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Bernard Cornwell: Fools and Mortals
Bernard-Cornwell-FoolsAndMortals-cover.jpg
Shakespeare Unlimited: Episode 90
Bernard Cornwell, a bestselling writer of historical fiction such as the Sharpe series, has turned to the world of the Elizabethan theater. His newest novel, Fools and Mortals, imagines the first production of A Midsummer Night's Dream. It's a tale of love, intrigue, opulence, and violence, all narrated by William Shakespeare's brother Richard.
Bernard Cornwell was interviewed by Barbara Bogaev.
Fools and Mortals was published in the US by Harper in 2018. Read an excerpt on the Folger's Shakespeare & Beyond blog.
Listen on iTunes, Google Play, SoundCloud, or NPR One.
From the Shakespeare Unlimited podcast series. Published February 6, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, Masters, Here Are Your Parts was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Andrew Feliciano at VoiceTrax West in Studio City, California and Bruce Roberts at ARP Studio in Charleston, South Carolina.
Previous: Orson Welles and Shakespeare | Next: Derek Jacobi: Playing Hamlet
MICHAEL WITMORE: We've done nearly a hundred podcasts since this series began, and nearly all of them dealt with the world and the work of William Shakespeare. Every once in a while though, you have to change things up. And with that in mind, we present to you a story of the one, the only… Richard Shakespeare.
From the Folger Shakespeare Library, this is Shakespeare Unlimited. I'm Michael Witmore, the Folger's Director. I'm going to go out on a limb here and bet that you probably didn't even know that there was a Richard Shakespeare. If that's true, it's probably because we know far less about him than we do about his much-more-famous brother. William Shakespeare had three brothers, and not much is known about one of them, which makes Richard Shakespeare—a man near to greatness without ever being great himself—a perfect subject for historical fiction.
Bernard Cornwell is a writer of historical fiction. He's best known for the Sharpe series—more than 20 books and stories about a character named Richard Sharpe, a rifleman turned officer during the Napoleonic Wars that was made into a TV series in Britain in the 1990s. Another Cornwell series, about the 9th-century kingdom of Wessex, became the TV show The Last Kingdom. Now, Bernard Cornwell has turned to the world of the Elizabethan theater and his newest novel, Fools and Mortals, is a tale of love, intrigue, opulence, and violence, all narrated by John and Mary Shakespeare's seventh child, Richard.
We call this episode Masters, Here Are Your Parts. Bernard Cornwell is interviewed by Barbara Bogaev.
BARBARA BOGAEV: I would think that it would be daunting to sit down and say, "Right, I'm a historical novelist and now I'm going to write a novel featuring William Shakespeare," and then you literally put words into the mouth of the greatest wordsmith who ever lived.
BERNARD CORNWELL: It's terrifying!
BOGAEV: Exactly! It made me think well, what is your pro and con list as you think about writing historical fiction about Shakespeare?
CORNWELL: Well, what I really wanted to write about was putting on a play, and then if you're going to do it about A Midsummer Night's Dream, you're rather stuck with this guy, you got to.
BOGAEV: But how did you think about taking him on? What kind of man did you imagine him to be, or did you want to portray in this story as a man and an artist?
CORNWELL: I think essentially a theater professional, and what's so fascinating is the theater is really a brand new occupation. The very first play house wasn't built until Shakespeare was 10 years old, and once you build a permanent theater, you change everything. If you're touring around the country, for Monday you're in Warwick and Tuesday in Kenilworth, and Wednesday, you're in Stratford, you can do the same play in each place. But then you build a permanent Playhouse. Now the audience is the same, night after night after night, week after week, month after month. You need new material all the time. Once the theater is permanent, playwrights come into their own. So, above everything, Shakespeare is a theater professional: he's an actor, he's an impresario, he's a writer. So I didn't want him to be a sort of ethereal poet, the Swan of Avon, sitting there waiting for inspiration. I don't think he did wait for inspiration, there was too much pressure on him to produce work.
BOGAEV: Apparently you also didn't want him to be the protagonist, because the story's told from the point of view of his brother, which seems a very ingenious workaround of this problem.
CORNWELL: Well, the nice thing about his brother Richard, is that he actually existed. And the even nicer thing about him is that we know nothing about him. We have his birth date, we have his death date, and I think there's one court record where he was fined for not attending church, and that's it. That is the sum total that we know about Richard Shakespeare. But of course you want the fiction to be based on a certain amount of reality.
BOGAEV: I want to dig into that a little bit more, but first I have to ask you, you have such a long and really distinguished career writing mostly about wars. What gave you the idea of writing a historical novel about Shakespeare?
CORNWELL: I fell among actors 12 years ago. I'd never acted in my life, and I now live in the summer on Cape Cod. And there's a little theater there called the Monomoy Theatre, and it's a marvelous theatre. It exists to give drama students from all across North America a chance to play in a summer rep theater. Now, they do an incredible job, because they're drama students, some of them are postgrads, some are undergrads, they have huge skills, but they don't play the sort of what we call the grown-up parts. I mean, it just doesn't look right having a 25 year old playing Prospero. So normally, Equity actors are brought in, but local people like me are allowed to be spear-carriers, and somehow I've sort of graduated from carrying a spear to in fact playing Prospero.
I'd never done this before, and I had, I don't know, I suppose a reasonably well-educated person's knowledge of Shakespeare, which doesn't really add up to very much. But being in his plays is the way of learning about his genius, about learning how wonderful the plays are. And over the years, I don't know, I played Henry IV, Toby Belch, and came to love him, came to be fascinated by him. so I went and started to read as much as I could about him and then, considering what my day job is, I thought, let's do a book about it, let's do a book about putting on a play in 1595, how different was it to putting on a play in 2017?
BOGAEV: Well, and the book really gives us an idea of that. I mean, you're a real fly on the wall of this experience that you've had in the theater. And I don't want to give away too much, but the principal action involves the first-ever performance of A Midsummer Night's Dream. So first, why that play?
CORNWELL: Well, because it's a fun play. I mean, an extraordinary thing is, in 1595, Shakespeare wrote two plays. If he died at the end of 1594, yeah, the scholars would know that there was a playwright once called William Shakespeare, and he'd written Richard III, Comedy of Errors, but really he'd written nothing of any great moment, and then suddenly in 1595 he writes two of his great plays: the first a great comedy, A Midsummer Night's Dream; and then, or at the same time, or just before, his first great tragedy, Romeo and Juliet. I think that, one, they're still the most popular of all Shakespeare's plays, on both sides of the Atlantic those are the two that had performed most often. I thought well, I didn't want to write about putting on a tragedy because the book would end up being frightfully gloomy. I've always loved Midsummer Night's Dream, I've acted in it twice, and people are familiar with it, I think, or a lot of people are. So I was just very fond of it, and I think it's simple as that.
BOGAEV: Well let's give people a taste of your treatment of it. Would you read something for us? And I'm thinking of a scene in which the troupe, the Lord Chamberlain's Men, are rehearsing Midsummer in Blackfriars for a wedding, and Richard Shakespeare is not in this scene, he's watching the others perform.
CORNWELL: That's right. He'd just come back in fact, he'd come to the hall. They're not in the theater, they're in the Great Hall of a house, because the play is being commissioned privately by the Lord Chamberlain for a performance at his granddaughter's wedding, and he's just come in from the rain.
[CORNWELL reads from Fools and Mortals:]
I went close to the generous fire, still trying to dry out my rain- soaked clothes. Richard Burbage, Henry Condell, Alexander Cooke, and Kit Saunders were being rehearsed by Alan Rust, while the other players looked on. Alexander and Kit were playing the girls, and they were at the front of the imaginary stage, while the two men watched from the back. Kit was small for his age while Alexander was tall, and my brother had written words to fit their stature. "'You puppet you!'" Alexander screeched. When we had read the scene the first time people had laughed at the fight between the two girls, but the weather seemed to have dampened all our spirits, and no one seemed to have any enthusiasm.
"Move further to the left," Rust told Kit. A gust of wind splattered the high window with rain and flickered the flames in the hearth.
"'How low am I, thou painted maypole? Speak!'" Kit shouted at Alexander. "'How low am I? I am not yet so low but that my nails can reach unto thine eyes!'" He ran across the stage, hands crooked, to claw at Alexander's eyes.
"Scream at her as you run," Alan told Kit, "I don't want silence! And don't let her reach you," Alan added to Alexander. "Let her get close, then run for your life. Take shelter behind the two men."
"Do I follow her?" Kit asked.
"No, just stop where she was standing. Turn and face her, but you're not going to attack her while she's with the men. Now let's do it again."
Richard Burbage, either tired or bored, fetched a chair from the big table and took it to the pretend stage. He sat. The real stage was being built at the other end of the hall, filling the big space with the sounds of saws and hammers. Alan Rust was looking over Isaiah Humble's shoulder to read the lines, when Isaiah suddenly sneezed. "Oh, for God's sake, Isaiah!" Rust recoiled from the sneeze.
"Sorry," Isaiah said, then sneezed again.
Rust snatched up the pages and moved away from Isaiah. "Kit?" he called, "go from 'You juggler, you canker-blossom, you thief of love.'"
"Sorry," Isaiah said. He looked ill, but who would not feel ill in this miserable, cold, wet weather?
My brother came to the fireplace. "We're rehearsing Titania and Oberon tomorrow," he told me, "and the mechanicals on Friday. Do you know your lines?"
"So you don't have to stay now," he said pointedly. "Come back on Friday."
"I'll wait for the rain to stop."
"It's not going to stop. It will never stop. The sky is as black as Satan's arse." He turned to watch Kit scream and run across the stage.
"Faster!" Alan Rust shouted. "Run like you mean to kill her. Do it again."
BOGAEV: This seems like so much fun to write. I mean director yelling at actors, and actors being difficult. Is this pulled straight out of your Midsummer experience?
CORNWELL: On the whole, no. I think perhaps we're gentler in the 21st century. I mean, I have seen directors lose it, but the cast would still come together, read through it, find out where to be on the stage, they'd bond and then have all the fun of actually performing.
BOGAEV: In large strokes, it hasn't changed much, but the details though—and given that it's not good to know too much when you're writing historical fiction, as you just said, what kind of research did you do to write convincingly about Elizabethan Theater and these domestic and court scenes in the book?
CORNWELL: It's very nice of you to use the word "convincingly." Well, I did what you always do: you read everything. And I literally do mean everything. I suppose the reading to go into this was about five years of reading. And in the end you're sort of deviling down into some really obscure books. In the end, like all historical novels, you chuck away about 98 percent of the research, because it simply becomes irrelevant. But I was surprised by a lot of what I discovered about the Tudor theater and I'm excited by it. It really is a most extraordinary period, because you do have here the beginning of a profession, a beginning of an industry, and yet that didn't exist—
BOGAEV: And you sprinkle those details in. For instance, in passing, you mentioned the box office. So called because the boxes that took the playgoers' pennies were emptied on the table inside and it was kept locked, and there we have the box office.
CORNWELL: And then you have the boxes. In fact, they got more sophisticated a bit later. They started making enormous pottery, basically balls, and you couldn't open them. They just had a slit for the coin in the top, and you'd take this back to the box office and break them. And when they recently excavated I think it was the Rose Theatre, they found a great heap of these little pottery scraps that had once been the balls which were taken back and broken.
BOGAEV: And this really, I mean there are Easter eggs like this sprinkled throughout, and people who know their history through and through, who are listening will have to forgive me that I didn't know things like Elizabethan dental hygiene life-hacks. You know, a character says Richard should keep his teeth white by grinding up cuttlefish bones and mixing them with salt and vinegar.
CORNWELL: You could do an experiment now Barbara, who knows? But Richard, of course, is playing girls, and just like an actor today, he wants to look his best. So it's very important to him to look after his teeth.
BOGAEV: And there are also wonderful scenes of theatercraft as well in the 16th century that are rooted in fact. For instance, how they dealt with blood in the theater. The pig's bladder.
CORNWELL: The sheep's blood in a pig's bladder, I think it was, wasn't it?
BOGAEV: Yes, and they'd hide it under a cloak, right?
CORNWELL: Yes. Well, you'd hide it anywhere you could, and then pierce it and the blood will all gush out.
BOGAEV: And you describe the wonderful lengths that they went to to disguise these men as women. At one point there's a scene in which the troupe's seamstress, or costumer, or also makeup artist, drops juice of belladonna into Richard's eyes.
CORNWELL: Which they did, which made your pupils bigger.
BOGAEV: Fascinating! And also pig's fat and soot around the eyes for coal, right?
CORNWELL: I know, yes! And lipstick, and I mean this is part of the reason, of course, why the Puritans so absolutely hated the theater. It was bad enough that women were being shown on stage, but it was even worse that they were being played by boys.
BOGAEV: There's another interesting area of research I imagine you got into that you have introduced in the book, which is that you describe how audience reaction depended upon the setting, that the reaction in the theater would be different from the audience reaction in a nobleman's house, which is where these plays, as you said, often were staged, if they were commissioned, or at court before the queen.
CORNWELL: I think you'd have to work hard at probably the nobleman's house. I mean, they were more likely to be drunk and more likely to be bored. But we do know, for instance, that audiences could be incredibly rowdy. I mean, I can't remember, from somebody's diary in the 1570s or 1580s, I'm pretty sure it was the Lord Chamberlain's Men go to put on a play at Gray's Inn, in front of the students, and they start the play, and the students riot. They say, "We don't want that play, we want another play!" And I think they wanted Comedy of Errors. So the actors in the Inn threw up their hands and said, "Well, give us a minute, and we'll turn it around." And so they did. They put on a different play for them. We know that audiences threw things, but we also know that audiences were extraordinarily appreciative.
BOGAEV: But not necessarily at court or in a private setting.
CORNWELL: At court, if the Queen was there, they were certainly not going to—I mean the curious thing is although we think of the Globe as the sort of birth of English theater, in the end it was the hall theater, what's called the hall theater, that took over. And in 1603, Shakespeare's company actually bought a hall in Blackfriars to put on plays indoors. And once you're indoors, again, everything changes. You got to light it, which means candles, and once you have candles, candles are not going burn for two hours of a play. They need to be trimmed. So you get acts, and you get an interval. And the audience is different, they're not standing in front. There are not 2,000 people there. Hall theaters usually sat between four and 600, so they had to pay more.
BOGAEV: Well, getting back to your book, the plot of your book, Fools and Mortals, it turns on another theater trying to get their hands on Shakespeare's scripts.
CORNWELL: Yes, villains at last!
BOGAEV: Fill us in, though, on the background of just how precious or valuable scripts were in 16th-century London, and this burgeoning theater industry.
CORNWELL: Well, they're incredibly valuable, because there's no copyright. I mean, we have the Theatre, which is Shakespeare's playhouse, and then across the river, very close to where the Globe will be built, there is the Hope, which is also… it was the Lord Admiral's Men. Now if, for instance, somebody from the Lord Admiral's Men had got hold of Romeo and Juliet, the play, before the Theatre did it, there's nothing to stop them putting that play on, and there's nothing Shakespeare can do about it. He's got no recourse in law.
So the script is very valuable. You're probably going to play Romeo and Juliet, probably going to do a season of maybe ten or eleven performances, not many more. But that's 2,000 people, all of them paying a penny each, some of them paying a lot more. So there's a lot of money involved. Once the play had been done, once you've exhausted your audience, you know, there's no chance of filling the theater anymore, then you can publish the play, and anybody can do it. But yes, before the play was performed, at the beginning of its career, a play is a very valuable product.
BOGAEV: So clearly, you knew a lot, but also, of course, you have to take license to make things up, when you sit down to write.
CORNWELL: I do.
BOGAEV: And that's so tricky. I wonder how you navigate when to be faithful to history and when to depart from it. Because there's always going to be nitpicky types who say, It didn't happen that way, they didn't steal Romeo and Juliet.
CORNWELL: No, that is made up. The villains in this case, they're not the Hope Theatre, it's the Rose, which was under construction, and I invent people, except for the owner of the Rose, who is not invented. But it had happened, I mean, scripts were stolen. None of Shakespeare's, as far as we know.
But it's fiction. I'm mean, if you don't like reading things that are made up, then don't write historical fiction. I can recommend some really incredibly dull books on the Tudor theater and you can tuck into them instead.
BOGAEV: So you don't think about that kind of reader when you write?
CORNWELL: No, because if that kind of reader doesn't like historical novels, they've got no business reading my books. I would much rather take someone who's just going to be excited by the discovery of the Tudor theater, and I hope that they might then go on to learn more about it. There are some actually very good books about the Tudor theater. I hope even more that I'll actually persuade some people to go and find a production of A Midsummer's Night Dream and go and watch it, because it's such a hell of a lot of fun.
BOGAEV: Have you had readers though who have taken issue with things in this book?
CORNWELL: Oh gosh, yes. As I say, there's always a helpful reader to point out your mistakes. I've written some books about 7th-century Britain and got this very strict letter there were no snowdrops in Britain, and well, I hadn't a clue, I put snowdrops in, you know. You live with them. I mean Shakespeare made mistakes. He had, was it billiards in Ancient Rome, I think is one of them? You know, the coast of Bohemia. You can tell that some of his plays were written in a hurry. I mean he gives Prospero in The Tempest a nephew on the island. It's only one line, and if you think about it, the nephew is going to complicate the plot terribly, so he just forgets him. He never appears again, but he actually never got crossed out in the manuscript. When you write at the speed he wrote, when you don't have the editing facilities and printing facilities we have, you're bound to get mistakes. Equally well, you know, I can't think of any historical novelist who doesn't make mistakes.
BOGAEV: And specifically about this book, have you gotten any comments?
CORNWELL: Yeah, I did. I had… most people, when they write, are actually very charming about it. [A reader] said, You have far too many chairs. If you look at Tudor wills, they didn't have chairs, they had stools. I mean, he was very nice about it.
BOGAEV: That's not true though. I mean there are chairs in Shakespeare. In fact, we knew you would have this criticism, and our Folger editors had plenty of references at their fingertips to chairs, including from Henry VI, Part 2, in which, "thy chair days, thus to die in ruffian battle?" That is the end of that passage.
CORNWELL: That's right. I actually wrote back and said "blame it on my age, my chair days." But no, I mean it's fine, I'm really not going to object to that. You do get some silly people who want to crow over it, but really that is so rare, it's so rare, and I have to say Barbara, that 99 percent of the messages I get on the website and through email are appreciative.
BOGAEV: Well, teasing out this, what was real, what's not, what's made up, you also present Will Kempe, and you make him out to be, very entertainingly, someone like John Belushi. Just a full-on, wild party animal, and also a kind of unpleasant bully offstage, and sometimes maybe onstage. What informed that?
CORNWELL: I think he may well have been. Certainly there's some small evidence that there was some ill blood between them. I mean, probably Will Kempe was far, far more popular than Shakespeare himself, and if Will Kempe was going to be in a play, people would come. Now that's incredibly valuable property, because Will Kempe is funny. He's a great acrobat, he's very much a physical actor. You can tell from the roles that Shakespeare writes for him. But Shakespeare also, in Hamlet, when the prince gives the players his instructions, I mean he's specific about, you know, You will speak the words written down for you, and no more. Because the clowns in Shakespeare's plays were famous for suddenly going off-script, and Will Kempe loved to have badinage with the audience, and this would obviously, in some cases, spoil the play, because the play would be going along just as it was supposed to, and suddenly Will Kempe goes off in a tangent, starts having a furious rant with somebody in the audience at this person's expense. When Will Kempe leaves, another clown took over, called Robert Armin, and he was much more of an intellectual clown. It's wordplay, which is frankly why the clowns in Shakespeare's later plays are not nearly as funny as the clowns in the early ones, if we're going to be honest.
BOGAEV: Well, one example where you do take a lot of poetic license involves the origins of "Pyramus and Thisbe," as it's played in A Midsummer's Night Dream. So why don't we get back to the book. If you could read that passage, in which Richard remembers the first play his brother William ever wrote.
CORNWELL: Oh, the very first play. Yes, it's… this is totally made up, obviously. Completely made up, and there's that period in Shakespeare's life, which is the mystery period. We really don't know what he was doing, which is more or less between the time of his marriage, which was when he was 18, and five or six years later, and there are all sorts of theories. I mean, some people have him in Lancashire being a tutor in a house, and other people say, I know he went abroad and served as a soldier. What I find interesting is that [John] Aubrey, the 17th-century gossip, talked to William Beeston, who was the son of Christopher Beeston, who was in Shakespeare's company, and he said, Well, no, Shakespeare actually was a schoolteacher in those years.
BOGAEV: Although there's no consensus on this, as you say.
CORNWELL: There's absolutely no consensus, no. And, you know, I mean, should we go and look at this early play, which didn't exist? [LAUGH]
BOGAEV: Let's.
I remembered my brother's very first play. I had been ten years old at the time, and he had been twenty, just two years married, and teaching in a village school near Stratford. Sir Robert Throckmorton, a great landowner at nearby Coughton, wanted what he called an "interlude" for his granddaughter's wedding, and my brother obliged by writing it. The interlude, really a short play, was called Dido and Acerbas and was performed by my brother, who played the villain Pygmalion, by one of his pupils who played Dido herself, by a wool merchant from Alcester who was the doomed Acerbas, and by a half- dozen other local men, all craftsmen. They rehearsed for at least three weeks, and, because Sir Robert was generously open- handed, folk from the surrounding villages were invited to watch the performance.
The story, as everyone who has been to school knows, is a tragedy that ends with Dido committing suicide by hurling herself onto a blazing fire. What persuaded my brother that it was a good idea to celebrate a wedding with a play about death is a mystery, but the tragedy, instead of provoking tears, was first greeted by nervous laughter, which grew and grew until folk could not contain their mirth and the whole audience, gentry and commoners alike, had tears running down their cheeks. Sir Robert, far from being angry at the disaster, declared it the best entertainment he had ever seen, but my brother was mortified. I asked him once whether he had kept a copy of the play, and he had scowled at the question, then uttered darkly that it had shared Dido's fate. "I burned it."
The interlude had ended with the heroine's fiery death. My brother had first thought of using iron braziers filled with burning logs to create the crucial scene, but Sir Robert had feared for the safety of his great house, and so, instead, six of my brother's pupils, none older than ten, were dressed in red cloaks, red hoods, and red gloves. "We are flames!" one of them announced as they filed onto the makeshift stage where they crouched at the platform's edge and then slowly rose, swaying from side to side and waving their hands above their heads as they chanted over and over, "We are flames! We are fire! Fiery flames and flaming fire!" Meanwhile the heroine, clothed in a white gown far too big for the player's small body, writhed in her death agony and tried to make her lines of defiance heard above the chanting flames. Like the rest of the company, the boys had been brave, forging ahead with their lines despite the laughter filling the hall, and all of them, boys and men alike, were richly rewarded by Sir Robert with coins. My mother laughed with everyone else, though Anne, my brother's wife, was furious, asserting that her husband had shamed the family.
CORNWELL: There we go.
BOGAEV: So, that's just this lovely bit of fiction that you conjured up.
CORNWELL: It's purely fiction, yes. But I'm supposed to give the reader an idea, if you like, of the roots of—well, not quite the roots of drama, that would be the mystery plays—but the sort of drama that was going on in the country. There's an awful lot of amateur drama, and it would be along those lines. It would be a classical story, and it would be acted by amateurs. So that was one thing I wanted to do. The other thing I also wanted to do was to actually give them a tiny, tiny taste of plays not written by Shakespeare which we never, ever perform today, which, if you like, was the staple diet of the theater. We know, for instance, that the Globe, like the Hope, like the Rose, like the Theatre itself, they all did about 30 plays a year. Which, if you consider they were closed for Lent, is a lot.
BOGAEV: I think I put this whole scene in the category of one of the great joys of reading this novel, which is that it punctures the sacred Shakespeare myth over and over again in a really delightful way. I mean, here we see one of Shakespeare's dogs. It just utterly falls flat.
CORNWELL: Well, he, yes, did, you know, my invented play is a dog, but by 1595 he's writing anything but dogs, and I hope that although his brother, Richard, who again is really invented out of whole cloth, is loggerheads with William for much of the book. I hope my admiration comes through. He's by no means perfect, I mean, within a year of the event of the novel, he's going to have a restraining order clamped on him by the magistrates.
BOGAEV: And the troubled relationship between these brothers is really the heart of the book. His brother Richard's opinion of Shakespeare it does balance out the positive and the sacred cow image of Shakespeare in a way. I mean, his brother is cold and self-serving and untrustworthy and brutally ambitious. Are you working out some brother conflict in this novel?
CORNWELL: Oh lord, no, no, I promise I'm not [LAUGHS]. No, well, we know that he was ambitious. If we didn't have any of Shakespeare's plays and we didn't have any of his poetry, and somebody had said, "Oh, you know, there's this character we discovered in the public record office, in the, you know, in the documents," we'd think of him as a grasping businessman, and again, it's as I mentioned a moment ago, he's going to have this restraining order put on him, it's called a writ of attachment, because a man complained that Shakespeare threatened his life. He said "I felt in danger of my life!" So he's, you know… yes, he's a genius, but he's not a saint, and he's not some sort of delicate flower sitting in an attic, writing delicate poetry. He's churning out this stuff because he needs to.
BOGAEV: And if you're a genius and if you're making money, odds are some of your family or friends are going to want to take advantage of that.
CORNWELL: Probably, although Richard doesn't so much wants to take advantage of it, he just wants his brother's help, and William isn't… you know, I think William thinks Richard's a bit of a nuisance, to be honest.
BOGAEV: And actors are always a thorn in the side of the sharers. Present company excepted [LAUGHTER].
CORNWELL: Actors are incredibly monomaniacal. I mean, all they want to talk about is their profession. I mean, this may well be true of other professions too, like, I mean, I know lawyers and journalist and… but I mean, I've spent a lot of time with actors in the last dozen years, and truthfully, I mean all they really want to talk about is acting and theater and who's doing what and who's seeing who and…
BOGAEV: Some things never change, huh?
CORNWELL: I don't think it does, I don't think they change at all.
BOGAEV: Well, are we going to see more Shakespeare books from you? Or is it back to wars and warriors?
CORNWELL: I don't think so. I don't think so. Not Shakespeare. But I am fascinated by what happens at the Restoration. That is a fascinating period, because now for the first time women are on stage, so I am thinking about, and doing some research into Restoration Theater.
BOGAEV: Well that sounds really rife with conflict, and I can't wait to see what comes from that.
CORNWELL: And fascinating heroines, like Nell Gwynn, I mean, wonderful, wonderful.
BOGAEV: Exactly, it passes the Bechdel test, perhaps? [LAUGHTER] Thank you so much! It's been such fun talking with you, I really appreciate it, and enjoyed the book.
CORNWELL: Barbara, thank you so much.
WITMORE: Bernard Cornwell is the author of numerous books, the most famous of which are the Sharpe series. His latest book, Fools and Mortals, was published in the US by Harper, in 2018. He was interviewed by Barbara Bogaev.
"Masters, Here Are Your Parts" was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Andrew Feliciano at VoiceTrax West in Studio City, California and Bruce Roberts at ARP Studio in Charleston, South Carolina.
We hope you're enjoying Shakespeare Unlimited. If you are, we hope you'll do us a favor: please consider rating and reviewing the podcast on whichever platform you use. It helps us get the word out to people who haven't heard it yet. Thanks.
Shakespeare Unlimited comes to you from the Folger Shakespeare Library. Home to the world's largest Shakespeare collection, the Folger is dedicated to advancing knowledge and the arts. You can find more about the Folger at our website, folger.edu. For the Folger Shakespeare Library, I'm Folger Director Michael Witmore.

redpajama_set_name: RedPajamaCommonCrawl


"Our shared commitment to personal sovereignty and the opportunity to create real value for our community is why our partnership with The Respect Network is so important to us" notes Katryna Dow Founder & CEO of Meeco, the personal cloud engagement layer that turns small data into big insight. "Imagine the amount of data our children will create in their life-time. Working together with The Respect Network we can help future generations turn information into assets, just as valuable as coins in piggy bank".


I joined the team following a long and successful career with NatWest and more recently HSBC, where I was an award winning Financial Adviser in Personal Financial Advice, over a 15 year period.
I always put the customer as number one and strongly believe that the cornerstone of the best advice is to get to know your client well and build strong and long lasting relationships. I tailor my advice to meet each individual's circumstances and I offer bespoke solutions to a host of retirement, taxation, protection and investment needs.
With a greater number of financial service provides now only offering a 'restricted' advice model, I have recently joined Vision Independent Financial Planning to ensure both my present and future clients continue to benefit from 'true' independent financial advice.
Outside of work, I am married to Kath and have two children, Jack and Emily. Most of my spare time is taken up with the children's activities, especially Jack's karting. I am also very active both on and off stage with my local amateur dramatics society.
I would also welcome the opportunity of discussing your current situation and understanding your objective and goals. I can then provide the right advice to meet your needs as a valued client.


Content creator and writer Olivia Capadose wanted some photos of herself in action, to show her clients that she's friendly and approachable. It's not always easy to be in front of the camera and Olivia was particularly nervous about the shoot; however, I managed to make her laugh and therefore relax, so it wasn't half as painful as she'd anticipated.
With a new website launch coming up, Barney Dearsly needed some brand new hero images for his business, Weathered by Water.
A promotional video for the collaborative workshops run by the Pelican Project, with Four of Swords Theatre and Exeter University.
Ripple Effect work creatively with homeless people in Exeter. I was invited to photograph their performance of One Last Hit – see more here!
A crumbling mansion, multi-coloured smoke bombs, many green screens and a bunch of kids dressed up as beings from other galaxies – a recipe for the brilliant film school run by Four of Swords Theatre in Devon this summer. My role was as a camera assistant, and it was like being on a real film set, filming scripted scenes, setting up lights and green screens, helping with costumes and a bit of directing. Really looking forward to seeing the final cut!
I was invited back as portrait photographer to capture these sinister characters in the gloom of Beer Quarry Caves. The weird light and cold hard power of their presence was a chilling and brilliant opportunity for some photography on the dark side.
On the bookshelves of refined countryside admirers, you will often find a copy of The Concise British Flora, an illustrated guide to wildflowers written and illustrated by the Reverend William Keble Martin. This gentle chap was a resident of Woodbury Salterton back in the 1960s, and today's residents are getting together to celebrate his book and the beauty of the surrounding East Devon countryside. There is to be a memorial exhibition and a series of events next summer, 2019, reflecting on how the landscape has changed and how we are still inspired to go out and enjoy our natural heritage.
The book is more than just a guide – it was his life's work, a dedicated labour of love for which he travelled around the UK studying the fields and hedgerows, making incredibly detailed sketches that are artworks in themselves, and then working them up into watercolored illustrations. Due to the expense of producing coloured plates, it was several years before Keble Martin found a publisher who would agree to take it on.
There are various activities and plans in progress, including art exhibitions, workshops, talks, a website, and a series of interviews to be filmed and made into a short documentary. We have decided to call the project Woodbury Wide Awake, as it is the title of a cover of the Woodbury News that Keble Martin illustrated when he lived in the village. If you would like to find out more and perhaps take part, keep an eye out for the website coming soon.
The flower above is a trial logo I designed for the project, followed by a snap of a reconnaissance shoot at St Swithun's churchyard in Woodbury, featuring our esteemed professional interviewer – he used to work for the BBC, you know!
The Pianodrome crowdfunding campaign is underway, with people signing up, pledging and supporting in all directions to make this extraordinary project reach its potential. There are plenty of live events, performances and open door opportunities to see the first two wedges and meet the team. To find out more and pledge your support, head to www.crowdfunder.co.uk/pianodrome. Before you go, here's another little video that I made to help spread the word.
Back in Oxfordshire, making another woodturning video for Alistair Phillips of Woodworks and Coracles. This time, Alistair wants to demonstrate in detail his particular turning process, in order to answer the many questions of his fans and followers. Don't just tell them, SHOW them!
As the snow began to melt, I made this short abstract piece about the transition between seasons and the impossibility of undoing what has already happened.


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The Job Shadow Program at LFS was an amazing experience and opportunity for me. It has helped me better understand the world of marketing and design while enabling me to ask questions I had about entering this industry. More importantly, my job shadow experience made me feel like a valued member of the LFS team, even if just for a day.
As with many other professions, there are countless specialties to focus on in the field of marketing. As a senior at George Mason University, graduation was approaching, but I still wasn't sure which area of the profession I wanted to work within. For two years, I had been building experience in the digital marketing realm, but hadn't been a part of the creative side of marketing, such as graphic design. Therefore, I thought that job shadowing might be a great opportunity—and it was!
During my job shadow experience, I had the amazing opportunity to sit in on a meeting to discuss recent technological innovations and their implications for businesses and individuals alike. I participated in the meeting and was truly inspired by the idea that creative meetings can be beneficial for all employees in an organization, without having to talk specifically about client projects.
The entire LFS staff was very inviting and included me in on the discussion and asked for my opinion on specific issues and revisions, especially with their website. Feeling like I had input at the table was very valuable and rewarding and is something that I wish other students are able to experience before graduation. Because of my job shadow experience, I have a positive outlook on my future profession and a better understanding of the creative side to it.
My experience at LFS was very informative and beneficial to me as someone who is thinking about a career in the field of graphic design. Starting with the ideation meeting, I not only observed but also was engaged in the meeting. I, along with another fellow Patriot shadowing, was able to provide input as well. As I took a tour around the offices, I was able to see what a typical day is like for many different fields in a small company for advertising and marketing, including art directors, project managers, business development, and many others. Everyone was very welcoming and were more than happy to share their experiences and give useful advice for a young job seeker like me. The environment of a small company was very attractive to me, where everyone knows each other and get along very well.
I learned so much from my one day at LFS about every aspect of a small company and how everyone works separately but also works together. My favorite aspect, as someone who is interested in art and visual technology, found the creative overview, website activity, and talking with the art and creative directors Sophocles and Tom the best part of the day. I learned about the ideation process by seeing a project from the beginning to its current state. I also learned how to further improve communications both internally and externally at LFS by assessing the current company website. The company truly cares about their clients and do whatever they can to "Make your Message Matter," and I admire that. Overall, my experience at LFS was very fun, engaging, and informational! I am thankful for this opportunity and will definitely keep in touch!


Home > News > Wow, Long break!
To distract you from the long overdue update, here is a picture of Brent Spiner in full Data makeup and costume with the Dalai Lama and his entourage when they visited the set of Star Trek: TNG.
Hiya folks, Glych here! So, I admit we took a HUGE break on Life of Glych with no explanation. The gentleman who was updating the site had some computer trouble, the files were buried under a ton of other work, and I haven't really been able to focus on the comic until now. I have retroactively updated Week 5 of the comic through March of this year. I have about 4 more weeks of comics drawn before I'll have to start drawing new ones but that's okay. I look forward to the challenge.


That makes them only 13-3 in the month of August.
Sounds like they're falling apart.
18-8 for August not counting tonight's game. Their lowest win total for a month was June with 17 wins. They've been consistent, that's for sure.
Dave Dombrowski said via email that he doesn't expect the Red Sox to make any additions before midnight. Things could change, but expectation at this hour is that the Sox will stand pat.
And of course my hope that the ChiSox would continue to hustle and beat the BoSox failed.
Alex Rodriguez shocks Yankees fans everywhere by picking the Boston Red Sox as the most complete team in the American League.
Crazy! Today they played with a spring training roster and trailed 7-1 in the 8th then score 6 to tie it in that inning. They fell behind again 8-7 going into the 9th then Brandon Phillips who was playing his firs game since 2017 hits a 2 run HR which proved to be enough. Brandon Phillips, a guy stuck at AAA all season.
mlbnetwork, giving praise to big comeback against Braves. "Redsox have same vibe like Astros run last year to WS",. Let see how they do in post season first, before crowning Redsox W.S champs already for 2018, they always choke in post season.
Always ? I think they've won 3 rings in the past 14 years, so always is a bit of a stretch.
Meh. They split that series and, in doing so, took the season series 4-3. I certainly wasn't happy about it.
Chris Sale coming back as "opener". The plan is to throw 2 IP this start and add an inning each start every 5 days. Interesting concept to "build him back up" for the playoffs.
He left after 1....26 pitches.
Not shocked because he's right.
Standings: 1st in American League East, lead second-place Yankees by 10.5 games.
Yankees better step up and don't let Redsox clinch at home.
If Drew Pomeranz is even on the Sox post-season roster, there will be riots in the streets of Boston.
Is Trump coming to town?
Trump kind of looks at the Northeast as one big liberal pants party. One of the things that Mass and NY have in common.
Not sure what your implications are, but I suspect they are unkind. Despite that, I cordially invite you to visit the Live Free or Die state so that you can make more informed statements.
The president spent a lot of time in New Hampshire. The rest of the Northeast IS one big liberal pants party.
Yeah. To be honest I completely forgot about NH. My apologies to you and your four electoral votes.
No worries. Public school, right? I once purchased a product from a company on the Left coast. When I provided New Hampshire as my State, he asked what state New Hampshire was in. Kinda of sad that one can get through sixteen+ years of school and not know New Hampshire was one of the original states. I guess that is how you elect a president who thinks there are 57 states.
10th grade was the best three years of my life.
Do the Sox sit Mookie Betts tomorrow? Can't lose him for two more weeks at this juncture.
Many people don't know basic things. Unfortunately there are plenty of people who don't know who their representatives in Congress are. If I had to guess, I would expect fewer than half of Americans to be able to say how many House members there are and fewer than that to know how electoral votes are determined by the Constitution (saying "by population" is not specific enough). Florida got the attention in 2000, but we would have had President Gore if he won New Hampshire, which voted 48.07% for Bush and 46.80% for Gore. That's the only time in the last seven elections that a state in New England wasn't won by a Democrat.
Massachusetts has all nine House members be Democrats, which is the most representatives by a state only represented by one party. Connecticut and Oklahoma are tied for the second most with five.
Obama was talking about all the time he had spent on the campaign trail back in 2008 He had visited all (48) of the states in the continental U.S. save for one (i.e., "one left to go," excluding Alaska and Hawaii he mentioned in the speech), but in his weariness he slipped up and started off with "fifty" instead of "forty." Fox News/Breitbart and the rest of the right wing blogs went wild after that.
A 20 second internet search would have found the answer for you too.
That's politics. He also 'misspoke' about his Muslim faith (only person in the history of the world to accidentally misidentify his or her religion). Let's put this on the back burner and talk about the Red Sox, OK?


Lyndon is respected by his peers and shows a dedication to his work, family and friends in a manner to be admired. His leadership qualities are to be respected as is his attention to detail in solving any problem. Lyndon is a sound, ethical and honourable individual who I would have no hesitation in recommending.
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text:
Research, Press Releases
Artificial Intelligence Tool Improves Accuracy of Breast Cancer Imaging
Breast ultrasound images show cancer (at left, as dark spot in center and, at right, in red, as highlighted by a computer).
Image Courtesy of Nature Communications
A computer program trained to see patterns among thousands of breast ultrasound images can aid physicians in accurately diagnosing breast cancer, a new study shows.
When tested separately on 44,755 already completed ultrasound exams, the artificial intelligence (AI) tool improved radiologists' ability to correctly identify the disease by 37 percent and reduced the number of tissue samples, or biopsies, needed to confirm suspect tumors by 27 percent.
Led by researchers from the Department of Radiology at NYU Langone Health and its Laura and Isaac Perlmutter Cancer Center, the team's AI analysis is believed to be the largest of its kind, involving 288,767 separate ultrasound exams taken from 143,203 women treated at NYU Langone hospitals in New York City between 2012 and 2018. The team's report publishes online September 24 in the journal Nature Communications.
"Our study demonstrates how artificial intelligence can help radiologists reading breast ultrasound exams to reveal only those that show real signs of breast cancer and to avoid verification by biopsy in cases that turn out to be benign," says study senior investigator Krzysztof J. Geras, PhD.
Ultrasound exams use high-frequency sound waves passing through tissue to construct real-time images of breast or other tissues. Although not generally used as a breast cancer screening tool, it has served as an alternative to mammography or follow-up diagnostic tests for many women, says Dr. Geras, an assistant professor of radiology at NYU Grossman School of Medicine and a member of Perlmutter Cancer Center.
Ultrasound is cheaper, more widely available in community clinics, and does not involve exposure to radiation, the researchers say. Moreover, ultrasound is better than mammography for penetrating dense breast tissue and distinguishing packed but healthy cells from compact tumors.
However, the technology has also been found to result in too many false diagnoses of breast cancer, producing anxiety and unnecessary procedures for women. Some studies have shown that a majority of breast ultrasound exams indicating signs of cancer turn out to be noncancerous after biopsy.
"If our efforts to use machine learning as a triaging tool for ultrasound studies prove successful, ultrasound could become a more effective tool in breast cancer screening, especially as an alternative to mammography, and for those with dense breast tissue," says study co-investigator and radiologist Linda Moy, MD. "Its future impact on improving women's breast health could be profound," adds Dr. Moy, a professor of radiology at NYU Grossman School of Medicine and a member of Perlmutter Cancer Center.
Dr. Geras cautions that while his team's initial results are promising, his team only looked at past exams in their latest analysis, and clinical trials of the tool in current patients and real-world conditions are needed before it can be routinely deployed. He also has plans to refine the AI software to include additional patient information, such as a woman's added risk from having a family history or genetic mutation tied to breast cancer, which was not included in their latest analysis.
For the study, more than half of ultrasound breast examinations were used to create the computer program. Ten radiologists then each reviewed a separate set of 663 breast exams, with an average accuracy of 92 percent. When aided by the AI model, their average accuracy in diagnosing breast cancer improved to 96 percent. All diagnoses were checked against tissue biopsy results.
The latest statistics from the American Cancer Society estimate that 1 in 8 women, or 13 percent of women, in the United States will be diagnosed with breast cancer over their lifetime, with more than 300,000 positive diagnoses in 2021 alone.
Funding support for the study was provided by National Institutes of Health grants P41 EB017183 and R21 CA225175; National Science Foundation grant HDR-1922658; Gordon and Betty Moore Foundation grant 9683; and Polish National Agency for Academic Exchange grant PPN/IWA/2019/1/00114/U/00001.
Besides Dr. Geras and Dr. Moy, other NYU Langone researchers involved in this study are co-lead investigators Yiqiu "Artie" Shen, Farah Shamout, and Jamie Oliver; and co-investigators Jan Witowski, Kawshik Kannan, Jungkyu Park, Nan Wu, Connor Huddleston, Stacey Wolfson, Alexandra Millet, Robin Ehrenpreis, Divya Awal, Cathy Tyma, Naziya Samreen, Yiming Gao, Chloe Chhor, Stacey Gandhi, Cindy Lee, Sheila Kumari- Subaiya, Cindy Leonard, Reyhan Mohammed, Christopher Moczulski, Jaime Altabet, James Babb, Alana Lewin, Beatriu Reig, and Laura Heacock.
David March
david.march@nyulangone.org
Krzysztof J. Geras
Linda Moy, MD
Research, Patient Care, In the Media
Cancer Research Institute: Perlmutter Cancer Center Breast Cancer Survivor Tells Her Story
After a diagnosis of breast cancer, Maribel Ramos enrolled in an immunotherapy clinical trial.
Can Artificial Intelligence Perfect Mammography?
Perlmutter Cancer Center scientists leverage machine learning to find hidden breast cancer lesions.


Driving down TiDing Avenue, you are greeted by a row of newly constructed buildings that represent a growing hub of the technology industry in Taiwan – the Neihu Science Park. Among the long line of buildings there is one in the shape of folded hands—this is the global headquarters of LITE-ON Technology. A distinctive part of the Neihu Science Park skyline, the LITE-ON Technology building won the 2006 Professional Awards-General Design Award of Honor presented by the American Society of Landscape Architects. This is a singular achievement for a building in Taiwan and a worthy representation of local architecture.
The LITE-ON Technology building's design incorporates the concepts of technology, culture, and the environment, as well as the element of traditional Chinese jade. The architectural design looks back into the past and forward into the future. Scenically located between mountains and a river, the building merges architecture with the environment. Like a pair of clasped hands pointing to the sky, the 23-story building symbolizes LITE-ON's business philosophy of high standards and leadership, as well as modesty and sustainable development.
In June 2003, LITE-ON Technology moved to the Neihu Science Park, a fast-developing technology hub where overall economic output is the best in Taiwan. Facing the Keelung River and looking over the mountains surrounding Taipei City, the building gives LITE-ON employees a working environment with a perfect view. Here LITE-ON's global headquarters is tasked with guiding the company towards world- class excellence.
With a green area ratio (GAR) of nearly 60% with the surrounding land, the building contributes to making the city a greener place to work. Some of the seasonal trees have life spans of one hundred years.
Architecture in harmony with the surrounding environment is an important part of protecting the ecology.
The company cafeteria's ambience features flowing water and offers LITE-ON employees and visitors a place to relax and enjoy the surroundings while dining. Over 40 years ago, LITE-ON Technology started its LED business in a small apartment on Yuan-tong Road in Chung-Ho City. Like many successful technology companies, LITE-ON outgrew the garage to become a leader of its chosen industry through years of hard work. With global headquarters located in the Neihu Science Park in Taipei City, LITE-ON Technology looks toward sustainable and profitable growth as it expanses business in the high-tech industry.


text:
The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts
E. E. Kunst, R. H. Geelkerken, S. G.J. Rödel
This article describes a decision support system (the EAG tool = Effective AAA Graftmanship) that assists the vascular surgeon in deciding whether a patient is fit for an endograft procedure and that assists the vascular surgeon in selecting the proper graft and in planning the endograft procedure. The EAG tool is the first step in the development of a learning environment for AAA procedures. As such the EAG tool is part of the VREST development project aiming to create a complete set of Virtual Reality Educational Surgical Tools [1,2,3,4]. The EAG tool has been validated by using the expert knowledge of five experienced AAA physicians: three vascular surgeons and two interventional radiologists. In over 3,000 assessments, the EAG tool showed a false-positive rate of 0,2%, or in other words: in only 1 out of 500 cases the EAG tool indicated the possible use of an endograft, whereas the combined group of experts believed that it was not possibe. The EAG tool proved to be more prudent than the group of experts in having a false-negative rate of 3,7%. The EAG tool thus proved to be useful in daily clinical practice. Further developments are ongoing to use the EAG tool in a learning environment, specifically for unexperienced physicians.
Medical and Care Compunetics 1
https://doi.org/10.3233/978-1-60750-946-2-259
1st International Congress on Medical and Care Compunetics, ICMCC 2004 - The Hague, the Netherlands, Den Haag, Netherlands
Duration: 2 Jun 2004 → 4 Jun 2004
Studies in Health Technology and Informatics
1st International Congress on Medical and Care Compunetics, ICMCC 2004
ICMCC 2004
2-4 June 2004
10.3233/978-1-60750-946-2-259
Dive into the research topics of 'The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts'. Together they form a unique fingerprint.
Abdominal Aorta Medicine & Life Sciences 100%
Decision support systems Engineering & Materials Science 90%
Aneurysm Medicine & Life Sciences 78%
Learning Medicine & Life Sciences 43%
Physicians Medicine & Life Sciences 37%
Virtual Reality Medicine & Life Sciences 35%
Kunst, E. E., Geelkerken, R. H., & Rödel, S. G. J. (2004). The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts. In Medical and Care Compunetics 1 (pp. 259-261). (Studies in Health Technology and Informatics; Vol. 103). IOS Press. https://doi.org/10.3233/978-1-60750-946-2-259
Kunst, E. E. ; Geelkerken, R. H. ; Rödel, S. G.J. / The EAG tool : A decision support system for selection of abdominal aorta aneurysm endografts. Medical and Care Compunetics 1. IOS Press, 2004. pp. 259-261 (Studies in Health Technology and Informatics).
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title = "The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts",
abstract = "This article describes a decision support system (the EAG tool = Effective AAA Graftmanship) that assists the vascular surgeon in deciding whether a patient is fit for an endograft procedure and that assists the vascular surgeon in selecting the proper graft and in planning the endograft procedure. The EAG tool is the first step in the development of a learning environment for AAA procedures. As such the EAG tool is part of the VREST development project aiming to create a complete set of Virtual Reality Educational Surgical Tools [1,2,3,4]. The EAG tool has been validated by using the expert knowledge of five experienced AAA physicians: three vascular surgeons and two interventional radiologists. In over 3,000 assessments, the EAG tool showed a false-positive rate of 0,2%, or in other words: in only 1 out of 500 cases the EAG tool indicated the possible use of an endograft, whereas the combined group of experts believed that it was not possibe. The EAG tool proved to be more prudent than the group of experts in having a false-negative rate of 3,7%. The EAG tool thus proved to be useful in daily clinical practice. Further developments are ongoing to use the EAG tool in a learning environment, specifically for unexperienced physicians.",
author = "Kunst, {E. E.} and Geelkerken, {R. H.} and R{\"o}del, {S. G.J.}",
doi = "10.3233/978-1-60750-946-2-259",
series = "Studies in Health Technology and Informatics",
booktitle = "Medical and Care Compunetics 1",
address = "Netherlands",
note = "1st International Congress on Medical and Care Compunetics, ICMCC 2004, ICMCC 2004 ; Conference date: 02-06-2004 Through 04-06-2004",
Kunst, EE, Geelkerken, RH & Rödel, SGJ 2004, The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts. in Medical and Care Compunetics 1. Studies in Health Technology and Informatics, vol. 103, IOS Press, pp. 259-261, 1st International Congress on Medical and Care Compunetics, ICMCC 2004, Den Haag, Netherlands, 2/06/04. https://doi.org/10.3233/978-1-60750-946-2-259
The EAG tool : A decision support system for selection of abdominal aorta aneurysm endografts. / Kunst, E. E.; Geelkerken, R. H.; Rödel, S. G.J.
Medical and Care Compunetics 1. IOS Press, 2004. p. 259-261 (Studies in Health Technology and Informatics; Vol. 103).
T1 - The EAG tool
T2 - 1st International Congress on Medical and Care Compunetics, ICMCC 2004
AU - Kunst, E. E.
AU - Geelkerken, R. H.
AU - Rödel, S. G.J.
N2 - This article describes a decision support system (the EAG tool = Effective AAA Graftmanship) that assists the vascular surgeon in deciding whether a patient is fit for an endograft procedure and that assists the vascular surgeon in selecting the proper graft and in planning the endograft procedure. The EAG tool is the first step in the development of a learning environment for AAA procedures. As such the EAG tool is part of the VREST development project aiming to create a complete set of Virtual Reality Educational Surgical Tools [1,2,3,4]. The EAG tool has been validated by using the expert knowledge of five experienced AAA physicians: three vascular surgeons and two interventional radiologists. In over 3,000 assessments, the EAG tool showed a false-positive rate of 0,2%, or in other words: in only 1 out of 500 cases the EAG tool indicated the possible use of an endograft, whereas the combined group of experts believed that it was not possibe. The EAG tool proved to be more prudent than the group of experts in having a false-negative rate of 3,7%. The EAG tool thus proved to be useful in daily clinical practice. Further developments are ongoing to use the EAG tool in a learning environment, specifically for unexperienced physicians.
AB - This article describes a decision support system (the EAG tool = Effective AAA Graftmanship) that assists the vascular surgeon in deciding whether a patient is fit for an endograft procedure and that assists the vascular surgeon in selecting the proper graft and in planning the endograft procedure. The EAG tool is the first step in the development of a learning environment for AAA procedures. As such the EAG tool is part of the VREST development project aiming to create a complete set of Virtual Reality Educational Surgical Tools [1,2,3,4]. The EAG tool has been validated by using the expert knowledge of five experienced AAA physicians: three vascular surgeons and two interventional radiologists. In over 3,000 assessments, the EAG tool showed a false-positive rate of 0,2%, or in other words: in only 1 out of 500 cases the EAG tool indicated the possible use of an endograft, whereas the combined group of experts believed that it was not possibe. The EAG tool proved to be more prudent than the group of experts in having a false-negative rate of 3,7%. The EAG tool thus proved to be useful in daily clinical practice. Further developments are ongoing to use the EAG tool in a learning environment, specifically for unexperienced physicians.
U2 - 10.3233/978-1-60750-946-2-259
DO - 10.3233/978-1-60750-946-2-259
C2 - 2005048091
T3 - Studies in Health Technology and Informatics
BT - Medical and Care Compunetics 1
PB - IOS Press
Y2 - 2 June 2004 through 4 June 2004
Kunst EE, Geelkerken RH, Rödel SGJ. The EAG tool: A decision support system for selection of abdominal aorta aneurysm endografts. In Medical and Care Compunetics 1. IOS Press. 2004. p. 259-261. (Studies in Health Technology and Informatics). https://doi.org/10.3233/978-1-60750-946-2-259


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text:
Zip targeting small business 'everyday needs' as it grows offer
By Emma Koehn
November 7, 2019 — 11.23am
Buy now, pay later player Zip Co is focused on making its products indispensable to small businesses as it looks to further diversify its offer, insisting the company is well insulated against possible regulatory change.
The instalments payments sector has been under the microscope over the past month, with a UBS paper on the sector warning of further regulatory oversight as well as the Reserve Bank of Australia announcing a review of whether companies in the sector could prevent retail merchants from surcharging.
Zip Co co-founders, Larry Diamond (R) and Peter Gray. Credit:Dominic Lorrimer
Zip co-founder Peter Gray told the Sydney Morning Herald and The Age he believes Zip is already protected from further regulatory change in the credit space and it was diversifying its offer beyond what companies like Afterpay have on offer.
The company has announced two acquisitions in recent months: New Zealand instalments business PartPay in August, and SME lender Spotcap Australian in September. The Spotcap acquisition will help Zip roll out its consumer instalment product to small businesses.
"We understand that millions of small businesses across the nation are making transactions an interest free option for them would be extremely beneficial," Mr Gray said.
"We see small businesses being able to offer and accept Zip, we also see small businesses as customers of the Zip product and able to use it for their everyday needs."
Zip said it will offer an alternative to credit options offered by alternative lenders because its Zip Biz product would act like a line of credit of up to $25,000 that small businesses could repay in instalments interest-free.
The company will join a number of other challenger fintechs focused on small business instalment payments, though key competitors like Afterpay are not playing in the business finance space.
Mr Gray said Zip was also protected from further drops in consumer spending because it was focused on allowing customers to pay for everyday expenses, groceries, as well as the countless transactions that businesses run through their books each day.
"We should be able to continue to grow regardless of economic conditions...with our account concept, it becomes the first choice of customers' payment, and then we're their first choice if they are buying groceries or fuel," he said.
On Thursday, the company also struck a strategic agreement with Amazon Australia. Zip will be available as a payments option on the site and the company will issue an Amazon affiliate with warrants to acquire 14.6 million shares. Zip's share price jumped 16 per cent on the announcement to $4.04 by lunchtime.
However, the company's shares dived 12 per cent after its first quarter figures were released last week. Zip showed it had doubled its revenue to $31 million but the earnings margin it achieved on average receivables dropped to one per cent for the quarter, down from 2.2 per cent in the previous period.
Mr Gray said margins decreased "very slightly", though the business had costs under control. He said Zip was embarking on extra marketing spend to increase its profile.
"In terms of brand recognition [Zip wants] to continue to acquire customers while the window is open," he said.
Follow MySmallBusiness on Twitter, Facebook and LinkedIn.
Emma Koehn
Emma is the small business reporter for The Age and Sydney Morning Herald based in Melbourne.


text:
Die Verwaltungsgemeinschaft Chamerau im Oberpfälzer Landkreis Cham wurde im Zuge der Gemeindegebietsreform am 1. Mai 1978 gegründet und zum 1. Januar 1980 bereits wieder aufgelöst.

Ihr gehörten die Gemeinden Chamerau und Runding an.

Sitz der Verwaltungsgemeinschaft war Chamerau.

Einzelnachweise

Chamerau
Gegründet 1978
Aufgelöst 1980
Chamerau
Runding
Organisation (Landkreis Cham)

redpajama_set_name: RedPajamaWikipedia


Scottish Rite Hospital's Fellowship in Pediatric Orthopedics is a full clinical fellowship with more than 175 graduating Fellows now practicing across the U.S. and spanning six continents.
Our physicians wrote the book on the treatment of orthopedic conditions affecting children. Now in its fifth edition, the Tachdjian's Pediatric Orthopaedics edited by Texas Scottish Rite Hospital for Children is the standard reference guide for orthopedic surgeons around the world.
Sarah M. and Charles E. Seay Center for Musculoskeletal Research consists of the six Centers for Excellence supported by research divisions and core facilities. Texas Scottish Rite Hospital for Children researchers and physicians have generated more than 25 patents and discovered genes associated with orthopedic conditions.


text:
A Day in the Life a tizenharmadik, egyben utolsó dal a The Beatles 1967-ben megjelent Sgt. Pepper's Lonely Hearts Club Band című albumáról. Szerzői John Lennon és Paul McCartney voltak.

Lennon szövegét főként kortárs újságcikkek ihlették, köztük egy jelentés a Guinness-rekorder Tara Browne haláláról . A felvétel két olyan zenekari glissandót tartalmaz , amelyeket részben avantgárd stílusban improvizáltak . A dal középső szegmensében McCartney felidézi fiatalabb éveit, amelyek közé tartozott a buszozás, a dohányzás és a tanulmányok. A második crescendo után a dal több mint negyven másodpercig tartó, több billentyűzeten lejátszott akkorddal zárul. A befejező akkord az egyik leghíresebb a zenetörténetben.

Az "I'd love to turn you on" (Szeretnélek felizgatni) sorban található kábítószerre való állítólagos hivatkozás azt eredményezte, hogy a dalt kezdetben betiltotta a BBC.

Közreműködött

 John Lennon – ének, akusztikus gitár, zongora
 Paul McCartney – ének, zongora, basszusgitár
 George Harrison – maracas
 Ringo Starr – dob, konga, zongora

Az együttes tagjain kívül még számtalan zenész vett részt a dalt felvételein.

Jegyzetek

Külső hivatkozások

 Dalszöveg
 YouTube

The Beatles-dalok
Kábítószer témájú dalok
1967 kislemezei


Donald Trump is taking alarming actions toward developing regressive policies that will legalize employee discrimination, particularly with to reproductive health. Californians have the opportunity to be progressive leaders in the resistance to President Trump's anti-woman agenda.
The Reproductive Health Non-Discrimination Act (RHNDA) protects women who face professional repercussions for making reproductive healthcare decisions. This is our way to resist in California against Trump's hateful policies. We must send a clear message that we support protecting women's private healthcare decisions.
Tell your assemblymember to support the Reproductive Health Non-Discrimination Act.
If you'd like, you can edit the message below before sending it to your assemblymember.
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text:
ART CACHE FINE ART GALLERY
Drawings, Mixed Media, Paintings
|<< < 1 2 3 4 5 6 7 8 > >>|
Xin Juan Xue "Central Park"
All Items : Fine Art : Paintings : Contemporary item #1417004
Art Cache
"Central Park" Oil on canvas 30" x 24" Xue Jian Xin was Born in NanJing, China on October 17, 1954. Xue had years of fine arts training at the highest level. He became Chairman of the SuZhou Oil Painting Research Association and Lecturer in the Fine Arts Department of SuZhou College. In 1988, he came to the United States as a student at Bard College, New York, where he received his M.F.A. in 1991. He began displaying his art at a famed SoHo New York Gallery in 1996 where he was an imme...
Christopher Zhang "Soho"
"Soho" Oil on Canvas, 24"x18", 31"x25" framed Born in Shanghai China, Christopher has been painting since he is 6 years old. He went on to formal studies and graduated with a B.F.A from East China University, and went on to earn an M.F.A at Rhode Island College. This extraordinary artist is one of very few artists who are honored as both a Master signature artist with Oil Painters of America as well as a Copley Master at the The Copley Society of Art Boston, MA. He is also an artist member of t...
Claudio Simonetti(b. 1921)
All Items : Fine Art : Paintings : Oil : Europe : Italian : Contemporary item #1416893
"Venice" oil on canvas 20 x 24 Claudio Simonetti was born in Rome, January 29, 1929, into a family of artists. From his father he inherited his love for art and interest in colors. He began his studies at the Rome School of Art, and after these studies, he traveled extensively throughout Italy and France, where he painted from nature and learned from his associations with other artists. He still paints and exhibits regularly in Rome, Venice, Naples, Milan and Paris. His landscapes of...
Robert Philipp (1895-1981)
All Items : Fine Art : Paintings : Oil : N. America : Pre 1980 item #1416455
"Two Women at the Opera" oil on canvas 19 1/4" x 24 1/8" w/o frame, 29 1/2" x 34 1/2" w/ frame. Robert Philipp, painter and etcher was born February 2nd, 1895 in New York City. He studied at the Art Students' League whith Frank Vincent DuMond and George Bridgman from 1910 to 1914. He also studied at the National Academy of Design with Volk and Maynard from 1914 to 1917. Philipp painted a wide range of subjects from genre and portraits to Paris, bars, nudes, clowns, flowers and coasts. His style ...
Winthrop Duthie Turney (1884-1964)
All Items : Fine Art : Paintings : Watercolor : Pre 1960 item #1335752 (stock #147)
"Vases On The Rug" watercolor on paper. View size 16 3/4" x 13 3/4", framed 24 3/4" x 21 3/4" Winthrop Duthie Turney was born in New York City and studied at the Art Students League. He was a member of the Fifteen Gallery Group, Allied Artists of America, Brooklyn Society of Modern Artists and the National Society of Mural Painters. Turney exhibited widely, including the Allied Artists of America (which awarded him a prize in 1944), Museum of Modern Art, and the Whitney Museum of American Art....
Louis Valtat (1869 - 1952)
All Items : Fine Art : Paintings : Oil : Europe : French : Pre 1940 item #1312793 (stock #146)
"Anemones" oil on canvas 13 1/4 x 16 1/2 Louis Valtat was born into a wealthy family of ship owners on 8 August 1869 in the Normandy region of France. Valtat spent many of his childhood years in Versailles where he attended secondary school at the Lycée Hoche (near the Palace of Versailles). Encouraged by his father, an amateur landscape painter himself, Valtat became interested in art. At age 17 he applied to the École des Beaux-Arts de Paris. He was accepted in 1887 and moved to Paris t...
Ernest Henry Pohl (1874 - 1956)
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1284028 (stock #145)
"Snowy Range - Wyoming" 14.5" x 19.5" unframed. Frame 17.25" x 22.25". Mr. Pohl along with his wife was the founder of the La Jolla, California Art Center, Ernest Pohl was a businessman who did pastel and oil painting in his leisure time. He was born in Detroit, Michigan, however by 1915 he had settled in San Diego at 4468 Hortensa Street. His works include desert landscapes of Coachella Valley and Borrego Valley. Exhibition venues include the La Jolla Art Association and the University of No...
Marcel Dyf (1899-1985)
"Péniches sur la Seine" 18 1/8" x 21 3/4 unframed. Marcel Dyf was born in Paris on the 7th October 1899. As a youth he was influenced by the Impressionist and Post-Impressionist movements that he observed in Paris and Normandy, where he spent his holidays. He started a career in engineering but in his early twenties he decided to become an artist. He moved to Arles in Provence where he bought a studio and began zealously painting the inspirational. Dyf was self-taught as an artist. He remained ...
Eugene Schmidt (1919 - 2007)
All Items : Fine Art : Paintings : Oil : N. America : Pre 1990 item #1264612 (stock #143)
"San Carlos Borromeo" Oil on Canvas without frame 16" x 8", with frame 24" x 16" Eugene Schmidt was born in Gladbeck, Westphalia, Germany in 1919. He began his professional artistic training in 1934. He received personal instruction from Artists who has studied at the Academy of Fine Arts in Munich. Schmidt also studied art history, stylistic arts, and perspective drawing during his formative years. Schmidt is well known for his almost realistic depictions of California buildings and famous la...
Paul Grimm (1891 - 1974).
"Desert Smoke Trees" oil on canvas 28" x 36" unframed. Paul A. Grimm was born of German parents in King Williams Town, South Africa on January 11, 1891. When brought to the United States at age seven, he already showed promise as an artist. At 18 he won a scholarship in Rochester, New York for art study at the Düsseldorf Royal Academy. After many years at that prestigious school, he moved to Hollywood in 1919 and began his art career painting backdrops for the movie studios. Leaving the mov...
William Arthur Breakspeare (1855 –1914)
All Items : Fine Art : Paintings : Oil : Europe : British : Pre 1900 item #1264133 (stock #141)
"On The Terrace" oil on board, site size 10 3/8" x 6 3/8" \ frame size 19.5" x 15.25" Breakspeare lived in Edgbaston, Birmingham until the age of 22. In 1877 when he moved to central Birmingham on Paradise Street.[1] He was closely associated with the Royal Birmingham Society of Artists (RBSA) gallery, exhibiting 34 works from 1874 to 1899.[2] His work covered many genres including genre, portrait, figure and 18th-century costume pieces and landscape. Breakspeare spent time in Paris, movin...
Jacob Maris (1837 - 1899)
All Items : Fine Art : Paintings : Oil : Europe : Dutch : Pre 1900 item #1263233 (stock #140)
"Sail Boat and Windmill" Oil on canvas 20' x 26 5/8" w/o frame. Jacob started painting at age 12 and eventually enrolled in the Hague Academy of Art. An art dealer recognized his talent and saw to it that Jacob was able to work in the studio of Hubertus van Hove. There he painted interiors as well as figurative and genre works. Van Hove moved to Antwerp and the nineteen-year-old Maris went with him. This relationship continued until his brother Matthijs received a royal subsidy and joined Jaco...
Angre Gisson (1921-2003)
"Parisian Street Scene" Oil on canvas, 24" x 12" unframed, 29" x 17" framedAndre Gisson was born with the name Anders Gittleson, in Brooklyn, New York but lived in Westport, Connecticut for most of his life. He traveled extensively and studied throughout Europe and the Far East. Mr. Gittleson was a leading American realist painter. He graduated from the Pratt Institute and was a Captain in the Army during WWII. Over 4 decades his one man shows extended from New York, Washington, Texas, and Calif...
Andre Gisson (1921-2003)
"Parisian Street Scene1" oil on canvas 24" x 12" unframed, 29" x 17" framed. Andre Gisson was born with the name Anders Gittleson, in Brooklyn, New York but lived in Westport, Connecticut for most of his life. He traveled extensively and studied throughout Europe and the Far East. Mr. Gittleson was a leading American realist painter. He graduated from the Pratt Institute and was a Captain in the Army during WWII. Over 4 decades his one man shows extended from New York, Washington, Texas, and Cal...
Miguel Galvez Y Geronimo (1912-1989)
All Items : Fine Art : Paintings : Oil : Asia : Pre 1950 item #1257538 (stock #137)
"Village Road" Oil on canvas, 16" x 12" unframed, 20.25" x 16.25" framed. Miguel Galvez Y Geronimo, Philippine, 1912-1989. Miguel Galvez was born in Paombong, Bulacan and studied under Teodoro Buenaventura. He established his own studio in 1950 and was the first Filipino to win a silver medal in the 1957 Southeast Asia Art Festival. He was a founder and leading influence in the Mabini Art Movement in the Philippines which attempted to hold the country's art influences to the more traditional fo...
Paul Emile Lecomte (1877 - 1950)
"Moulin Seine-et-Marne" oil on canvas 16 x 27 3/4in. Frame: 23 1/4 x 35 1/4in. A student of his father, Paul Lecomte, Sr.,(1842-1920), the young man developed his ability in concert with a large extended family of noted artists. He studied at the Beaux-Arts in Paris with Cormon. Paul Emile Lecomte excelled in portraying the natural settings of France's bio-diversity. His landscapes varied widely from marketplaces to isolated country sides, and he seems to have favored marine scenes with people...
Andre Vignoles (b.1920)
"Ombelliferes" oil on canvas 31" x 23" Andre Vignoles was born in the southwest part of France on August 5, 1920. He followed a course of classic studies but was attracted to drawing at an early age and gave much of his time to it. He began to paint with a student of Flandria, one of the first Fauves, who studied in the atelier of Gustave Moreau. As he continued his study of painting, Vignoles was attracted to the art of Cezanne, Van Gogh and the Primitives of the 15th century. He also went...
All Items : Fine Art : Paintings : Pre 1980 item #1140747 (stock #131)
"Strolling The Field" Oil on canvas "16 x 20" Andre Gisson was born with the name Anders Gittleson, in Brooklyn, New York but lived in Westport, Connecticut for most of his life. He traveled extensively and studied throughout Europe and the Far East. Mr. Gittleson was a leading American realist painter. He graduated from the Pratt Institute and was a Captain in the Army during WWII. Over 4 decades his one man shows extended from New York, Washington, Texas, and California to London, Paris, and T...


This property is courtesy of Amluxe Realty LLC.
Stunning recently remodeled turnkey condo in the heart of north miami beach near shopping, dinning and minutes from the beach. Unit features ample sized bedroom, tile floors throughout, new a/c unit, new water heater, updated appliances and kitchen cabinets. Low monthly maintenance community with laundry facility & community pool. Sold furnished or unfurnished.


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