Kim Hunter

Kim Hunter (born Janet Cole; November 12, 1922 – September 11, 2002) was an American film, theatre, and television actress. She won both an Academy Award and a Golden Globe Award, each as Best Supporting Actress, for her performance as Stella Kowalski in the 1951 film "A Streetcar Named Desire". Decades later, she was nominated for a Daytime Emmy Award for her work on the soap opera "The Edge of Night". She also portrayed the character of chimpanzee Zira in the first three installments of the original film adaptation "Planet of the Apes".
Early life.
Hunter was born in Detroit, Michigan, the daughter of Grace Lind, who was trained as a concert pianist, and Donald Cole, a refrigeration engineer. She was of English and Welsh descent. Hunter attended Miami Beach High School.
Career.
Hunter's first film role was in the 1943 film noir, "The Seventh Victim", and her first starring role was in the 1946 British fantasy film "A Matter of Life and Death". In 1947, she was Stella Kowalski on stage in the original Broadway production of "A Streetcar Named Desire." Recreating that role in the 1951 film version, Hunter won both the Academy and Golden Globe awards for Best Supporting Actress. In the interim, however, in 1948, she had already joined with "Streetcar" co-stars Marlon Brando, Karl Malden, and 47 others, to become one of the first members accepted by the newly created Actors Studio.
In 1952, Hunter became Humphrey Bogart's leading lady in "Deadline USA."
Hunter was blacklisted from film and television in the 1950s, amid suspicions of communism in Hollywood, during the era of the House Un-American Activities Committee (HUAC). She still appeared in an episode of CBS's anthology series "Appointment with Adventure" and NBC's "Justice," based on case files of the New York Legal Aid Society.
In 1956, with the HUAC's influence subsiding, she co-starred in Rod Serling's Peabody Award-winning teleplay on "Playhouse 90", "Requiem for a Heavyweight". The telecast won multiple Emmy Awards, including Best Single Program of the Year. She appeared opposite Mickey Rooney in the 1957 live CBS-TV broadcast of "The Comedian," another drama written by Rod Serling and directed by John Frankenheimer. In 1959, she appeared in "Rawhide" in "Incident of the Misplaced Indians" as Amelia Spaulding. In 1962, she appeared in the NBC medical drama "The Eleventh Hour" in the role of Virginia Hunter in the episode "Of Roses and Nightingales and Other Lovely Things". In 1963, Hunter appeared as Anita Anson on the ABC medical drama "Breaking Point" in the episode "Crack in an Image". In 1964 Hunter appeared in the 'Alfred Hitchcock Hour' episode "The Evil of Adelaide Winters" in the title role. In 1965, she appeared twice as Emily Field in the NBC TV medical series "Dr. Kildare." In 1967, she appeared in the pilot episode of "Mannix". On February 4, 1968, she appeared as Ada Halle in the NBC TV Western series "Bonanza" in the episode "The Price of Salt".
Her other major film roles include the love interest of David Niven's character in the film "A Matter of Life and Death" (1946), and Zira, the sympathetic chimpanzee scientist in the 1968 film "Planet of the Apes" and two sequels. She also appeared in several radio and TV soap operas, most notably as Hollywood actress Nola Madison in ABC's "The Edge of Night," for which she received a Daytime Emmy Award nomination as Outstanding Lead Actress in a Drama Series in 1980. In 1979, she appeared as First Lady Ellen Axson Wilson in the serial drama "Backstairs at the White House."
Hunter starred in the controversial TV movie "Born Innocent" (1974) playing the mother of Linda Blair's character. She also starred in several episodes of the "CBS Radio Mystery Theater" during the mid-1970s. In 1971, she appeared in an episode of "Cannon." In the same year, she starred in a "Columbo" episode "Suitable for Framing". In 1973, she appeared twice on Lorne Greene's short-lived ABC crime drama "Griff," including the episode "The Last Ballad", in which she portrayed Dr. Martha Reed, a physician held by police in the death of a patient. In 1974, she appeared on Raymond Burr's "Ironside". In 1977, she appeared on the NBC Western series "The Oregon Trail" starring Rod Taylor, in the episode "The Waterhole", which also featured Lonny Chapman.
Hunter's last film role in a major motion picture was in Clint Eastwood's 1997 film, "Midnight in the Garden of Good and Evil". In it, Hunter portrayed Betty Harty, legal secretary for real-life Savannah lawyer, Sonny Seiler.
Personal life.
Hunter was married twice. Her first marriage was in 1944 to William Baldwin, a Marine Corps pilot. Before the marriage was dissolved in 1946, the couple had a daughter, Kathryn Deirdre (b. 1944). Her second marriage was in 1951 to actor Robert Emmett; together, they had a son, Sean Robert (b. 1954). Hunter and Emmett would occasionally perform together in stage plays; he died in 2000. Hunter was a lifelong Progressive Democrat.
Hunter died in New York City on September 11, 2002, of a heart attack at the age of 79. She was cremated and her ashes given to her daughter.


Rafael Lozano-Hemmer

Rafael Lozano-Hemmer (born 1967 in Mexico City) is a Mexican-Canadian electronic artist who works with ideas from architecture, technological theater and performance. He holds a Bachelor of Science in physical chemistry from Concordia University in Montreal. Currently, Lozano-Hemmer lives and works in Montreal and Madrid.
Biography.
Rafael Lozano-Hemmer was born in Mexico City in 1967. He emigrated to Canada in 1985 to study at the University of Victoria in British Columbia and then at Concordia University in Montreal. The son of Mexico City nightclub owners, Lozano-Hemmer was drawn to science but could not resist joining the creative activities that his friends did. Initially he worked in a molecular recognition lab in Montreal and published his research in Chemistry journals. Though he did not pursue the sciences as a direct career, it has influenced his work in many ways, providing conceptual inspiration and practical approaches to create his work. Lozano-Hemmer's work can be considered a blend of interactive art and performance art, using both large and small scales, indoor and outdoor settings, and a wide variety of audiovisual technologies.
Lozano-Hemmer is best known for creating and presenting theatrical interactive installations in public spaces across Europe, Asia and America. Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens and other devices, his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation. Lozano-Hemmer's smaller-scaled sculptural and video installations explore themes of perception, deception and surveillance. As an outgrowth of these various large scale and performance-based projects Lozano-Hemmer documents the works in photography editions that are also exhibited.
In 1999, he created "Alzado Vectorial" (or "Vectorial Elevation"), where internet participants directed searchlights over the central square in Mexico City. The work was repeated in Vitoria-Gasteiz in 2002, in Lyon in 2003, in Dublin in 2004 and in Vancouver in 2010. In 2007, he became the first artist to officially represent Mexico at the Venice Biennale, with a solo show at the Palazzo Soranzo Van Axel. In 2006, his work "33 Questions Per Minute" was acquired by The Museum of Modern Art in New York. "Subtitled Public" (2005) is held in the Tate Collection in the United Kingdom. In 2014/2015 his work was presented in the Solo Exhibition "A Draft of Shadows" at Bildmuseet, Umeå University, Sweden, to run from November 2, 2014 until April 26, 2015
Artworks.
Text art.
Several of Lozano-Hemmer's installations include the use of words and sentences to add additional meaning. These texts are used to elaborate upon a deeper meaning that involves a viewer's actions, to change or create an effect upon the atmosphere and perception. Some of the text based installations, such as "Third Person" and "Subtitled Public", place words upon the viewer himself. Because of the random nature of these texts, the viewer has no control over what they are labeled as, incurring a sense of helplessness, and experience the pleasant and unpleasant connotations that are associated with the words placed upon themselves. The text based installations such as "33 Questions Per Minute" and "There is No Business Like No Business" are reliant upon the willing participation of the viewer. These two forms of text installations are externally reflective, while the first two are internally reflective.
"33 Questions Per Minute" is an installation consisting of several screens programmed to generate possible questions and display them at a rate of 33 per minute. The computer generating the questions can generate 55 billion unique questions, taking over 3,000 years to display them all. In addition to viewing the automatically displaying the questions, members of the public can submit their own questions into the system. Their participation shows up on the screens immediately, and is registered by the program.
"Third Person" is the second piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's shadow, composed hundreds of tiny words that are in fact all the verbs of the dictionary conjugated in the third person. The portrait of the viewer is drawn in real time by active words, which appear automatically to fill his or her silhouette.
"There Is No Business Like No Business" is a blinking neon sign, whose speed is directly proportional to the number of times that the word "economy" has appeared in online news items within the past 24 hours.
"Subtitled Public" consists of an empty exhibition space where visitors are detected by a computerized surveillance system. When people enter the space, the system generates a subtitle for each person and projects it onto him or her: the subtitle is chosen at random from a list of all verbs conjugated in the third person. The only way of getting rid of a subtitle is to touch another person, which leads to the two subtitles being exchanged. His work gave to the public a free entertainment, and he also help them to have a marvelous experience.[15]non-primary source needed
Relational architecture.
In 1994, Lozano-Hemmer coined the term "relational architecture" as the technological actualization of buildings and the urban environment with alien memory. He aimed to transform the dominant narratives of a specific building or urban setting by superimposing audiovisual elements to affect it, effect it and re-contextualize it. From 1997 to 2006, he built ten works of relational architecture beginning with "Displaced Emperors" and ending with "Under Scan". Lozano-Hemmer says, "I want buildings to pretend to be something other than themselves, to engage in a kind of dissimulation"
"Solar Equation" was a large-scale public art installation that consists of a faithful simulation of the Sun, scaled 100 million times smaller than the real thing. Commissioned by the Light in Winter Festival in Melbourne, Australia, the piece featured the world's largest spherical balloon, custom-manufactured for the project, which was tethered over Federation Square and animated using five projectors. The solar animation on the balloon was generated by live mathematical equations that simulated the turbulence, flares and sunspots that can be seen on the surface of the Sun. This produced a constantly changing display that never repeated itself, giving viewers a glimpse of the majestic phenomena that are observable at the solar surface and that only relatively recent advances in astronomy have discovered.
"Under Scan" is an interactive video art installation for public space. In the work, passers-by are detected by a computerized tracking system, which activates video-portraits projected within their shadow. Over one thousand video-portraits of volunteers were taken in Derby, Leicester, Lincoln, Northampton and Nottingham (in England) by a team of local filmmakers. For a London presentation in Trafalgar Square, Tate Modern filmed over 250 additional recordings. As people were free to portray themselves in whatever way they desired, a wide range of performances were captured. In the installation, the portraits appeared at random locations. They "wake-up" and establish eye contact with a viewer as soon as his or her shadow "reveals" them. As the viewer walks away, the portrait reacts by looking away, and eventually disappears if no one activates it.
"Body Movies" transforms public space with interactive projections measuring between . Thousands of photographic portraits, previously taken on the streets of the host city, are shown using robotically controlled projectors. However, the portraits only appear inside the projected shadows of the passers-by, whose silhouettes can measure , depending on how close or far away they are from the powerful light sources positioned on the ground. A video surveillance tracking system triggers new portraits when all the existing ones have been revealed, inviting the public to occupy new narratives of representation. Lozano-Hemmer comments, "my initial desire was to use artificial shadows to generate questions about embodiment and disembodiment, about spectacular representation, about the distance between bodies in public space, and so on".
"Re:Positioning Fear" was the third relational architecture project. This was a large-scale installation on the Landeszeughaus military arsenal, with the projection only being seen in the shadows of passers-by. Using tracking systems, the shadows were automatically focused and generated sounds. A real-time discussion about the transformation of the concept of "fear" was projected inside the shadows; the chat involved 30 artists and theorists from 17 countries.
Sculpture.
"Tape Recorders" is an installation containing rows of motorized measuring tapes recording the amount of time that visitors stay in the installation. As a computerized tracking system detects the presence of a person, the closest measuring tape starts to project upwards. When the tape reaches around high, it collapses and recoils back.
"Please Empty your Pockets" is an installation that consists of a conveyor belt with a computerized scanner that records and stores images of everything that passes under it. The viewer may place any small item on the conveyor belt, for example keys, ID cards, wallets, worry beads, condoms, notepads, cellphones, coins, dolls, credit cards, etc. Once they pass under the scanner, the objects reappear on the other side of the conveyor belt beside projected objects from the stored images of the installation. As a real item is removed from the conveyor belt, it leaves behind a projected image of itself, which is then used to accompany future objects.
"Microphones" is an interactive installation featuring one or several 1939-vintage Shure microphones, placed on mike stands around the exhibition room at different heights. Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit board connected to a network of hidden control computers. When a public member speaks into a microphone, it records his or her voice, then immediately plays back the voice of a previous participant, as an echo from the past.
"Standards and Double Standards" is an interactive installation that consists of 10 to 100 fastened belts that are suspended at waist height from stepper motors on the ceiling of the exhibition room. Controlled by a computerized tracking system, the belts rotate automatically to follow the public, turning their buckles slowly to face passers-by. When several people are in the room, their presence affects the entire group of belts, creating chaotic patterns of interference. Non-linear behaviours emerge such as turbulence, eddies, and relatively quiet regions. One of the aims of this piece is to visualize complex dynamics, turning a condition of pure surveillance into an unpredictable connective system. The piece creates an "absent crowd" using a fetish of paternal authority: the belt.
"Less than three" is an installation consisting of a series of light beams that form a kind of network between two analogue intercoms. When a viewer speaks into one of the intercoms, he can see how the voice signal is converted into flashes of light that are visibly transmitted along one of the several possible routes through the network. When the flash of light reaches the other end, the spoken phrase is released and transformed again, from light to sound. The installation interacts by transforming sound stimuli into light, which is then turned back into sound again. It was shown at Disseny Hub Barcelona between 2011 and 2012 at the exhibit "I/O/I. The senses of machines (Interaction Laboratory)"
"Voice Array" is a participatory installation featuring up to 288 anonymous vocal samples—played in uneven unison, and accompanied by pulses of vibrant white light in discrete beams, emanating from above and below a raised black strip along a back wall. When activated, the piece connotes the pulsing volume bars on an old stereo, turning sound into light to measure intensity. Any visitor can speak into the silver-buttoned intercom to the left of the strip—upon withdrawal, the recording immediately transforms into a flashing sequence, stored as a loop in the first light of the array.
"Entanglement" is an installation that consists of two neon signs that say “entanglement” on them that light up. The two signs are 72 inches by 14.75 inches in size. The two signs both have a light switch that turns both of them on and off. When one of the light switches is turned on, both signs light up. When one of the light switches is turned off, both signs are off. The two signs are placed in separate rooms, separate buildings, or even in separate countries. The idea came from what entanglement means in quantum physics which is where two particles behave as one.
"Bifurcation" is an installation where a “Y” shaped branch dangles in the air that is attached to the ceiling by a piece of string. Behind the branch is a projection of a whole branch, showing what the “Y” shaped branch once looked like. As the “Y” shaped branch moves with the air movement or by people moving it, the projection also moves in synchronization with the dangling branch. This is Rafael Lozano-Hemmer's second piece in “Shadow Objects.” The piece was inspired by Octavio Paz and Bioy Casares who stated that “absence and presence are not opposites.”
"Pan Anthem" (2014) is an interactive installation of hundreds of movable speakers that play national anthems when the viewer approaches. These speakers are arranged throughout the gallery's walls based on national statistics. For example, the arrangement may depend on population, year of independence, etc.
"Speaking Willow," is an interactive, motion-detecting tree that will whisper to visitors in hundreds of different languages at Washington, D.C.'s Planet Word Museum. Anticipated installation date 2020.
Other works.
In 2013 Lozano-Hemmer created a piece called "Friendfracker". This was an online service that Lozano-Hemmer created along with Harper-Reed in one day. A participant would enter their Facebook account information into the online program, then once the information was verified the service would delete up to 10 of the participant's friends on their Facebook account. The service wouldn't tell which friends were deleted. Facebook disabled the program on April 25, 2013.
The Pulse Room is an interactive installation featuring over 300 hundred clear incandescent light bulbs, 300 W each, hung by cables three metres from the floor. It has run in many places in the last 9 years such as Venice Italy and Aarhus, Denmark.
Technology.
Lozano-Hemmer from many artists in his comprehensive use of technology; most of his productions contain more than one element of technology to create a lasting effect. Lozano-Hemmer recognizes that Western culture is a technology-based culture, emphasizing "even if you are not using a computer you are affected by this environment. Working with technology is inevitable." "Our politics, our culture, our economy, everything is running through globalized networks of communication..."
Some of the technologies used by Lozano-Hemmer are: robotics, custom software, projections, internet links, cell phones, sensors, LED's, cameras, and tracking systems.
External links.


Oxygen XML Editor

The Oxygen XML Editor (styled "<oXygen/>") is a multi-platform XML editor, XSLT/XQuery debugger and profiler with Unicode support. It is a Java application, so it can run in Windows, Mac OS X, and Linux. It also has a version that can run as an Eclipse plugin.
Release cycle.
Oxygen XML has three types of releases, not counting betas or development versions. Major releases, such as 17 as of the end of 2015, occur on average once per year. Minor releases, 17.1 as of the end of 2015, are made at least once every few months after a major release, occasionally twice a year. Incremental build releases are provided on an as needed basis, usually in response to either bugs or security issues. Build numbering is based upon the date and time (to the hour) of the build. As of the end of 2015 the current full version and build number is "oXygen XML Editor 17.1, build 2015121117" with a full release history available online.
XML editing features.
Oxygen XML offers a number of features for editing XML documents. Documents can be checked for proper XML form. They can also be validated against a schema. For validation purposes, the documents can be validated against DTD, W3C XML Schema, RELAX NG, Schematron, NRL and NVDL schemas. The editor can also validate the XML as it is entered. For additional schema types, a validation scenario can be generated, which allows oXygen to call out to arbitrary programs to perform validation.
Also, the program has support for XML catalogs. An XML catalog is an XML file of a specific format that maps a schema definition string to an actual file name on the disk or web. Using catalogs allows the user to specify a web address for a schema, but allows oXygen to find a file form of the address if the catalog specifies one.
Oxygen XML comes with schemas and DTDs for popular or major XML and XSL formats including DocBook (versions 4.0 and 5.0), TEI format, XSLT (versions 1.0, 2.0 and 3.0), DITA, XHTML and HTML 5. Extending to new XML dialects or specialisations is achieved by adding the relevant framework or implementation to the software or loading the document type or schema, thus enabling an adaptable environment which is itself configured entirely by XML, which draws parallels with Emacs and its ability to edit itself while implementing the Lisp dialect it runs in.
The program is aware of XInclude, and all validation and transformation services can follow the XInclude statements to their included files.
Oxygen XML offers three views designed for editing XML documents. These views are text, grid, and author.
Text view.
The text view is the default view for editing an XML document. As the name suggests, this view shows the XML text as text.
For documents that are associated with an XML schema, Oxygen XML offers tag completion. Oxygen XML can use a number of XML schema languages, including DTD, W3C XML Schema, RELAX NG (both compact and full). Both W3C XML Schema and RELAX NG schemas can include embedded Schematron rules. It also can use the NRL and NVDL routing languages, which allow multiple schemas of different types to be applied to different files.
In addition to tag completion, annotations in the schema will be displayed as tooltips for the elements that those annotations apply to.
For schema formats that do not have a standard mechanism to bind the schema to the XML file, Oxygen XML provides a processing instruction that instructs the program as to which schemas to use.
For documents that do not have a schema, Oxygen can analyze the structure of the document and generate a schema.
Grid view.
The grid view shows the XML document in a spreadsheet-like fashion. The left-most column shows the elements, including comments and processing instructions, at the root level. The next column shows attributes of root elements, and every unique first child of the root XML element. If the root element has six children all named "section", then the grid view will show only one section element and a notation that there are six of them. This iteration continues for the next column.
This view is not often useful for HTML or other document-like formats, but it can be useful for certain XML formats that resemble spreadsheets.
With the exception of spaces, this view shows the entire structure of the XML file. All of the textual information in the file will be presented in this view.
Author view.
New to Oxygen XML v9.x was an author view providing a WYSIWYM view of the XML document. This smaller version of the Editor, called oXygenXML Author, is provided as a cheaper option in the commercial options where the full feature set may not be required. Author is centered on general XML document editing.
This view is based on providing a CSS file for the document that specifies the data type for each element in the document's schema. Oxygen XML comes with document CSS files for formats like DITA, DocBook, and TEI.
XML tags and attributes in this view can be completely disabled or can be shown in various combinations.
Editing in this view is an intermediate step between true WYSIWYG and editing in the regular text view in terms of complexity for the author. The XML elements are made more human-readable and intuitive, but the nesting and semantics of the XML document are still clear. The cursor can be placed between any elements, and when the cursor's position is ambiguous, a tool-tip window will appear showing a local view of the XML tree and the cursor's position in it. A bar along the top of the view shows the list of elements from the document root to the element under the cursor.
XML elements are never implicitly inserted into the document. However, a common action in editing document-like XML files is to create a new element of the same name following the current one. The author view will perform this operation if the user presses the enter key twice (pressing it once brings up a dialog of possible elements to add, if tag competition is available).
Inserting elements can be done through oXygen's XML refactoring commands to insert an element at the current cursor location. Even if XML tags are set to be non-visible, an indication for an empty element is always displayed using that element's name.
Attributes on XML elements cannot directly be edited. However, Oxygen XML does have an attribute panel that, when content completion information is available, can be used to both see and set the value of attributes on the current element.
Editing of specialized XML formats.
Though Oxygen XML can edit any XML document, providing content completion for documents with a schema binding, it is able to recognize certain XML documents innately.
Oxygen XML provides schema editing features for both W3C XML Schema and RELAX NG's XML form. It offers visual editing support for both, as well as schema-less syntax highlighting and content completion.
Oxygen XML offers support for XSLT documents, both version 1.0 (with EXSLT extensions) and 2.0. XSLT elements are recognized and drawn in a different color from non-XSLT XML elements. It also provides special validation services for XSLT documents. For example, it can validate that an attribute containing an XPath string is a valid XPath. oXygen XML automatically assumes that documents with the .xsl and .xslt extensions are XSLT files, and it treats them accordingly.
It also offers support for editing XSL-FO documents, though it does not provide visual editing features for it.
Editing of non-XML files.
Though Oxygen XML is primarily an XML editor, it does come with the ability to edit a number of non-XML textual formats. It has syntax completion for DTD, RELAX NG's compact format, XQuery, CSS and regular HTML. It also provides basic syntax highlighting support for a number of common web scripting languages to a degree, such as Python, Perl, and JavaScript, among others.
Document transformation.
XSLT-based document transformation is a common operation on XML files, and Oxygen XML provides support for these operations. It allows the user to define a "transformation scenario" that specifies the application of a particular XSLT file to the current XML document. Each transformation scenario is aware of all of the parameters of its designated XSLT file and provides for editing them graphically.
Additionally, the results of the transformation scenario can be piped through an XSL-FO processor, whether that be the built-in FOP processor or an external one.
The final output filename, path and extension can be specified for a transform scenario, as can command-line parameters.
Transform scenarios can be local to a particular "Oxygen XML"-project workspace or global to all projects. Oxygen XML comes with a number of standard global-transform scenarios for common tasks, e.g., from DocBook documents into PDF through XSL-FO and FOP, or into HTML. It also comes with a recent version of the "DocBook XSL" XSLT transformation suite. Oxygen XML comes with DITA Open Toolkit, which allows publishing (exporting) entire DITA-document structures to different output formats, including PDF, WebHelp, and EPUB.
XSLT debugger.
Oxygen XML provides comprehensive debugging facilities for XSLTs. It offers features comparable to source-code debuggers like gdb, including breakpoints, the ability to look at the current context and "memory", and single-stepping through the XSLT. It can debug both XSLT version 1.0 and 2.0.
Licensing.
A choice of either "Named User" or server based floating licensing. The former favours small businesses or individual developers, who may install it anywhere as long as it is just the specific named user utilising it. The latter favours larger teams that can benefit by sharing licenses across a global network spanning multiple time zones. An additional group license is available for the academic version only.
Academic licenses are available to academic staff, students and educational institutions, but the license limits use of the software to academic or research purposes only and cannot be used for commercial purposes.
Commercial licenses are available in a Professional stream and an Enterprise stream for both the Author only edition and the full Editor edition. Either user or floating licenses are available for each stream with value gaining for the latter with a larger number of users. Chief differences between the Enterprise edition and the Professional edition is the high-end databases directly supported. Though the Professional edition still provides direct support for Berkeley DB, MySQL, PostgreSQL, JDBC connections and generating an XML schema from a relational database structure.
Additionally there is a Personal edition for independent developers or free lancers paying for it themselves rather than by their employer. The Personal edition is identical to the Professional edition with regards to features, the only differences are the much lower price, though higher than a single academic license, as well as providing the full Editor edition rather than just the Author component.
An optional support and maintenance subscription is available which includes full upgrades, including for major releases during the maintenance period. With 17 major releases across 13 years of operation the annual maintenance offers (averaging around 20% of the full license cost) is cost effective. The term of the maintenance can be extended effectively indefinitely by renewing prior to the expiration date.


LigoranoReese

LigoranoReese is the collaborative name of Nora Ligorano and Marshall Reese, artists who’ve worked together since the mid-eighties. Their artwork falls within the fields of new technology, ice sculpture, installation art, video art, artists books and limited edition multiples.
Background.
Nora Ligorano met Marshall Reese in 1977 while studying painting at the Maryland Institute College of Art in Baltimore. Reese moved to Baltimore in 1977 after a year abroad as a student at Pomona College. From 1978 to 1980, he co-published with Kirby Malone the small press magazine "Epod" that featured early language poetry and performance scores and began experimenting with visual and sound poetry as a member of CoAccident a collective of poets and musicians. Ligorano and Reese began working collaboratively in that context.
In 1982 Ligorano was awarded a Fulbright scholarship in design arts in Spain. Reese moved with Ligorano to Barcelona, where they made their first video art piece, relocating to Madrid the following year. In 1984, Reese moved to New York City to pursue interests in video art. Ligorano joined him one year later in Williamsburg Brooklyn. In New York, both of them continued working in performance art and video expanding into other media including installations, artists books and limited edition multiples.
Works.
New Technology.
In 2001, The Kitchen and MIT MediaLab commissioned LigoranoReese to make an interactive installation for the exhibition ID/entity. The artists’ "Van Eyck’s Mirror" is an installation based on the Arnolfini Portrait using video, sensors and computer controls. This was among LigoranoReese’s first artworks that incorporated interactive technology.
In 2003 they made "In Memory of Truth" an installation using a microprojection system designed by the artists and the optical engineer Tony Cappo. The centerpiece of the installation is a magnifying glass on a pedestal with a primary lens that miniaturizes Hollywood war films to fit on the head of a pin. Holland Cotter described the piece “a tour-de-force.”
"History’s Garden" 2006 was the next installation using a similar microprojection system. Mounting a prism and lens on a mechanical arm, they replaced the moving counterweight of a metronome with a small projection screen on which images of refugees from Central Europe and the Middle East are projected.
With funding from NYSCA and the Jerome Foundation in 2003 they started research and development on illuminating woven fiber optic thread. From 2003 – 2007 they worked with Eric Singer on developing the hardware. In 2009 while residents at Eyebeam, LigoranoReese met Luke Loeffler and devised programming with him for the fabric to respond to live information from the internet. Calling this body of work “fiber optic data tapestries” the artists completed "50 Different Minds" in 2010, which uses Twitter feeds and air flight data to make patterns and colors on its surface.
In 2013 they debuted a new tapestry called "I•AM•I" at Miami Art Project with Catharine Clark Gallery. "I•AM•I" is a woven personal data portrait using Fitbit activity and responses to a self-reporting emotional survey to create an abstract portrait of the artists’ subjects. Two of these pieces are in the collections of the University of Wyoming and 21C Museum in Louisville.
Megan Prelinger in her book "Inside the Machine: Art and Invention in the Electronic Age" notes:
... these characteristics allowed microcircuits to retain a legacy association with textile crafts, an association that has been encouraged in the intervening decades by the networked nature of the electronic systems that now structure everyday life. The twenty-first century textile artists LigoranoReese writing about their electronic tapestries woven of fiber-optic thread, explain their approach to integrating electronics with weaving: 'Weaving is a social activity. It is about threading narratives and mythology, even language and accounting, with (the) quipu. Weaving is a shared tradition common to cultures throughout the world in the same way that computers and networks have flattened the world, making communication and exchange more common.'
Ice Sculptures.
In 2006, on the third anniversary of the Iraq War, the artists installed the word "Democracy" sculpted from 2000 pounds of ice in the garden of Jim Kempner Fine Art in New York City. They called it "The State of Things" and photographed and filmed it while it disappeared. This project began a series of public art events LigoranoReese call “temporary monuments.”
In 2008, Provisions Library invited the artists to participate in BrushFire, public art interventions by a number of artists during the campaign season in the Midwest. The artists reprised "The State of Things" at the conventions in Denver and St. Paul, installing ice sculptures of "Democracy" in front of the Museum of Contemporary Art Denver on the first day of the Democratic Convention and on the state capital grounds in St. Paul on the first day of the Republican Convention.
In October that same year, the artists installed an ice sculpture of the word "Economy" on the 79th Anniversary of the Great Depression in front of the New York State Supreme Court Building at Foley Square.
In 2010 LigoranoReese made an ice sculpture of the words "Middle Class" and filmed it disappearing in Kempner’s garden called "Morning In America". Senator Bernie Sanders featured the time lapse video on his U.S. Senate webpage. In 2012 at the conventions in Tampa and Charlotte, the artists remade the installation in public parks there. The artists installed the ice sculpture "Dawn of the Anthropocene" in New York City in front of the Flatiron Building as part of the People's Climate March on September 21, 2014. It was a 21-foot long sculpture of the words "The Future" disappeared in 13 hours.
Installation Art.
LigoranoReese began making video installations in 1992 often as sculptural objects that incorporate video monitors placed inside other media: newspapers, books and clocks. These sculptures concerned how electronic networks were changing physical media and transforming the act of reading and sharing information.
Johanna Drucker commented on their installation "The Corona Palimpsest": The current tension of the book reflects the present tense of electronic media continuing to come into being. This is not a contrast between the space of the real and the space of the virtual, but between two modes of imaginative life of thought, language, and the eye, each competing to determine the relations of history, language and idea. As the page was once written so the monitor redraws itself.
In 1994 they installed their first public art installation in the windows of the Donnell Library Center. "Acid Migration of Culture" was a 48 ft x 8 ft photo mural of an open dictionary of cultural terms. Four video monitors displayed statements by artists, politicians and civic leaders on the role of arts in society.
"Free Speech Zone" (2004) at the Brooklyn Public Library Grand Army Plaza Main Branch featured backlit duratrans photos of blind-folded library users and electronic zipper signs of titles and phrases of banned and challenged books. In 2005, they reinstalled it in the windows of the Donnell Library Center.
Video Art.
Single channel video art and videos as elements of sculptures, installations and websites is an ongoing activity of their collaboration. They exhibit these in galleries and festivals.
Limited Edition Multiples.
LigoranoReese began making artists books and limited edition multiples in 1992 with the "Bible Belt" as an element of a room-size installation with the same name. The edition consisted of a New Testament Bible mounted on a 33-inch belt with a gold-plated Jesus belt buckle. "The Bible Belt" became the first edition piece of the series the Pure Products of America. In 2001 the edition series became the website pureproductsusa.
"The Bible Belt" was followed with "Contract with America underwear" in 1995, an edition of cotton underwear briefs with the name of the Republican congressional campaign silkscreened on the waistband, an image of the House Speaker Newt Gingrich on the crotch and the platform of the Contract on the seat. After the artists mailed pairs of the underwear to political leaders in Washington as gifts, they were sued by the Republican National Committee to cease and desist citing trademark infringement.
In 2001 LigoranoReese published the "W Collection" on the anniversary of the Supreme Court decision halting the counting of ballots in Florida. The Collection consisted of a "Bush vs Gore" dish towel, "Money/Honey", and the "John Ashcroft" snow globe.
In 2004 the artists published the postcard book "Line Up" and sold it in Union Square during the Republican convention in NYC. "Line Up" depicted the Bush administration cabinet in the form of mug shots. Madness of Art editions published a limited edition set of digital prints acquired by the New York Public Library.
LigoranoReese's limited edition art includes mirrors, lenticulars and snow globes.
Representation.
LigoranoReese is represented by Catharine Clark Gallery in San Francisco.


Radio Forestland

Radio Forestland was a radio station in Tokoroa, New Zealand.
The station was started by Radio New Zealand as Radio Forestland, broadcasting on 1420AM with the call sign 1ZO. The station was started in the mid 1970s and in 1978 moved to 1413AM after the frequency spacing on the AM band in New Zealand was changed from 10 kHz to 9 kHz. Local content on the station was limited to mornings only, and outside this time the station broadcast the 1ZH Hamilton programme.
In July 1996 the New Zealand Government sold off the commercial arm of Radio New Zealand, the sale included Radio Forestland. The new owner was The Radio Network, a subsidiary of APN News & Media and Clear Channel Communications, which operated as a division of the Australian Radio Network.
In 1998, Radio Forestland became part of the Community Radio Network with all programming outside of the breakfast show being fed from a central studio originally based in Taupo. In 2001 all Community Radio Network stations became part of the Classic Hits FM network with programming outside of the breakfast show based from Auckland. At this point the station became known as "Classic Hits Radio Forestland." In 2013 the local breakfast was replaced with a feed of the breakfast show from Classic Hits in Hamilton.
On April 28, 2014 all stations part of the Classic Hits network were rebranded as The Hits. A networked breakfast presented by Pauline Gillespie and Grant Kareama was introduced to almost all The Hits stations with the former breakfast announcer moved to present a 6-hour show between 9am and 3pm. The Hits in South Waikato contains the same local programming as Hamilton.


Alex Lee (artist)

Alex M. Lee (artist) is an American and South Korean artist who works between Potsdam, NY and New York City, NY. He is currently Associate Professor of Communication and Media at the Digital Arts & Sciences Program at Clarkson University. His work uses 3D animation, game engines and virtual reality to explore temporality, language, perception and human interpretation in our technological society. His work has been presented at the Goethe Institut, SIGGRAPH, Toronto Digifest, anti-utopias amongst other international venues.
Background.
Lee was born in Seoul, Korea in 1982 and grew up in America. He did his undergraduate and graduate degrees at The School of the Art Institute of Chicago, pursuing photography in the former and then Art & Technology in the latter.
Career.
Machinic Vision, Selected Works: 2008-2010.
Lee's series, Machinic Vision, was featured in the anthology and textbook, "Reframing Photography: theory and practice".
In a documentary video for the release of the textbook, Lee was invited to provide an overview of his series of his early works, which "...emancipates the image from real-world capture by rendering digital images exclusively with computer technology." according to Routledge.
The Sands (2017).
In 2017, Lee was part of a VR group show called The Sands at Essex Flowers, a storefront gallery on the Lower East Side of Manhattan. Reviewed critically by HyperAllergic and Smithsonian magazine, the virtual reality works were curated around the myth of an abandoned casino lying destitute from the bygone era of Fifties Vegas glory, and showcased a 1:1 replica of Essex Flowers venue with embedded digital artworks.
Everything from Here To Infinity (2017).
“Everything from Here to Infinity” is an immersive virtual reality piece viewed on the Oculus headset, where Lee processes data of celestial objects from the Sloan Digital Sky Survey (SDSS) and re-renders them in a complex spatial universe of abstract expressionist paint strokes. It was most recently debuted at Digifest Toronto
Project H.E.A.R.T. (2018).
In 2018 Lee collaborated with new media artist Erin_Gee_(artist) to produce an artistic video game, Project H.E.A.R.T. ("Holographic Empathy Attack Robots Team"). It is presented as an installation on a desktop computer with an oculus headset and a biosensor on the user's hand. The sensor would measure changes in their skin conductance and heart rate as they played the video game. Users are challenged to use their focus and empathy to support in-game soldiers' morale in order to win, as opposed to enacting the typical violence in first-person shooter video games.


Minolta helps you reach your goal


Home State Savings Bank

Home State Savings Bank was a Cincinnati, Ohio based savings and loan. Its failure in March 1985 led to a bank holiday for 70 other savings institutions that were insured by the Ohio Deposit Guarantee Fund, a private organization.
Background.
Home State Savings Bank was the largest savings institution in Ohio, with $1.4 billion in assets. It was owned by Marvin L. Warner, a local real estate developer and investor. He bought the bank in 1958. Warner had been a part owner of the New York Yankees and the Tampa Bay Buccaneers in the 1970s, and was the original owner of the United States Football League Birmingham Stallions. Warner was also a substantial political donor, and had been appointed as the United States ambassador to Switzerland in 1977 by President Jimmy Carter.
Downfall.
ESM Government Securities, Inc. of Fort Lauderdale, Florida, was a securities brokerage firm specializing in term repurchase agreements and reverse repurchase agreements. The company was shut down by the Securities and Exchange Commission on March 4, 1985. The company had incurred large losses and had pledged collateral to more than one lender.
Home State Savings Bank was doing substantial business with ESM. After ESM failed, it was revealed that Home State would suffer a loss of about $150 million from their transactions with ESM. A run on the bank ensued with over $100 million withdrawn in a few days. The bank was closed on March 9, 1985. Bank runs ensued on other institutions insured by the Ohio Deposit Guarantee Fund after it was revealed that the fund had insufficient funds to pay off Home State depositors.
On March 15, 1985, Ohio Governor Dick Celeste declared a three-day banking holiday for the 70 other savings institutions covered by the Ohio Deposit Guarantee Fund. They were then told to remain closed until they obtained federal deposit insurance from the Federal Savings and Loan Insurance Corporation or Federal Deposit Insurance Corporation, or until they merged.
Aftermath.
Home State Savings Bank was sold on May 29, 1985, to Hunter Savings Association, a part of American Financial Group, and the bank reopened on June 14, 1985. All but one of the other savings institutions covered by the Ohio Deposit Guarantee Fund either merged or obtained federal deposit insurance.
Public confidence declined in financial institutions insured by other state guaranty funds. In May 1985, Maryland suffered a similar run on state-insured savings institutions after it was revealed that Old Court Savings and Loans and Merritt Commercial Savings and Loan were having financial problems.
Marvin Warner was convicted in March 1987 of nine counts of fraud-related charges relating to Home State Savings Bank and served 28 months in prison. He then moved to a 150-acre horse farm in Ocala, Florida, taking advantage of the homestead exemption in Florida, and died in 2002. Two of the former presidents of the bank, David Schiebel and Burton Bongard, were also convicted.
Warner's son-in-law Stephen Arky committed suicide in July 1985. Arky's law firm had represented ESM, and Arky had done personal financial transactions with ESM.
The failure of ESM (along with the failures of other government securities brokerage firms like Drysdale Government Securities, Lombard-Wall, Lion Capital Group, Bevill Bresler and Schulman, and RTD Securities) led to the enactment of the Government Securities Act of 1986.


Leopold Masterson

Leopold (Lee) Masterson (born 1985, Cedar Rapids, Iowa) is an American visual and conceptual artist.
Work.
Leopold Masterson lives and works in New York City.  Working across many mediums he has performed, installed and exhibited his work internationally.  His work is in collections including the Grassi Museum (Leipzig, Germany),  the Smithsonian Libraries (Washington, D.C.), Cooper Hewitt, Smithsonian Design Museum (New York, NY),  Cedar Rapids Museum of Art (Cedar Rapids, IA), Christian Petersen Art Museum (Ames, Iowa), and LongHouse Reserve (East Hampton, NY).  Two of Masterson's publications, "Volume One" and "2013, 2023" have been digitized by the Smithsonian Libraries for public viewing.
Education.
Masterson graduated from the University of Iowa in 2007 with a Bachelor of Science in Nursing and in 2008 with a Bachelor of Fine Arts.  He received a Master of Fine Arts in Ceramic in 2011 from the Rhode Island School of Design.


The Roar (website)

The Roar is an Australian sports opinion website. It was established by brothers Zac and Zolton Zavos in late 2006. Initially, The Roar was a blog to host writing from their father, Spiro Zavos who was a rugby columnist with Fairfax Media at the time. It quickly developed into a site which combines expert sports opinion articles with edited fan articles.
History.
In 2007, Zac Zavos formed the company Conversant Media Pty Ltd, which published The Roar as well as the culture site, Lost At E Minor - a site the brothers had been publishing since 2005. In December 2010, Network Ten became a minority investor.
The business was run from Newcastle, Australia during its formative years of 2008 to 2015, and was an early recipient of the Renew Newcastle office space program.
In June 2016, The Roar had 156 expert commentators. Each month The Roar publishes about 1,000 articles from experts and fans. The main sports covered by The Roar are rugby union, rugby league, AFL, cricket, and soccer. In 2016, Conversant Media was acquired in full by HT&E for $11.6m, being placed under the aegis of the Australian Radio Network. The Roar continued to grow under the new corporate ownership, with Zac Zavos becoming the CEO of Conversant Media.
During December of 2019, The Roar was sold by the Australian Radio Network to a startup called Athletes Voice. Athletes Voice expressed a desire to “modernise” the website.


Zarka (trope)

Zarka or zarqa (, with variant English spellings) is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is usually found together with the Segol, with a Munach preceding either or both. The symbol for a Zarka is a 90 degrees rotated, inverted S. The Hebrew word translates into English as "scatterer", since it is a scattering of notes.
Zarka is part of the Segol group. In this group, Zarka is the connector and Segol is the separator.
Zarka, Tsinnor and Tsinnorit.
Zarka is also sometimes called tsinnor. Properly speaking, tsinnor is the name it receives when appears on the three "poetic" books (Job, Proverbs and Psalms, or the books, from their initials in Hebrew), and zarqa the name it gets on the remaining 21 books of the Hebrew Bible (also known as the "prosaic" books). Both sets of books use a different cantillation system.
Caution must be taken not to confuse this mark with the very similar mark tsinnorit, which has the same shape but different position and use. They differ in the following:


Patricia Olynyk

Patricia Olynyk is a Canadian born American multimedia artist, scholar and educator whose work explores art, science, and technology-related themes. Known for collaborating across disciplines and projects that explore the mind-brain relationship, interspecies communication and the phenomenology of perception, her work examines "the way that experiences and biases toward scientific subjects affect interpretations in specific contexts."
Education.
Olynyk received an MFA with Distinction from the California College of the Arts. She was a Monbusho Scholar and Tokyu Foundation Research Scholar at Kyoto Seika University.
Career.
Olynyk's multi-sensory installations explore the "concept of "umwelt," as described in the semiotic theories of Jakob von Uexküll and interpreted by Thomas A. Sebeok (1976)... the world as it is experienced by a particular organism. As such, umwelt evokes more than environment; it emphasizes an organism's ability to sense — a condition for the existence of shared signs." Her collaborations on third culture projects uncover the deeper meaning behind the history and evolution of science and technology; how people, culture and institutions shape the understanding of science, history and the natural world.
Her cross-disciplinary work often includes microscopy and biomedical imaging, and is described as "something uncanny... where one's consciousness can neither respond in a unified way to the bodily sensations or float free in imaginary space; it is caught in the in-between." Influenced by the early work of the MIT Center for Advanced Visual Studies, and the art and visual perception theories of Rudolf Arnheim, Olynyk was one of the first artists in the US appointed to a university science unit, is listed as one of the "66 Brilliant Women in Creative Technology," and has programmed art, science and technology curriculum, symposiums and fellowships at research institutions.
Solo exhibitions include "Sensing Terrains" at the National Academy of Sciences in Washington, D.C. in 2006, and at the Center for Biotechnology and Interdisciplinary Studies, Rensselaer Polytechnic Institute, Troy, New York in 2007; "Dark Skies" at the Art I Sci Center Gallery at UCLA in 2012, "Transfigurations" at Galeria Grafica Tokio, Japan in 2003, and "The Mutable Archive", at Bruno David Gallery, St. Louis, Missouri in 2020.
Olynyk was part of a three-person exhibition, "Umwelt", which took "the concept of collaboration to new heights and complications," at the Zooid Institute Collective, BioBAT Art Space, at the Brooklyn Army Terminal in 2019. Group shows in New York also include, with Ellen Levy, "Skeptical Inquirers" at the Sidney Mishkin Gallery in 2016; "Sleuthing the Mind" at the Pratt Manhattan Gallery in 2014, and, "Ephemeral: Unraveling History" at the Ruth S. Harley Gallery in 2015.
Her work has been featured at Palazzo Michiel dalle Colonne for Venice Design 2018, the Los Angeles International Biennial, The Brooklyn Museum, the Saitama Modern Art Museum in Japan, Museo del Corso in Rome, and The Banff Centre for the Arts in Canada. She is represented by the Bruno David Gallery.
Olynyk was the US curator and a speaker at the CYFEST-12: ID, CYLAND International Media Art Festival, at the Saint Petersburg Stieglitz State Academy of Art and Design in Russia in 2019.
After 13 years as Director, and Florence and Frank Bush Professor of Art, at the Graduate School of Art, Sam Fox School of Design & Visual Arts, Washington University in St. Louis, Missouri, Olynyk transitioned to the full time faculty in 2020. She was an associate professor at the University of Michigan's School of Art & Design, and director of the Penny W. Stamps Distinguished Visitors Program and the Roman J. Witt Visiting Faculty Program, supporting cross-disciplinary discourse and research. In 2005, she became the first non-scientist appointed to the University’s Life Sciences Institute.
Former Chair of the Leonardo Education and Art Forum, a branch of Leonardo, the International Society for the Arts, Sciences and Technology, Olynyk co-directs the Leonardo/ISAST New York LASER program with Ellen K. Levy, promoting cross-disciplinary exchange between artists, scientists, and scholars.
Awards and Fellowships.
Awards include a Helmut S. Stern Fellowship at the Institute for the Humanities, University of Michigan, and a Francis C. Wood Fellowship at the College of Physicians and Mütter Museum in Philadelphia. Olynyk's residencies include UCLA’s Design Media Arts Department, Banff Center for the Arts in Canada, Montalvo Arts Center in California, the University of Applied Arts Vienna, and at Europe’s oldest asylum, the Narrenturm, also in Vienna.


Pashta

Pashta (Hebrew: ) is a common cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is part of the Katan group. Its mark symbol is identical to that of the Kadma.
While Kadma and Pashta use the same symbol, Pashta is distinct from Kadma in the placement of the symbol. Kadma is always placed on the accented syllable, while Pashta is placed on the last letter as well as on the accented syllable, if it's not the last.
The Hebrew word translates into English as "stretching out".
Occurrences.
In the Katan group, the Pashta can be found either following a Mahpach, or with the Mahpach absent. Following the Pashta will either be a Munach-Zakef katan or just a Zakef katan.
The Pashta can also occur before the Segol group.


Apache XML

The Apache XML project is part of the Apache Software Foundation and focuses on XML-related projects.
It consists of several sub projects:


Norman Lloyd

Norman Lloyd (' Perlmutter"'; November 8, 1914 – May 11, 2021) was an American actor, producer, and director with a career in entertainment spanning nearly a century. He worked in every major facet of the industry including theatre, radio, television, and film, with a career that started in 1923. His last film, "Trainwreck", was released in 2015, after Lloyd had attained 100 years of age.
In the 1930s, he apprenticed with Eva Le Gallienne's Civic Repertory Theatre and worked with such influential groups as the Federal Theatre Project's Living Newspaper unit, the Mercury Theatre, and the Group Theatre. Lloyd's long professional association with Alfred Hitchcock began with his performance portraying a Nazi agent in the film "Saboteur" (1942). He also appeared in "Spellbound" (1945), and was a producer of Hitchcock's anthology television series "Alfred Hitchcock Presents". Lloyd directed and produced episodic television throughout the 1950s, 1960s and 1970s. As an actor, he appeared in over 60 films and television shows, with his roles including Bodalink in Charlie Chaplin's "Limelight" (1952), Mr. Nolan in "Dead Poets Society" (1989), and Mr. Letterblair in "The Age of Innocence" (1993). In the 1980s, Lloyd gained a new generation of fans for playing Dr. Daniel Auschlander, one of the starring roles on the medical drama "St. Elsewhere".
Early life and theatre.
Norman Lloyd was born Norman Perlmutter on November 8, 1914, in Jersey City, New Jersey. His family was Jewish and lived in Brooklyn, New York. His father, Max Perlmutter, was an accountant who later became a salesman and proprietor of a furniture store. His mother, Sadie Horowitz Perlmutter, was a bookkeeper and housewife. She had a good voice and a lifelong interest in the theatre, and she took her young son to singing and dancing lessons. He had two sisters, Ruth and Janice. Lloyd became a child performer, appearing at vaudeville benefits and women's clubs, and was a professional by the age of nine.
Lloyd graduated from high school when he was 15 and began studies at New York University, but left at the end of his sophomore year. "All around me I could see the way the Depression was affecting everyone; for my family, for people in business like my father, it was a terrible time," he wrote. "I just wasn't going to stay in college, paying tuition to get a degree to be a lawyer, when I could see lawyers that had become taxi drivers." Lloyd's father died in 1945, at age 55, "broken by the world that he was living in."
In 1932, at age 17, Lloyd auditioned and became the youngest of the apprentices under the direction of May Sarton at Eva Le Gallienne's Civic Repertory Theatre in New York City. He then joined Sarton's Apprentice Theatre in New Hampshire, continuing his studies with her and her associate, Eleanor Flexner. The group rehearsed a total of ten modern European plays and performed at The New School for Social Research and in Boston. Members of the Harvard Dramatic Club saw Lloyd on stage and offered him the lead in a play directed by Joseph Losey. He rejoined Sarton's group, for whom Losey directed a Boston production of "Gods of the Lightning". When Sarton was forced to give up her company, Losey suggested that Lloyd audition for a production of André Obey's "Noah" (1935). It was Lloyd's first Broadway show.
Through Losey, Lloyd became involved in the social theatre of the 1930s, beginning with an acting collective called The Theatre of Action. The group was preparing a production of Michael Blankfort's "The Crime" (1936),
 directed by Elia Kazan. One of the company members was actress Peggy Craven, who became Lloyd's wife.
Losey brought Lloyd into the Federal Theatre Project — which Lloyd called "one of the great theaters of all time"— and its Living Newspapers, which dramatized contemporary events. They initially prepared "Ethiopia", about the Italian invasion, which was deemed too controversial and was terminated. The first completed presentation was "Triple-A Plowed Under" (1936), followed by "Injunction Granted" (1936) and "Power" (1937).
When Orson Welles and John Houseman left the Federal Theatre Project to form their own independent repertory theatre company, the Mercury Theatre, Lloyd was invited to become a charter member. He played a memorable role in its first stage production, "Caesar" (1937), Welles's modern-dress adaptation of Shakespeare's tragedy "Julius Caesar" — streamlined into an anti-fascist tour- de-force. In a scene that became the fulcrum of the show, Cinna the Poet (Lloyd) dies at the hands not of a mob but of a secret police force. Lloyd called it "an extraordinary scene [that] gripped the audience in a way that the show stopped for about three minutes. The audience stopped it with applause. It showed the audience what fascism was; rather than an intellectual approach, you saw a physical one."
The Mercury prepared "The Shoemaker's Holiday" to go into repertory with "Caesar" beginning in January 1938. During the December 25 performance of "Caesar" — when the sets, lighting, and costumes for "Shoemaker" were ready but no previews had taken place — Welles asked the cast if they cared to present a surprise preview immediately after the show. He invited the audience to stay and watch the set changes, and the curtain rose at 1:15 a.m. Lloyd recalled it as "the wildest triumph imaginable. The show was a smash during its run — but never again did we have a performance like that one."
Lloyd performed on the first of four releases in the Mercury Text Records series, phonographic recordings of Shakespeare plays adapted for educators by Welles and Roger Hill. "The Merchant of Venice" features Lloyd in the roles of Salanio and Launcelot Gobbo. Released on Columbia Masterworks Records in 1939, the recording was reissued on CD in 1998.
Lloyd played the role of Johnny Appleseed in "Everywhere I Roam" (1938), a play by Arnold Sundgaard that was developed by the Federal Theatre Project and staged on Broadway by Marc Connelly. "It was a lovely experience, although the play failed," Lloyd recalled. "For me, it was a success; in those days, before the Tony Awards, the critics' Ten Best Performers list at the end of the year was the greatest recognition. For my performance, I was selected to be on the list by the critics."
Films.
In late summer 1939, Lloyd was invited to Hollywood, to join Welles and other Mercury Theatre members in the first film being prepared for RKO Pictures — "Heart of Darkness". Given a six-week guarantee at $500 a week, he took part in a reading for the film, which was to be presented entirely through a first-person camera. After elaborate pre-production the project never reached production because Welles was unable to trim $50,000 from its budget, something RKO insisted upon as its revenue was declining sharply in Europe by autumn 1939. Welles asked the actors to stay a few more weeks as he put together another film project, but Lloyd was ill-advised by a member of the radio company and impulsively returned to New York. "Those who stayed did "Citizen Kane"," Lloyd wrote. "I have always regretted it."
Lloyd later returned to Hollywood to play a Nazi spy in Alfred Hitchcock's "Saboteur" (1942), beginning a long friendship and professional association with Hitchcock. Three years later he was cast by French director Jean Renoir to portray the malicious, dull-witted character Finley in "The Southerner", which was the fourth film of six productions that Renoir directed in the 1940s while living in the United States. After a few more villainous screen roles, Lloyd then worked behind the camera as an assistant on Lewis Milestone's "Arch of Triumph" (1948). A friend of John Garfield, Lloyd performed with him in the 1951 film noir crime drama "He Ran All the Way", Garfield's last film before the Hollywood blacklist ended his film career.
Post-war career.
A marginal victim of the Hollywood blacklist, Lloyd was rescued professionally by Hitchcock, who had previously cast the actor in "Saboteur" and "Spellbound" (1945). Hitchcock hired Lloyd as an associate producer and a director on his television series "Alfred Hitchcock Presents" in 1958. Previously, Lloyd directed the sponsored film "A Word to the Wives" (1955) with Marsha Hunt and Darren McGavin. He continued directing and producing episodic television throughout the 1960s and 1970s. He took an unusual role in the "Night Gallery" episode "A Feast of Blood" as the bearer of a cursed brooch, which he inflicts upon a hapless woman, played by Sondra Locke, who had spurned his romantic advances. In "FM" (1978), Lloyd has a small but pivotal role as the owner of a Los Angeles radio station that is undergoing a mutiny of sorts, due to a battle over advertising. Lloyd's character (Carl Billings) ends up playing the white hat role and keeping the station as is, to the delight of staff and fans.
In the 1980s, Lloyd played Dr. Daniel Auschlander in the television drama "St. Elsewhere" over its six-season run (1982–88). Originally scheduled for only four episodes, Lloyd became a regular for the rest of the series. In addition to Ed Flanders and William Daniels, "St. Elsewhere" included a roster of relative unknowns, including Ed Begley, Jr., Denzel Washington, Stephen Furst, Eric Laneuville, David Morse, and Howie Mandel.
Lloyd's first film role in nearly a decade was in "Dead Poets Society" (1989), playing Mr. Nolan, the authoritative headmaster of Welton Academy, opposite Robin Williams. Initially, Lloyd was hesitant when asked to audition, because he thought the director and producers could judge whether or not he was right for the part by watching his acting on "St. Elsewhere". Director Peter Weir was living in Australia and had not seen "St. Elsewhere". Lloyd agreed to audition for him after winning his daily tennis match.
From 1998 to 2001, he played Dr. Isaac Mentnor in the UPN science fiction drama "Seven Days". His numerous television guest-star appearances include "The Joseph Cotten Show"; "Murder, She Wrote"; "The Twilight Zone"; "Wiseguy"; ""; "Wings"; "The Practice"; and "Civil Wars".
He played in various radio plays for Peggy Webber's California Artists Radio Theater and Yuri Rasovsky's Hollywood Theater of the Ear. His last film role was in "Trainwreck" (2015) which he acted in at the age of 99, although he admitted he was slightly put off by the film's raunchy content. He is the subject of the documentary "Who Is Norman Lloyd?", which premiered at the Sundance Film Festival on September 1, 2007. In 2010, he guest-starred in an episode of ABC's "Modern Family". On December 5, 2010, he presented "An Evening with Norman Lloyd" at the Colony Theatre in Burbank, California, where he spoke about his career and answered questions from the audience.
Personal life.
In 1936 he married Peggy Craven and they had two children, one of whom, actress Josie Lloyd, died in 2020. Peggy died on August 30, 2011, at the age of 98.
Lloyd began practicing his lifelong hobby of tennis at the age of eight. "With the application and time I have devoted to it, I should have been a reigning World Champion", he said in a 2000 interview. His opponents included Charlie Chaplin, Joseph Cotten, and Spencer Tracy. Lloyd was still playing twice a week until July 2015, when he had a fall. He stopped driving in 2014 at his son's insistence.
Lloyd turned 100 on November 8, 2014. Both his longtime friends and understudies, including Ed Begley Jr. and Howie Mandel (who both co-starred opposite Lloyd on "St. Elsewhere") reflected on his centenarian celebration; Begley, Jr. said: "I worked with Norman Lloyd the actor and Norman Lloyd the director, and no one informed me better on the art of storytelling than that talented man. He is a constant inspiration, and my eternal friend"; and Mandel said, "I love Norman Lloyd. He is a legend. I have spent hours like a little kid while he regaled us with stories of Hitchcock. He teaches, he entertains. He is a legend."
On October 25, 2017, just two weeks shy of his 103rd birthday, Lloyd attended Game 2 of the 2017 World Series in Los Angeles. Ninety-one years earlier, at the age of 11, he had attended Game 1 of the 1926 World Series at Yankee Stadium.
Death.
Lloyd died in his sleep at the age of 106 on the morning of May 11, 2021, at his home in Los Angeles.
Cultural references.
In "Me and Orson Welles" (2008), Richard Linklater's period drama set in the days surrounding the premiere of the Mercury Theatre's production of "Caesar", Lloyd is portrayed by Leo Bill.


Prerna Singh Bindra

Prerna Singh Bindra from Gurgaon, India is one of India's leading environmental journalists and travel writers. She is also a visiting faculty member at National Centre for Biological Sciences and has received the Carl Zeiss Wildlife Conservation Award.
Education.
Prerna holds a Masters in Labour Welfare from Gujarat University and has done graduate work in Economics at St Xaviers (Ahmedabad).
Career.
Author and writer.
She started her career in management from Indian Institute of Management, Ahmedabad as a Research Associate. After she found that her true call calling was writing, she started writing from Sanctuary Asia. Later she worked on daily newspapers "The Asian Age", "The Pioneer", "The Times of India" and others.
Prerna authored more than 1,500 articles on nature and wildlife in mainstream media. Prerna took to concentrating on working with governments at the local, regional and federal levels, to conserve India's wildlife and wild habitats through policy and legal reform, the promotion of education and awareness, and by supporting effective action on the ground.
She is the editor of Tigerlink, a journal which collates and analyses information about tigers from across their range countries.
Positions served.
Prerna has served on the Uttarakhand State Board for Wildlife and was a member of the National Board for Wildlife and part of its core Standing Committee between 2010 and 2013. She is part of the team of the National Tiger Conservation Authority (NTCA) to assess the management effectiveness of tiger reserves in an IUCN framework.
She was part of the committee appointed by the Ministry of Tourism to study relevant issues concerning tourism and wildlife in Uttarakhand which ultimately led to the creation of buffers around reserves and guidelines for tourism for tiger reserves.


Warren Stephens

Warren Amerine Stephens (born February 18, 1957) is an American businessman. He is the chairman, president and chief executive officer (CEO) of Stephens Inc., a full service, privately held investment bank. On the "Forbes" 2016 list of the world's billionaires, he was ranked #722 with a net worth of US$2.6 billion. Stephens lives in Little Rock, Arkansas.
Early life and education.
Stephens was born in Little Rock, the son of Jackson T. Stephens and Mary Amerine Stephens. Warren's father, "Jack" Stephens, and his uncle, "Witt" Stephens, partnered as investors and financiers in the investment firm, Stephens Inc.
Warren began his education in Little Rock, and in 1975, graduated from Trinity Presbyterian High School in Montgomery, Alabama. He graduated from Washington and Lee University in 1979 with a BA in Economics, and received his MBA from Wake Forest University in 1981.
Career.
Stephens joined his father and uncle in the investment banking business in Little Rock, which had 139 employees. At that time, the firm resembled and operated much like one of the old British merchant banks, investing the firm's and family funds in various businesses and ventures, and it still operates the same way today. Stephens Inc is noted for handling the IPO of Wal-Mart Stores in 1970.
Stephens began work as an associate in the corporate finance department, concentrating on oil and gas. He became head of the department in 1983 and spent a lot of time on mergers and acquisitions. On February 18, 1986, Stephens was appointed president and CEO of Stephens Inc.
In 1990, he was the senior advisor to Tyson Foods in their acquisition of Holly Farms in a nine-month takeover battle. He is only the third chairman, president and CEO in the firm's more than 80 years of operations since 1933.
In 2006, Stephens acquired 100 percent of the outstanding shares of Stephens Inc from the other family members.
Stephens serves on the board of Dillard's.
Political involvement.
A Republican, he supported Bob Dole in 1996, Steve Forbes in 1999, and has supported Mike Huckabee. Stephens was a bundler for Mitt Romney in 2012. He has been critical of presidents Bill Clinton and Barack Obama. During the 2016 election, Stephens and his brother Jackson Stephens were major financial supporters of the Stop Trump movement.
Philanthropy.
Stephens served on the board of trustees of his alma mater, Washington and Lee University. Stephens and his wife Harriet are benefactors of various organizations, most notably the Episcopal Collegiate School and the Arkansas Arts Center, both in Little Rock.


Stylus Studio

Stylus Studio is an integrated development environment (IDE) for the Extensible Markup Language (XML). It consists of a variety of tools and visual designers to edit and transform XML documents and legacy data such as electronic data interchange (EDI), comma-separated values (CSV) and relational data.
XML editor.
Stylus Studio includes three general purpose XML editing views: Text View, Tree View, and Grid View, allowing working with and editing XML documents in ways to suits many user styles. A "Schema" tab provides a convenient way to view a document's associated content model (i.e., it's schema). If no XML content model has been defined, the "Schema" tab can be used to generate XML schema or to generate DTD. XML editing views are synchronized, and can be switched between at any time simply by clicking the tabs at the bottom of the main editing window.
Text View.
The XML text editor supports syntax coloring, code sensing, schema driven autocomplete and code folding.
Tree View.
Tree View incrementally loads an XML file according to the nodes users expand, and allows analyzing and editing very large XML data files. Tree View is also specialized to handle document type definition (XML DTD) and XML schema.
Grid View.
The XML Grid View provides a spreadsheet-like interface enabling more productive work with relational data or any XML document with repeating data structures, addressing a need that arises often when working with raw XML data in typical XML data integration applications.
XML Schema Editor.
Stylus Studio provides synchronized XML schema text editing and visual XML schema diagram views. Changes made to an XML schema in the text editor are synchronized with the Diagram View, and vice versa. The schema editor includes an integrated XML schema documentation generator, to publish XML content models in HTML format.
XSLT Visual Mapping Tool.
The XSLT Mapper displays input documents on the left, and the target on the right. To map data, simply drag source nodes and drop them on the target, connecting the data sources to the desired data output. On the XSLT Source tab, the XSLT is displayed composed, based on the source-target relationship defined in the mapping operation. The code being generated is standard W3C XSLT and XPath code.
XML Pipeline Designer.
Stylus Studio provides a visual designer for creating XML pipelines in terms of a series of operations, for example, converting, validating, transforming, or performing other operations on an XML document. The XML Pipeline designer can automate many common tasks including Java code generation and debugging of XML processing applications.
EDI to XML SEF Editor.
The EDI to XML Conversion module helps convert EDI to XML and create custom EDI conversion definitions. It provides support for a variety of dialects including EDIFACT, HL7, X12, HIPAA, IATA, AL3, EANCOM and NCPDP.
History.
June 8, 2001 Stylus Studio 3.0 was released. At the time it was primarily an XSLT IDE and the very first to feature an XSLT two-way editor and visual XML to XML mapping tool.
June 2002 Stylus Studio 2004 released a two way visual schema designer for XML Schema 1.0 and the first IDE to feature postmortem stack trace for XSLT with back mapping to the XSLT source. At that time it was the only XSLT debugger supporting cross-debugging between XSLT and Java extension functions.
September 2, 2003, Stylus Studio 5.0 introduced the very first XQuery two-way editor and visual XML to XML mapping tool. In addition this release introduced XSLT and XQuery profiler.
October 4, 2004, Stylus Studio 6.0 added support for XSLT 2.0 a Grid View to its XML Editor and a new visual module called "Convert To XML" to convert flat file formats to XML.
June 13, 2006, Stylus Studio 2006 Release 3 bundled DataDirect XQuery 2.0 the first XQuery implementation over multiple relational database like SQL Server, Oracle, DB2.
September 26, 2006, Stylus Studio 2007 introduced a visual designer and debugger for XML Pipeline and a graphical editor for building reports using XSLT or XQuery called Stylus Studio XML Publisher.
December 11, 2007, Stylus Studio 2008 bundled DataDirect XML Converters for Java and .NET and added .NET code generation. Starting with this release converter engines are licensed separately from Stylus Studio.
December 4, 2008 Stylus Studio 2009 added support for XQuery Update Facility 1.0.
November 17, 2009 Stylus Studio 2010. The XQuery visual mapping tool added support for relational update. The XQuery text editor added code refactoring.
November 10 2010 Stylus Studio 2011 added support for SQL update expressions to the XQuery Mapping tool and code refactoring to the XQuery editor.
November 13, 2011 Stylus Studio X14, added support for XSLT 3.0 and XQuery 3.0 Working Draft 14 June 2011.
July 23, 2012 Stylus Studio X14 Release 2, added new visual schema designer for Relax NG.
December 3, 2012 Stylus Studio X15 added HTML WYSIWYG Designer, mapping automation with AutoLink and a new XSLT Editor auto-complete implementation.
May 7, 2014 Stylus Studio X15 Release 2, added support for executing and debugging XSLT 3.0 and XQuery 3.0 final and Apache FOP 1.1 was integrated.
May 17, 2016 Stylus Studio X16, added 64-bit version, SQL Editor, New Generic bi-directional Converter for fixed-width format, certified Windows 10 ready.


Dhammika Dharmapala

Dhammika Dharmapala is an economist who is the Paul H. and Theo Leffman Professor of Law at the University of Chicago Law School. He is known for his research into corporate tax avoidance, corporate use of tax havens, and the corporate use of "base erosion and profit shifting" ("BEPS") techniques.
Biography.
Dharmapala was born in Sri Lanka, educated in Australia, and settled in the U.S. (he is a naturalized U.S. citizen), to pursue a career as an academic economist. He taught economics at the University of Connecticut and law at the University of Illinois, Urbana-Champaign before joining the Chicago faculty in 2014.
Dharmapala's research on tax havens, often with James R. Hines Jr., is cited as important. In addition to his role as professor at the University of Chicago Law School, Dharmapala is an International Research Fellow at the Oxford University Centre for Business Taxation, and has served on the Board of Directors of the American Law and Economics Association and the National Tax Association. Dharmapala is sometimes interviewed in the main U.S. financial media on U.S. corporate tax issues.
Dharmapala tax havens.
Dharmapala-Hines 2009 list.
Because it is cited as one of the important papers on the research of tax havens, the 48 jurisdictions from the Dharmapala-Hines 2009 paper are listed below, per the markings in the paper (♣ & †):
6 of the 7 tax havens that Dharmapala-Hines identified in 2009, but which have never appeared in any OECD list (e.g. marked as †), namely, Ireland, Luxembourg, the Netherlands, Hong Kong, Singapore and Switzerland, would become ranked in the world's top ten global tax havens, when academics used quantitative methods to analyse tax havens (i.e. the "OECD havens", plus Singapore and Hong Kong).
(†) Tax havens that were in the 41 from the Hines-Rice 1994 list, but not in the 35 from the OECD 2000 list (the largest), which include the four "OECD tax havens".
(♣) Tax havens that were in the 35 from the OECD 2000 list (the largest), but not in the 41 from the Hines-Rice 1994 list.


Erica Scourti

Erica Scourti (born in Athens) is an artist based in the UK whose works (which combine performance, digital media, the web, and video) have been exhibited at the Brighton Photo Biennial, the Hayward Gallery Project Space, and the Photographers' Gallery in London Her performance project, "Life In Adwords" (2012), involved her keeping a diary by email to her Google account and creating videos based on the advertising targeted to her as a result.


Advertising Association

The Advertising Association (AA) is a trade association representing advertisers, agencies, media and research services in the UK advertising industry. Its stated aim is to promote the “…role, rights and responsibilities of advertising and its impact on individuals, the economy and society". Its Chief Executive is Stephen Woodford.
The organisation represents the advertising industry to UK government, policy-makers and opinion-formers, presenting evidence-based information to support government decision-making. It references the work of the advertising industry’s think tank, Credos, which produces research reports on UK advertising industry issues.
According to the Marketing Agencies Association (MAA), the Advertising Association is 'the only body that speaks for all sides of [the industry]'.
In January 2019 the AA announced that UK ad spend in 2018 had risen +6.0% year-on-year, to £23.6bn.
History.
In 1924 the Associated Advertising Clubs of the World staged the International Advertising Convention at Wembley.  the British section of the exhibition was known as District 14 (with the other 13 in the USA). Two years later, District 14 was converted into the body now known as the Advertising Association.
Membership.
The Advertising Association’s membership comprises around 30 organisations, including technology and media companies as well as other industry associations for advertising, marketing and media.
Operations.
The CEO of the Advertising Association is Stephen Woodford. Its chair is Philippa Brown and its president is Keith Weed. Previous chairs and presidents have included Dame Cilla Snowball, Andy Duncan, Gavin Patterson, James Murphy and Jeremy Bullmore.
The Advertising Association’s board contains members from other related bodies, such as the Institute of Practitioners in Advertising (IPA), the Incorporated Society of British Advertisers (ISBA), ITV, Google and the News Media Association (NMA).
The Advertising Association’s council comprises several large advertisers who work with the AA on major policy initiatives, such as its campaign to increase public trust in advertising.
Advertising Association Council.
The Advertising Association Council consists of agencies, brands and media. It has two roles, one regulatory, one industry-facing. On behalf of industry, Council guides the development of the self-regulatory system and sets advertising policy. The Committee of Advertising Practice (CAP) and the Broadcast Committee of Advertising Practice (BCAP), write the advertising codes and the Advertising Standards Authority (ASA) independently enforces them across all media. The position Council takes guides the Advertising Association’s work: its research, its response to key issues, its advocacy and its public and industry-facing stance. The Council meets three times a year.
LEAD.
The Advertising Association holds an annual industry summit each January which is called LEAD. The conference brings together politicians with representatives from different parts of the advertising industry. The Association also organises training for industry professionals, such as the Media Business Course.
Publications.
In the 1980s and 1990s, the Advertising Association produced a series of essays entitled “Advertising’s Big Questions”. In 2016, various authors were asked to write essays on similar themes, in order to gauge how the industry had changed. Jeremy Bullmore wrote an essay in both eras on “What Is Advertising?”
Related associations.
Front Foot.
In 2010, the Advertising Association set up Front Foot, a members’ network for the advertising industry. It includes advertisers, agencies and technology companies. It aims to convey a uniform industry view that is “…authoritative, evidence-based and progressive".
business4Life.
Founded by the Advertising Association, business4Life is a coalition of companies actively using marketing and communications skills to help deliver Department of Health Change4Life.
Food Advertising Unit.
The Food Advertising Unit (FAU) aims to raise the quality of the debate surrounding advertising to children by providing pan-industry leadership and a forum for dialogue to inform industry awareness and best practice in food advertising and marketing communications.
FAU membership is composed of multi-national food companies, agencies and the media.
Credos.
In 2010, the Advertising Association formed Credos, an advertising think-tank which aims to demonstrate the value of advertising for the UK economy and society.
It produces the Advertising Pays series of reports, which seek to quantify the contribution of the advertising industry to the UK economy, culture, employment and society.
The first report, published in 2013, estimated that every £1 of expenditure on advertising generates £6 for the economy, and that UK advertising contributed £100 billion to UK GDP. That latter figure had been revised to £120 billion by 2016, due to an increase in advertising expenditure.
"Advertising Pays 4", published in 2016, focused on the export value and global impact of UK advertising. It revealed that the UK’s balance of payments for advertising-related services is £1.6 billion, second only to the United States in the world and five times the second highest in Europe, France.
"Advertising Pays 7", published in 2019, looked at the role of digital in UK advertising. The report forecast online advertising expenditure would account for more than three fifths of total UK advertising expenditure by 2020.
A 2014 Credos report on diversity in advertising revealed that BAME (black, Asian and minority ethnic) respondents were less likely than white respondents to believe that advertising accurately reflects the UK’s multicultural society. BAMEs tended to argue that the advertising industry should do more to portray them in a more realistic way.
Policy Areas.
In 2018, the Advertising Association set up the Trust Working Group to assess and counter the decline in the public’s trust in advertising. It brings together advertisers, agencies, media owners, tech platforms, as well as fellow trade associations ISBA and IPA. Its research suggests that only 25% of the UK public had a favourable attitude towards advertising, a record low. The Advertising Association report set out specific actions needed to boost trust, such as stopping excessive advertising and re-targeting, and ensuring that data privacy is safeguarded.
The Advertising Association has provided evidence in support of maintaining and not extending current restrictions on advertising of foods high in fat, salt and sugar (HFSS), Citing its own research, the Association found that children’s exposure to such advertising has already reduced substantially in recent years. It has also supported the creation of a media campaign to promote responsible gambling.
In 2018, the Advertising Association partnered with the National Advertising Benevolent Society (NABS) and Women in Advertising and Communications, London (WACL) to establish the "timeTo" initiative, addressing the issue of sexual harassment within the industry.
On Brexit, the Advertising Association believes the industry may be adversely affected if non-British workers leave the country. It has demanded more clarity with regard to access to talent, cross-border data flows, and freedom to advertise on cross-border television channels.
Alongside the DIT and the IPA, the Advertising Association runs an annual Export Month, promoting the UK advertising industry to international audiences.