughtful responses including the fact that the presentational aesthetics of the panel form itself reinforce hierarchical structures we sought to break down. Thus we started researching alternate forms. We had prior experience with Lois Weaver's "The Long Table" project and Harrison Owen's Open Space Technology as non-hierarchical organizational techniques and started to read more deeply into the origins and applications of those processes. We were directed to the European art/research collective Everybodys who have created an open source toolbox for creative innovation and intervention. At the same time we continued to assimilate into our critical practice the work of multiple theorists on performance and spectatorship ranging from Spangberg to Ranciere to Bishop, Jackson and Foster. We did our first experiments with engagement as creative critical practice at the invitation of Ron Berry for the Fusebox Festival in 2012. It was very successful (and very fun) – there is a write-up here.
Our vision of the embedded critic's engagement function is to develop and implement these ancillary, contextual public programs. They can be tailored to a specific project or specific institution, they can be scalable frameworks, they can be performative, conversational, interactive, mediated – the possibilities are endless. The only caveat is that they provide points of access and engagement for "audiences" and that they eschew the traditional hierarchies of the presenting model. This is challenging because, as noted in the introductory section of this essay, democracy is messy and so is horizontalism. The internet has reinforced our cultural tendency to allow conversations to be reduced to the least common denominator. The critic/dramaturge and dare I say "public intellectual" of the 21st Century will not only be responsible for passing judgement (more on that in the next section) but also for fostering discussion. It will be necessary to develop new techniques and propositions that will encourage rigorous, informed discourse while attempting to resist the impulse (and efforts of others) to allow these conversations to devolve. Culturebot will be exploring these ideas and working to develop these strategies moving onward in various cities and venues, including a "performance" in March 2013 at On The Boards in Seattle, WA. We hope you'll join us and if you have ideas or strategies you know of or are developing, please share them with us!
Let's not forget that the word critic comes from the Greek word for "judge". It would be foolhardy to abandon the traditional model of criticism in sole favor of the embedded model or to neuter the critic, stripping him/her of the ability to pass judgement.
Our idea is that the critic will serve a dual function, as embedded in certain projects and institutions and external with others. Ideally these functions would be expressed through a text-based practice and then co-exist in juxtaposition, aggregated on the web. Audiences and artists can then develop an understanding of the critic's predilections and biases over time, and evaluate his/her judgements – either negative or positive – based on knowledge of the critic's history.
Our experience at Culturebot has been that artists are remarkably resilient when confronted with thoughtful criticism, even when it is negative. We are committed to following artists over long spans of time and thus when we are offering negative commentary it is not in isolation but as part of a longer arc of investigation. While there is a place for heated, passionate, even occasionally vitriolic debate over a given artist, their work or an institution's policies and choices, there is less of a place for the short-term gain of snarky reviewing and snide asides. If someone, for some reason, invokes a critic's ire, the critic is responsible for articulating their anger in a meaningful way, not giving in to the impulse to make ad hominem personal attacks.
In this sense the 21st Century Critical model acknowledges that even the "external" critic is embedded in the arts ecology. While reviewers in mainstream newspapers such as the New York Times still attempt to maintain the illusion of objectivity, we know that in fact most reviewers have numerous and complicated relationships with the artists about whom they write. They socialize with them, network professionally and frequently run in the same circles. Embedded Criticism rejects the illusion of objectivity (and the specious hierarchical inference of power created by the myth of objectivity) and demands that a critic acknowledge their subjectivity and prejudices, be transparent about their relationships. Critics must be called to account to justify their opinions and actions as much as artists and institutions must be held responsible for theirs.
In this way we are not so much abandoning the ability of the critic to be deeply critical, negative or even dismissive. We are merely altering the frame so that the critic's opinion is not perceived to descend from some imagined realm of Platonic objectivity "on high", but rather from a subjective experience predicated on real human biases – and that this subjective experience is, necessarily, deeply embedded in the artistic ecosystem and should be treated as such.
ON CRITICISM, ART and CULTURE
From our vantage point, it seems that the age of ubiquitous big cultural institutions in America is winding down. Post-war prosperity, optimism and a sense of social mobility and civic engagement led to a boom that people thought would last forever. Every city would have a symphony, an opera, a ballet and several museums, each accessible to all. Tyrone Guthrie dreamed of a truly regional theater system where regional theaters would create and produce professional plays by, from and about their community. Those days are gone; many cities no longer have the tax base or philanthropic infrastructure to support symphonies, operas and ballets, museums have already begun a process of re-imagination and regional theater takes its repertoire from New York writers, casts from NYC and LA, maybe Chicago, and replicates the same mostly-pallid fare nationwide.
In the wake of this enormous transition in America's cultural life it is understandable that so many arts professionals and concerned constituents are bemoaning the current state of the arts – lack of funding, dwindling attendance, a perceived lack of relevance. No doubt it is a difficult time, but it is also a moment of extraordinary possibility. Many foundations, regional and local arts organizations are working progressively and aggressively to adapt to the financial and social realities we face. And while it is fashionable in some circles to denigrate the NEA, if we really look at it Rocco Landesman has assembled an extraordinary team of innovative people to reassess the NEA's programs and develop new ones. initiatives like ArtPlace, based on the thinking of the Urban Institute's Maria Rosario Jackson, the NEA/Knight Arts Journalism Challenge and others indicate that the NEA is thinking strategically about the future and trying to create a new ecosystem that is responsive to the financial and cultural realities on the ground. We may not always agree on what the NEA and other funders support, but we can agree that most of the time they're working with vision to re-imagine the arts and its role in society, even within an infrastructure that may not readily support change. At the same time artist service organizations and artists themselves are working passionately too, bringing new ideas to the table.
Culturebot grew out of a small arts organization and I personally have spent the 20-some odd years of my career in the arts – first as an artist, now as an administrator – in the world of independent, small and mid-sized arts organizations. That is my passion and while I wholly support the idea of maintaining big institutions and admire their capacity to undertake projects of incredible scale, I think that real change starts on a smaller level, that real impact happens when the art is closer to the audience, when the audience is closer to the institution and the institution is closer to the community. That's when lives are changed, that's when kids get the bug that transforms them into lifelong arts people.
As I noted in the introduction it seems to me that we are at a point in American culture where the loudest, angriest, least-informed voices often win out over thoughtful consideration, moderation and circumspection. I fear that we live in a time when pugnacity wins out over conciliation, aggression over collaboration and short-term greed triumphs over the long-term common good. As someone who values the examined life, who believes in the social contract and the notion that intelligent people can disagree without becoming homicidal, xenophobic, partisans, I have dedicated a great deal of my time and energy to the idea that the arts – particularly the performing arts – provide a space to foster reflection, education and communication. I would never suggest that any artist has a moral or political imperative to adhere to any socially-engaged justification for their work. Artists make art for whatever reason calls them forward. But the overall ecology of the arts, the "culture" sector, exists within a larger framework of Culture; it exists as a laboratory and an "auditorium" – place for people to be heard. The cultural sector exists as a place to engage with the ideas that shape our experiences of the world, to try and bridge the almost unfathomable gap between interiorities by making our inner lives manifest in the material world. Making art – visual, theater, dance, music, writing, new media, etc. – is the process of articulating our subjective experience in a way that can be shared with others, it is an attempt to bridge the gap of our existential isolation and come together as individuals and in community. At its best, art creates a matrix for the intentional intersection of subjectivities, particularly when watching performance, in which a third entity consisting of the combined intelligences of audience and performer comes into being and, for a moment, we transcend the limitations of everyday experience.
I say this at the risk of undermining the credibility of everything I've written thus far with the appearance of vaguely metaphysical speculation, but I believe passionately in the role culture (with a small "c") plays in affecting the tone and composition of Culture (with a capital "C"). My experience suggests that there is something larger at work, with competing impulses towards creation and destruction. Thus, whether in the abstract or with a specific social agenda, the arts ecosystem supports the creative impulse in ourselves and in our communities. tt can support the tendency towards progress rather than regression and it must be nurtured. It is not entertainment and it is not commodity, it is a vital social function that supports civil society and human development.
In order to fully realize the potential of the arts in our culture, we need people dedicated to building bridges. I imagine that person as a new type of critic, re-framed for the 21st Century: the critic as dramaturge, advocate and engager, the critic as public intellectual. I imagine the new critic as an insightful commentator and expositor, a facilitator of public discourse mediating between artist, audience, institution and academics, working to build a sustainable, responsible, transparent arts ecosystem that will sustain itself – and our culture – into the future.
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Tagged with:advocacy, Claire Bishop, critical horizontalism, criticism, daniel mendehlson, dramaturgy, dwight garner, engagement, hal foster, michael kaiser, ranciere, shannon jackson


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FITCHBURG -- Two cats and a turtle were rescued from a burning multi-family home by the Fitchburg Fire Department at about 5:30 Monday evening.
No animals perished in the fire at 433 Princeton Road, but one cat had to be resuscitated by firefighters.
According to fire officials, the cause of the blaze is unknown and still being investigated.
Despite no official cause for the fire, one of the home's resident's Danielle Blanchette said, "I went inside to get my cats. When I went up my neighbor was drunk and said he started a fire while he was cooking."
Deputy Chief David Gravel said 11 people lived in the multi-family home and that no one was injured during the fire. He also said that all 11 residents will likely be displaced because of the damage the building sustained.
"There was enough damage done where they wouldn't be able to reside in any of the apartments," he said.
Gravel also said the fire was knocked down fairly quickly, estimating that it was under control within 10 minutes of firefighters arriving on scene. Four different Fitchburg fire trucks responded to the fire and smoke filled the area of Princeton Road, a short distance from the Wachusett Commuter Rail station.
Old Turnpike Road resident Robin Maston said she had initially thought the smoke filling the neighborhood was the result of a car accident.
"We heard the sirens so we came outside.
Follow Peter Jasinski on Twitter and Tout @PeterJasinski53


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Sunday, February 14, 2010
Any requests, questions?. Ask here.
Do you have any requests on something you want to see here in japan or want to know? Any questions on being an exchange student in japan?. If you do Ask here. I'll see and do what I can.
Posted by Munkhjapan at 10:23 PM
Labels: exchange student, japan, question, request
4 comments:
Am having fun reading yr interesting blog:)
Btw,just curious- but is makeup on girls allowed in all Japanese schools? And the boys don't need to cut their hair short? I noticed some shoulder length hair on your classmates and was a little surprised.
Hi, thanks for reading.ReplyDelete
I think the rules really differ from school to school. In this school make up for girls and long hair for boys are allowed. But in other high class schools they may not be allowed.
- AnonymousJanuary 30, 2011 at 7:35 PM
can you please post english to japanese words?ReplyDelete
then how to use them.....
onegai shimasu
I can...but it may take a while because, I'm quite busy lately with school and stuff. And it would help if you could write the words you want to know in English first.
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text:
Farmingdale, NY (06/10/2011) Store owner of the Ayr, Minuteman Press center in Scotland, Jeff Whittle is not only involved with but, along with one or two other Local Business Owners is credited with creating and setting up the "Ayr Independent Shops & Businesses". The group has now become a cooperative business dedicated to promoting local businesses within the community. They run on a non-for-profit basis and put profits towards advertising and marketing local independent business in the town including Minuteman Press of Ayr.
So far Jeff and some of his colleagues have been in the newspaper, a Scottish National Television News program, and the Local Radio Station. The television news program actually had a segment that showed Jeff's store in the background. They run community events such as the recent Easter egg hunt aimed at both adults and kids. The hunt encouraged visiting local stores such as the Minuteman Press center in Ayr. Jeff has put a lot of time and effort into the cooperative and in the very beginning he and his family hand delivered close to 3000 advertising flyers, to local businesses. He really does work tirelessly and his efforts show as the Ayr Independent Shops & Businesses cooperative is growing at a rapid rate.
Minuteman Presses corporate office wishes Jeff and his colleagues nothing but continued success in all future events.
Minuteman Press International, Inc. is the worlds largest printing franchise. More info


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How about having tactile sensation while watching films?
Posted by cherryshen on 6/7/2016 at 8:59 AM
My name is cherry and I'm a master student who love film watching. I've been to an audio description film screening recently and found out that there could be something else added to enhance the film watching experience for visually impaired audiences, so recently I've started to design a mobile application that combines the sense of touch with audio description for people who love films. I'd like to conduct a survey with people who're using smart devices so that I get different ideas of what could be better for the users. If you also love films and are interested in the topic, please reply your email to this subject so I can send you a short survey regarding my research, or sending me email to firstname.lastname@example.com would be good as well!
Thank you in advance for helping me! I hope it will then become real and provide a better film watching experience for everyone!
There is currently 1 reply
Re: How about having tactile sensation while watching films?Posted by edbugg on 6/11/2016 at 8:16 PM
Hi Cherry,
I am not blind or visually impaired, but...
- I love movies, and I have watched them with tactile (vibrating) seats!
- I have patented something called Sensory Messaging,
- I am the Founder of TACTonics, LLC and the Developer of the TACTspace Mobile App and TACTpuck wearable.
- And, I believe the blind could help me perfect all this.
Send me the survey, or email me, if you like.
Eddie Bugg
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text:
Mission Trip to Texas
There is a mission group from Iowa who came to St. Louis to help with flood relief last summer. St. Martin's provided them with much appreciated meal support during their week here. They are now planning a trip this spring to Houston, and are inviting anyone from St. Martin's to join them.
The dates of this mission are March 11-18 with an option to extend into the next week for anyone wanting to stay longer. The exact work needed is still being determined, but will most likely include painting, carpet laying, etc.
If you are interested in participating, or simply finding out more information, please contact Jerry Davenport at email@example.com.