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Home » Publications » [all items] » news » 2011
AB Svensk Exportkredit secures long-term Chinese RMB financing for Swedish exporter
(Reuters, Stockholm, 10 January 2012) The Swedish Export Credit Corporation (SEK) has for the first time issued a bond in local Chinese currency (RMB) for long-term financing of a Swedish exporters local operations in China. The transaction is a milestone in the financing of Swedish export... more
US business worries Eximbank may hit credit ceiling
(Reuters, Washington, 2 December 2011) The U.S. Export-Import Bank, which helps big exporters such as Boeing and Caterpillar make foreign sales, might have to stop operations unless Congress raises its $100 billion "exposure cap," said U.S. government and business officials.
Santos Obtains $1.2 Billion in Debt Financing to Help Fund LNG Projects
(Bloomberg, Sydney, 22 December 2011) Santos Ltd., the Australian energy company building the $16 billion Gladstone liquefied natural gas project in Queensland state, obtained $1.2 billion in debt facilities backed by three government export credit agencies. Export credit agencies from Australia,... more
Nigeria's NEXIM Bank Disburses N70bn, $322m
(This Day, Kano, 13 December 2011) Nigerian Export Import Bank (NEXIM Bank) has disclosed that the bank has disbursed a total of about N70 billion (US$431 million) and US$322 Million in supporting over 900 export projects.
CEDHA outlines violations of Equator Principles of mining project under ECA consideration (PDF)
(CEDHA, Buenos Aires, 25 November 2011) Barrick Gold's mining operations in Argentina and Chile, particularly at the Pascua Lama gold project (set to commence in the near future), but also at the adjacent and related Veladero project which has been in operation for several years, fail to comply... more
The Brookings Institution - Population Displacement and Export Credit
(Brookings Institute, Washington, 6 December 2011) Internally displaced persons (IDPs) are increasingly a product not only of conflicts and natural disasters, but also of a growing number of private or public sector infrastructure projects building mines, plants, dams, roads, etc. with finance made... more
Boeing sees no aircraft financing gap in 2012
(Forex News, 6 December 2011) Boeing forcasts airlines will avert a shortfall in aircraft financing next year by relying increasingly on capital markets and alternative sources as pressure grows on European banks... Export credit agencies such as the Export-Import Bank in the United States should... more
Issue: Aircraft
Berne Union voices concerns about world trade
(CreditMan, London, 5 December 2011) "Despite the co-ordinated Central Banks' actions over the last months we need quick and powerful solutions this week", says Johan Schrijver, President of the Berne Union. This is the world association of export credit insurance companies, insuring annually $ 1.5... more
UK Ministers accused of fiddling aid figures with 'made-up money'
(Ekklesia, London, 30 December 2011) The Department for International Development admits that if the UK writes off export credit debt owed by Sudan, the money will be counted as aid. But critics point out that Sudan has made no repayments for 27 years and that nobody realistically expects them to... more
ECA Watch submission to the UN Working Group on Human Rights and Business (PDF)
(ECA Watch, Ottawa, 8 December 2011) ECA Watch's submission notes, despite growing clarity that there is a state duty to protect human rights, which includes the operations of state institutions, including export credit agencies (ECAs), ECAs continue to finance exports and investments that are... more
Export credit guarantees: The real cause of developing country debt
(Eurodad, Brussels, 6 December 2011) Export Credit Agencies are debt-creating agencies. The loans they create are driven by the interests of exporters and their home countries, rather than a concern for whether the loans are useful to the host country. This report shows that export credit... more
Outrage at UK's $1bn export credit loan deal with Brazil oil giant
(Independent, London, 11 December 2011) NGOs say Ministers have reneged on a coalition promise to champion British firms investing in clean energy. A deal, which will see UK Export Finance guarantee a loan to the Brazilian oil firm Petrobras for deep-water oil drilling, is contrary to a government... more
OECD fails to agree on revised Common Approaches on export credit & the environment
(ECA Watch, Ottawa, 30 December 2011) In June 2007, the OECD's Export Credit Working Group agreed "in the light of experience, [to] review all elements of [the Common... more
UK ECA ECGD is rebranded as UK Export Finance
(Telegraph, London, 10 November 2011) The Government has torn up its sixth-month-old small business export assistance targets in the face of the weakening economy, trade minister Lord Green has said... The Export Credit Guarantee Department, which insures exporters against the risk of their... more
China Ex-Im in scandal over Guyanese airport contract
(Kaieteur News, Georgetown, 20 November 2011) After vehemently denying claims that it approves contracts, the government of Guyana was forced to admit that it approved the airport expansion project for which it secretly signed a deal with a Chinese firm, China Harbour Engineering Company (CHEC).... more


Kids Club is our weekly afterschool outreach ministry for elementary-aged children. We meet every Thursday to build relationships with kids in our community through games, silly songs, Bible stories, and memory verses. We eat dinner family-style, with small groups of kids and leaders to facilitate conversation and community. Every week kids look forward to Kids Club and being in a fun environment where they know they are safe, loved, and cared for. It is a time when kids get to just be kids, and leaders get to share the love of Jesus with them. We also take Kids Club field trips to the beach, on hikes, to the pumpkin patch, bowling, sporting events, and other community events! We want to give these kids every opportunity for fun and memorable experiences.
One of our long-term visions for Querencia has always been that we would raise up Christian leaders from within the community to lead future generations. In 2014 we took a big step towards this goal in establishing Querencia Youth Leadership Council (QYLC). QYLC's mission is to raise up student leaders who are willing to lead and walk with younger kids in their community through valuing servant leadership, following the example of Christ, leadership training and fellowship, and creating opportunities for students to serve at Kids Club and beyond. These students have become a very close-knit group that encourages and prays for one another, and provides accountability in making good choices and being committed leaders.
Homework Club exists to help kids in our community excel in school. We believe that education is key in ending the cycle of poverty, and therefore find it so important to assist kids early on. Homework Club is a space for kids to meet with tutors to work on homework, reading, writing, and math skills. Through focused and consistent time together, tutors are able to build strong relationships with students and often play a mentoring role in their lives.
We have partnered with Santa Barbara Dance Institute since 2013 to provide a dance class for jr. high and high school girls in our community. Many of the girls in our class come from really difficult places, and the consistency, discipline, and vulnerability that dance requires has been truly transformative. The class practices every Monday and performs throughout the year in preparation for SBDI's annual "End of the Year Show" at the Marjorie Luke Theater. After being part of this class, many participants go on to pursue dance further through high school classes and dance teams.


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text:
Photo by Sujal Manohar | The Chronicle
WSJ rankings place Duke in No. 1 spot for graduate outcomes
By Staff Reports | 12/29/2017
Duke is tied with Harvard University for No. 1 nationwide in terms of graduate outcomes in the latest set of Wall Street Journal/Times Higher Education rankings.
The rankings also placed Duke at No. 5 overall, higher than Yale University, Princeton University and the University of Pennsylvania. Ahead of Duke were Harvard University, Columbia University, Stanford University and the Massachusetts Institute of Technology.
The rankings are based on 15 individual performance indicators, some of which are based on responses from 200,000 current students, according to the Times website. The indicators are categorized into four sections: resources, engagement, outcomes and environment.
For graduate outcomes, the rankings take into account graduation rates, the salaries that graduates own and the debt they carry.
Earlier this year, the U.S. News and World Report dropped Duke down to No. 9 from its No. 8 spot last year.
Eastern Orthodox Church asks Duke to turn over Byzantine-era manuscripts
When Bulgarian soldiers ransacked an Eastern Orthodox monastery in Greece on March 27, 1917, they allegedly took the ancient manuscripts housed in its ...
'Bittersweet celebration': Thousands of works enter public domain decades after originally planned
"The woods are lovely, dark and deep / But I have promises to keep / And miles to go before I sleep / And miles to go before I sleep." Aside from being ...
K-Ville sees sweeping security changes in first marquee game since walk-up line chaos
In the first marquee men's basketball game at Cameron Indoor Stadium since the Carolina walk-up line devolved into a drunk mob, security in Krzyzewskiville ...

redpajama_set_name: RedPajamaCommonCrawl


text:
Lessons & Units / Unit: Our Land: Intro. to Philanthropy Unit (2nd) / Lesson:
1. Your Land, My Land, Woody's Land, Too: Philanthropy Lesson (2nd)
2. Song Mapping: Philanthropy Lesson (2nd)
3. What's Public? What's Private?: Philanthropy Lesson (2nd)
Song Mapping: Philanthropy Lesson (2nd)
K, 1, 2
Natural Characteristics of Place
Wants/Needs
This lesson is designed to help students develop a better understanding that a community is group of people working together for a common. Many people in a community need help and one of the places that they can get help is called a Relief Office. A Relief Office needs many volunteers to help it run efficiently.
313_Raglin.jpg
PrintOne Forty-Minute Class Period
define philanthropy as giving of time, talent and treasures.
locate, on a map of the United States, five of the places listed in the chorus of This Land is Your Land.
explain that relief offices are everywhere and often have volunteers who work in them.
describe how s/he could be a volunteer.
Recording of This Land is Your Land (see Bibliographical References)
Book, This Land is Your Land (see Bibliographical References)
Large pull-down map of the USA
Handout One: Outline map of the United States for each student
Crayons, colored pencils
A projected copy of the students' map (optional)
A picture of the Statue of Liberty (optional)
Guthrie, Woody and Arlo Guthrie. This Land Is Your Land.
Personal Decision-Making for Community and Equity
The Spirit of the Maasai Man
Booth, Evangeline
Anticipatory Set: Play the recording of "This Land Is Your Land" and have the class sing along. Ask: Who remembers the name of the man who wrote and sang this song?
Show the last tri-fold page of the book This Land Is Your Land. Discuss what is happening in the different parts of the country. Are they doing things students might do?
Woody Guthrie named many places in his song. What are some of the places that we could place on a map?
Give each student the United States outline map sheets (Handout One). Using a large pull-down map of the United States as your guide, call learners up to point out the five main areas that are listed in the song (California, New York Island, Redwood Forest, Gulf Stream Waters, Desert). As a student points out where the area is located on the map, the other students should draw a picture and write the word for it on their maps. Continue to enlist volunteers until all five of the places have been named.
California: Write the state's name along the western coast. Ask students what they think of when they hear the word "California" (surfers, Disneyland, hot weather, etc.). Have the learners draw a picture of what they want to show as a symbol for California on the location of California on the map.
New York Island: Write the words "New York" and draw a picture of the Statue of Liberty. (Optional: If you have a picture of the Statue of Liberty it might help some children.) If the class is unfamiliar with the Statue of Liberty, they could draw skyscrapers.
Redwood Forest: Write words and draw trees in northern or central California.
Gulf Stream Waters: Write word where the Gulf of Mexico is on the map and draw waves.
Desert: Write the word and draw a cactus plant near Arizona or New Mexico.
Ask: What is a community? (Group of people working together for a common cause.) Explain that the more people in the community work together, the better the community becomes. See if students can give examples of people working together in a community (sports team, faith based organization, class, school, club, family).
Explain that sometimes people in communities need to help each other. One place they might go for help is a relief office. Ask: Where on the map should we put a relief office? Lead the class to the conclusion that a relief office could be put anywhere on the map because every community has people who need help. Have students write relief office anywhere they choose on the map and label it. Ask: Who do you think works at a relief office? (Volunteers). What is a volunteer? (A person who does something because s/he wants to. A volunteer doesn't get paid.)
Ask: Why would someone volunteer to work in a relief office? Take all suggestions. Conclude that it feels good to help others.
Explain that a volunteer does philanthropy (write the word on the board). Have students pronounce it several times. See if anyone knows what it means. Take suggestions. Explain that philanthropy means giving of your time, talent, or treasure for the common good.
To make sure students understand these terms, ask:
What is your time? (Recess, after school, etc.)
What is your talent? Can you do something well that you could share with others? (Play music, sing, rake leaves, read a story, friendship, etc.)
What are your treasures? (Money or possession.)
Ask if there is anything students could volunteer to do that would help people in our community. (Take suggestions.)
Have students draw a picture of themselves anywhere on the map, being a volunteer, and write several sentences on the back of what they are doing to help others.
Use Handout Two to evaluate the Song Mapping assignment.
Outline Map of U.S.
Rubric for Song Mapping
Standard DP 01. Define Philanthropy
Benchmark E.1 Define philanthropy as the giving and sharing of time, talent, or treasure intended for the common good.
Benchmark E.5 Recognize that volunteering requires freedom of choice.
Benchmark E.11 Describe the difference between volunteer and paid labor.
Benchmark E.1 Define community as the degree that people come together for the common good.
Benchmark E.2 Discuss an issue affecting the common good in the classroom or school and demonstrate respect and courtesy for differing opinions.
Benchmark E.1 Describe one reason why a person might give or volunteer.


This study analyzes 910 records in ProQuest Dissertations and Theses (PQDT) for doctoral dissertations in music composition completed 2004-2013, representing PhD, DMA, and DA documents from sixty-six institutions in the United States. Focusing on metadata created by the student authors, questions address to what extent works are identified as compositions or scores, how many keywords are assigned and how they are distributed, what subject categories are assigned, and to what degree titles of musical works are represented in the PQDT metadata fields of title, abstract, and keyword. Findings related to the possible impact of author-assigned metadata on findability indicated that the titles of musical works were not consistently included in ProQuest records, leading to a discussion of ways in which students, departments, and institutions can approach increasing discoverability of music compositions in PQDT. Practices such as crafting abstracts of composition dissertations in the form of program notes, consistently describing works as original compositions, and selecting a set of concise yet accurate keywords may ensure that these critical academic and creative documents can be identified and found in ProQuest, and by extension, any other resources that utilize PQDT metadata.
Dissertation documents form an essential record of individual and institutional graduate study and accomplishment. Thorough and accurate descriptions—metadata—enable dissertations to be indexed and discovered for internal use by students, advisors, departments, and institutions, and for external use in scholarship and research. Quality metadata support multiple means of access, enabling discovery through libraries, institutional repositories, the Networked Digital Library of Theses and Dissertations, ProQuest, and internet search engines. The metadata process often begins with student authors, and submitting a dissertation may be a student's first experience providing structured descriptions for a completed document. When dissertations are original creative works such as musical compositions, there are unique challenges in describing non-text documents to make them fully discoverable. There are more than thirty active doctoral programs in music composition in the United States,2 many of which require at least one original musical work to be submitted with or as a dissertation. Music composition is an excellent example of a field in which student authors must contend with the complications of describing nontraditional dissertations. This study examines the characteristics of authors' descriptions of their music composition dissertations in ProQuest Dissertations and Theses (PQDT) and the potential impact of description on the identification and discovery of the culminating works of their doctoral careers.
The present study was inspired by a project at the author's library to enhance access to composition dissertations by assigning Library of Congress subject headings and standardized forms of musical work titles in the local library catalog and the WorldCat catalog.3 As is common at many institutions, library and WorldCat records inherit dissertation titles and authors' abstracts from ProQuest records, but inherited information does not consistently include information about musical medium, genre, text sources for vocal works, or collaborators. In some institutions, a student's description may be the only descriptive information in a library or institutional repository (IR) record. Having authors initiate descriptive work can provide many benefits, contingent on the quality of the descriptions. Depending on the extent of additional description provided by libraries, the impact of authors' description on findability may be significant. The local project led to questions about the fullness and quality of author-assigned metadata for composition dissertations from other institutions represented in PQDT and the impact on identification and discoverability.
ProQuest records offer the clearest way to isolate author-assigned metadata—other than system-supplied information and editor-supplied terms,4 records have only authors' information, without additional information later supplied by library professionals (see Table 1 for a list of PQDT record fields). ProQuest is widely (though not universally) the repository of record for theses and dissertations.5 Its contribution to dissertation preservation and access is substantial, particularly in the United States. PQDT has been the official off-site repository of digital dissertations and theses for the Library of Congress since 1997.6 Search engines will retrieve and link to ProQuest metadata, and Google Books began indexing PQDT dissertations in 2007.7 While searches for specific authors or known dissertation titles will yield results as long as the author and title are spelled correctly, searches for all documents of a specific type or searches by department or field are dependent on additional metadata.
Description and access for music scores presents several challenges in PQDT. If full text is available, main documents are in PDF format. Nothing distinguishes a score or other non-text content within the PDF unless authors indicate content in keywords or abstracts. Dissertation titles, which may not match or include titles of the musical works, do not necessarily indicate genre, medium, or even that the work is a piece of music. This is most evident in single-word titles such as "Timepiece" (PhD, music composition, score)8 or "Resonance" (DMA, music composition, score).9 In contrast, dissertation titles in research-based fields, including other music disciplines, indicate topic and contain likely search terms, such as "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera" (PhD, Music History and Historical Performance Practice).10 Furthermore, PQDT relies on full-text searching to produce maximum search results. Even with electronic theses and dissertations (ETDs), some scores are partially produced by hand and then scanned to PDF. If the character recognition process cannot interpret work titles written by hand or in unconventional fonts, searches for those works will yield no results even if titles are eye readable. Another layer of complexity is added with two-part dissertations, which include original musical works and either an extensive analysis of the works or an unrelated musicology or theory document.
• To what extent are musical works identified as original compositions or scores?
• How many keywords are assigned per record?
• How are keywords distributed?
• To what degree are musical work titles represented in PQTD metadata; specifically, title, keywords, and abstract fields?
• What PQDT subject categories do authors select?
The search for literature related to creative dissertations in other arts fields indicated scarce discussion in North America, likely because master's-level degrees are typically terminal in visual art, dance, and creative writing. A small number of doctoral creative writing programs require creative writing as the dissertation; literature specifically addressing description was not identified.
This study analyzes PQDT records for doctoral dissertations containing at least one original, creative musical work, submitted from United States institutions with indicated completion dates 2004 through 2013. "Musical work" was defined to include traditionally notated scores, descriptions or documentation of electronic or multimedia works, and other genres where the author's contribution was sound or music: new media projects, music theater, dance pieces, collaborations, and sound-based installations. Records were included if a musical work was included or referenced in submitted supplementary material only. Citation-only records were included if the PQDT record indicated that dissertation content met the criteria for musical work; records citing only the written portion of a multi-part dissertation (a theoretical or analytical work unrelated to an original musical work) were excluded. Dissertations documenting a computer program or invented instrument used to compose were included only if specific works were discussed in detail.
A list of universities offering doctoral composition degrees was compiled using the program index in the 2002-2003, 2005-2006, and 2012-2013 editions of The College Music Society Directory of Music Faculties in Colleges and Universities, U.S. and Canada. The list included all programs labeled with the term "composition" and additional programs potentially offering a specialization in composition, including Church Music, Computer Music, Electronic Art, Electronic Music & Multimedia, Integrative Studies, Music, Music Ministry, and Musical Arts. All PhD programs were included. Additional doctoral degrees (DMA, DA, etc.) were included unless current school information stated that a culminating document (dissertation or DMA document) was not required. Institutions with no PQDT presence, as determined through searches, were eliminated. A total of sixty-six institutions, some with multiple degree programs, were included.
If results suggested the searches above might not have resulted in maximum retrieval, all records for the institution were retrieved. Records for ambiguous titles that might be related to music were reviewed, as were those with "whimsical" titles. If the abstract did not clearly indicate that the dissertation included a musical work—common for institutions also requiring an unrelated written essay—the dissertation full text was reviewed for a score or documentation of creative projects. If necessary, internet searches were conducted in an attempt to locate information that might indicate a student's specific degree program. A total of 910 records met the criteria for this study (N = 910). All dissertations meeting the criteria were included. Information about each dissertation was recorded using an Excel spreadsheet.
The term "keywords" used here includes single words and keyword phrases. The number of keywords within a single PQDT record was determined in Excel, using comma delimiters and manual adjustments to account for inverted names and other integrated commas. The total keyword count and distribution was obtained by converting the list of all keywords to a semicolon-delimited text file, then using Python to normalize capitalization, parse terms, and generate a histogram.
• Dissertation title page in PQDT full text.
For the 115 records without full text in PQDT, if the full text was not available in an IR or elsewhere, work titles as found in the PQDT dissertation title or abstract, or in external sources (library catalogs, academic department pages, or authors' personal web sites) were treated as full titles.
Inclusion of work titles in three PQDT metadata fields was assessed: title (TI index), keyword (DISKW index), and abstract (AB index). For a field to qualify as including a musical work title, the title in that field needed to be sufficient both to identify the work and to retrieve the record using an index search. This excluded titles used incidentally (a keyword search retrieves the record, but the terms do not refer to or identify the author's musical work) and titles with typographic errors (the title of the musical work is identifiable, but an index search for the correctly spelled work title fails). To be treated as a match within the keyword field, words needed to appear within a single keyword phrase.
Initial articles in any language and subtitles for works with distinctive titles were omitted. Forms of numbers in work titles varied (e.g., Five Songs, 20 Episodes, Paths II); the form used by the composer was used for comparison. Various configurations of title, medium, and number or key appeared in titles consisting of compositional forms such as "concerto" or "sonata." In general, titles with any arrangement of terms indicating type of composition, serial number, and featured instrument—if used by the author in the work's title—were considered matches. A match on a distinctive subtitle alone was considered sufficient.
Title representation was scored numerically. The value "1" was assigned if the title was represented in a field; the value "0" if not. For dissertations containing multiple works, the value was determined by dividing the number of works represented in the metadata by the total number of works. This resulted in scores ranging from 0 to 1 in each field and cumulative scores for titles in title, keyword, and abstract fields ranging from 0 to 3.
To what extent are musical works identified as original compositions or scores in PQDT records?
The exact phrases "original composition" or "with original composition" were present in 699 of 910 records (76.81%); 24 records contained both. The terms "score" or "scores," alone or in combination with other terms, occurred in the keyword field in 24 of 910 records (2.64%). The terms were preceded by "music" or "musical" in 9 of the 24.
How many keywords are assigned per record?
PQDT records contained at least one and up to 28 keywords, with 91.98% of records containing 3 through 10. The mean number of keywords per record was 6.9, with a median of 7. The most common number of keywords used was 8 (148 records). For a complete distribution, please see Figure 1.
There were 2,539 unique keywords, including 2,123 present in only one record and 184 present in two. The most common keywords were "Communication and the arts" (possibly assigned by PQDT editors),27 "original composition," "orchestra," and "composition." Table 2 lists terms and number of occurrences for keywords occurring in at least 20 records, with a comparison of number of occurrences when similar terms are clustered together.
To what degree are musical work titles represented in PQTD metadata: title, keyword, and abstract fields?
Work title representation in PQDT metadata differs when accounting for titles of all works and titles of at least one work. Of 909 records with a discernable number of works, 115 included more than one work. Of those, one contained 13 works and the remainder 11 or fewer. Work titles for all works were included in at least one field in 812 records (89.23%); titles for at least one work were included in at least one field in 817 records (89.78%). Work titles of all works were represented in all three fields in 419 records (46.04%) and in 421 (46.26%) for at least one work. The cumulative title representation score of all three fields was 0 for 93 records (10.22%), 1 for 103 records (11.32%), 2 for 277 records (30.44%), and 3 for 419 records (46.04%) (remaining scores were intermediate values). Please see Table 3 for separate scores for title, keyword, and abstract fields, and Figure 2 for overlapping representation in the three fields.
What primary and additional subject categories do authors select?
The PQDT records contained between one and four subject categories. In 722 records, only one category was present. The subject category "Music" occurred in 906 of 910 records. Remaining records contained Fine Arts, Dance, Performing Arts, or Music Education. A total of 68 unique subject categories were present (combining earlier and later numeric codes for Music). Thirty five occurred in only one record, and 14 occurred in two records. Please see Table 4 for counts by subject categories for categories occurring in at least three records.
"Original composition," present in just over three quarters of the records, could theoretically be applied to other disciplines. Most PQDT records for creative writing dissertations, to which the term could also apply, contain "original writing" instead. The consistent use of "original composition" applied to musical works would bring works together in a search, though the results might include additional, nonmusical works.
The benefit of the keywords "score" or "scores" to discovery is unclear. In the absence of a way to indicate content other than text in PQDT, "score" could clarify individual records, but multiple nonmusical meanings may render it useful for searches only if combined with some indication of music. "Score" would be inaccurate for installations, mixed media, improvisations, and some works for fixed media/electronics. The addition of a ProQuest thesaurus for content or document type terms (text, music notation, artwork, poetry, etc.) would force more consistent description than author-assigned keywords.
Distribution that accounts for possible clusters/semantic overlap across the sample and redundancy within single records suggests that consistency and accuracy may be of more importance than number of keywords. Including different configurations of identical concepts (Figure 3) enables hyperlinks within PQDT, but does not affect default searches, in which word order does not matter. PQDT currently allows authors to provide up to six keywords in the ETD Administrator, which may prompt more judicious selection in future submissions. Typos in keywords, though not widespread, included misspellings of work titles, instruments, and genres (e.g., Folkoric instruments, Piano and ochestra, Original composiiton, Multimedia intallation).
Figure 3. PQDT Keywords containing identical concepts in multiple wordings.
Note: Commas separating PQDT keywords have been replaced with semicolons for clarity.
The target for successful access to musical works is representation of 100% of titles of contained works in PQDT metadata, meaning work titles are both searchable and identifiable as such. With approximately ten percent of records scoring zero for each field (title, keyword, abstract)—meaning musical work titles are completely absent from PQDT metadata—that target is not met.
The occurrence of "Music" in nearly all records indicates authors are appropriately representing their work with subject categories. The four records with a different primary subject category used terms more accurate than "Music" for those dissertations. Additional subject categories that appear unrelated to composition, such as "cultural anthropology," often apply to the analytical or musicological portion. A separate, browseable index correlating exactly to primary subject categories would greatly improve efficient searching by discipline in PQDT.
Review of abstract text revealed significant variation in detail. For original works, thorough abstracts include information on work title(s), medium/performing forces, duration, year of composition, and additional collaborators or text authors. These do not necessarily need to be extensive, and these tend to resemble program notes (Figure 4). Abstracts with less information about the musical works ranged from short statements that did not cover critical information, to lengthy texts that did not address the musical works (Figure 5). Access to musical works for combination documents (composition and unrelated essay) will be enhanced by noting the inclusion of original works, if departmental practice permits (Figure 6).
Note: Commas separating PQDT records have been replaced with semicolons for clarity.
Dissertation consists of score for the work Cuban Scenery and Figurations.
Figure 5. Abstract without titles or description of the content (PQDT record).
NachtErwachen; Burn; Bold arch of Undreamt Bridges.
Figure 6. Abstract for multi-part document (PQDT record).
Looking outside of PQDT, the data can support future comparison of PQDT dissertation records to corresponding records in library catalogs or IRs. Similar to previous studies, keywords could be compared to a controlled vocabulary such as LCSH for content and format or the Thesaurus of Graphic Materials for format, and keywords, abstracts, and titles could be analyzed for overlap. The PQDT keywords as a set may be used as a source for further analysis of possible clustering of terms. Individual institutions or consortia can use evaluation methods described here to analyze or improve local practices for the dissertation submission process.
Identifying areas where incomplete or inconsistent PQDT metadata places the ability to retrieve dissertation records below the desired threshold presents an opportunity for improved description and discovery. Authors and departmental or institutional faculty and staff can make improvements during several stages of the dissertation process. At the writing stage, students and advisors can ensure that abstracts serve as stand-alone descriptions in the absence of full-text documents and that work titles and other important information are included. Later, during the submission process, students have another chance to include the titles of their musical compositions even if the titles are not identifiable in the dissertation title or abstract. The academic department, library, or graduate school could issue discipline-specific guidelines or a checklist that address the PQDT fields students must complete using ProQuest's ETD Administrator. An internally created form that utilizes dropdown menus for department and committee member names (a suggestion from Lubas's study)29 may be an option; a simpler option may be to require pre-approval of an electronic version of information to be copied into ProQuest. Findings reported in the literature suggest that additional value is provided when librarians or IR curators add description to author-supplied information. For those institutions that utilize author-assigned dissertation metadata, cooperation between the library or IR administrator and the graduate school or department could increase efficiency in local metadata workflow.
In this study, records in PQDT for 910 doctoral dissertations in music composition were analyzed to answer five questions: to what extent works are identified as compositions or scores, how many keywords are assigned and how they are distributed, what subject categories are assigned, and to what degree titles of musical works are represented in the PQDT metadata fields of title, abstract, and keyword. Results indicate some areas where students are providing thorough metadata in PQDT records, such as universal inclusion of appropriate subject categories. Although it was possible to analyze quantitatively the extent to which music composition dissertations are identified as original compositions or scores in PQDT records (roughly 77% and 3%, respectively), the extent of the impact on access is unclear. Keyword distribution across the set of all 910 records indicates multiple terms representing identical concepts. While this study analyzed clusters only of the most frequently occurring terms, it demonstrates complications arising from the use of freely assigned terms. It is in the area of representing titles of musical works—fully lacking from one tenth of the PQDT records analyzed—that students and institutions have the ability to immediately implement a positive change. Improvements would enhance discoverability in ProQuest as well as in freely accessible resources that depend at least in part on PQDT metadata. Awareness of the importance of representing their academic or creative documents will serve students well throughout their careers. Doctoral dissertations reflect a significant commitment of time and intellectual output. It is imperative that access is not obscured by something as seemingly simple as the omission of the musical work's title from an abstract or keyword during the submission process.
1Portions of preliminary results of this study were presented as a poster at the 2014 annual conference of the Music Library Association.
2The College Music Society, Directory of Music Faculties. The total number of U.S. programs that include "composition" in the 2013-2014 CMS Directory's Index of Graduate Degrees is 31; that figure does not include additional degree programs such as electronic arts or church music that include significant composition components including dissertation documents.
3OCLC, "OCLC WorldCat." WorldCat is a collective catalog of libraries worldwide provided by OCLC. Participating libraries create or share records in or with the WorldCat database, which may be searched through both free and subscription interfaces.
4In a telephone conversation with the author on August 1, 2014, a representative from ProQuest's Author-School Relations Department indicated that PQDT editors may supply additional keywords to PQDT records after reviewing dissertation abstracts and titles.
5Lippincott and Lynch, "ETDs and Graduate Education," 9. Their 2008 Coalition for Networked Information survey indicated that 47% of responding institutions relied on ProQuest to preserve a digital copy of ETDs.
6ProQuest, "ProQuest Dissertations and Theses Database;" Library of Congress, "Landmark Agreement with UMI." UMI became known as ProQuest in 2001.
7ProQuest, "Search Engines and Your Dissertation." Authors have the option to opt out of web and Google indexing.
11McCutcheon, "Basic, Fuller, Fullest," 64-68.
15Schwing, McCutcheon, and Maurer, "Uniqueness Matters," 903-28.
17Maurer, McCutcheon, and Schwing, "Author-Supplied ETD Metadata," 299.
18Keller, "Subject Content through Title," 69-80.
19Sapon-White and Hansbrough, "Impact of Subject Heading Assignment," 282-91.
21Keller, "Subject Content through Title," 72.
22Fineman, "Electronic Theses and Dissertations in Music," 893-907.
23Dougan, "Emerging Musicology Research," 109-30.
24Wolverton, Hoover, and Fowler, "Subject Analysis of Theses and Dissertations," 206.
27The conversation with the Author Relations Department indicates this is possible; subsequent requests for clarification from ProQuest regarding the particular term "communication and the arts" were not returned.
College Music Society. Directory of Music Faculties in Colleges and Universities, U.S. and Canada 2013-2014. Missoula, MT: College Music Society, 2013.
Doerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus. Part II: Joseph Funk's 'A Compilation of Genuine Church Music' (1832): An analysis of music and methods." PhD diss., Kent State University, 2011. ProQuest record. ProQuest (AAT 3476653). http://search.proquest.com/pqdtft/docview/898610947/abstract/.
Dougan, Kirstin. "Dissertations in the Electronic Age: Tapping into Emerging Musicology Research." Music Reference Services Quarterly 14, no. 3 (2011): 109-30. doi: 10.1080/10588167.2011.596094.
Escalante-Chernova, Irina. "Cuban Scenery and Figurations for Chamber Orchestra and Tape." DMus diss., Florida State University, 2009. ProQuest record. ProQuest (AAT 3373989). http://search.proquest.com/pqdtft/docview/304877619/abstract/.
Fineman, Yale. "Electronic Theses and Dissertations in Music." Notes 60, no. 4 (Jun. 2004): 893-907. doi: 10.1353/not.2004.0053.
Gilbert, Peter Andrew. "'The Bold Arch of Undreamt Bridges': Assembled Compositions of Peter Gilbert." PhD diss., Harvard University, 2008. ProQuest record. ProQuest (AAT 3334735). http://search.proquest.com/pqdtft/docview/304601639/abstract/.
Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." PhD diss., University of Oregon, 2013. ProQuest (AAT 3563584).
Keller, Barbara. "Subject Content through Title: A Masters Theses Matching Study at Indiana State University." Cataloging & Classification Quarterly 15, no. 3 (1992): 69-80. doi: 10.1300/J104v15n03_05.
Library of Congress. "Library of Congress and Copyright Office Sign Landmark Agreement with UMI," PR 99-006, January 22, 1999, http://www.loc.gov/today/pr/1999/99-007.html.
Limbert, Thomas. "Timepiece." PhD diss., Duke University, 2010. ProQuest (AAT 3398439).
Lippincott, Jean K., and Clifford A. Lynch. "ETDs and Graduate Education: Programs and Prospects." Research Library Issues: A Bimonthly Report from ARL, CNI, and SPARC 270 (June 2010): 6-15.
Lubas, Rebecca L. "Defining Best Practices in Electronic Thesis and Dissertation Metadata." Journal of Library Metadata 9, no. 3-4 (2009): 252-63. doi: 10.1080/19386380903405165.
Maurer, Margaret Beecher, Sevim McCutcheon, and Theda Schwing. "Who's Doing What? Findability and Author-Supplied ETD Metadata in the Library Catalog." Cataloging & Classification Quarterly 49, no. 4 (2011): 277-310. doi: 10.1080/01639374.2011.573440.
McCutcheon, Sevim. "Basic, Fuller, Fullest: Treatment Options for Electronic Theses and Dissertations." Library Collections, Acquisitions, and Technical Services 35, no. 2-3 (2011): 64-68. doi: 10.1080/14649055.2011.10766300.
OCLC, "OCLC WorldCat," accessed November 16, 2014, http://www.oclc.org/worldcat.en.html.
Ohio Library and Information Network, "OhioLINK ETD Center," accessed November 22, 2014, http://etd.ohiolink.edu.
ProQuest. "ProQuest Dissertations and Theses Database," accessed November 22, 2014, http://www.proquest.com/products-services/pqdt.html.
ProQuest. "Search Engines and Your Dissertation," accessed November 22, 2014, http://www.proquest.com/products-services/dissertations/Search-Engines-and-Your-Dissertation.html.
ProQuest, "2011–2012 Subject Category Guide," accessed November 22, 2014, http://www.etdadmin.com/UMI_SubjectCategoriesGuide.pdf.
Sapon-White, Richard E., and Mary Hansbrough. "The Impact of Subject Heading Assignment on Circulation of Dissertations at Virginia Tech." Library Resources & Technical Services 42, no. 4 (1998): 282-91.
Schwing, Theda, Sevim McCutcheon, and Margaret Beecher Maurer. "Uniqueness Matters: Author-Supplied Keywords and LCSH in the Library Catalog." Cataloging & Classification Quarterly 50, no. 8 (2012): 903-28.
Slegowski, Eric. "Resonance." DMA diss., University of Maryland, 2010. ProQuest (AAT 3409849).
Strader, C. Rockelle. "Author-Assigned Keywords versus Library of Congress Subject Headings: Implications for the Cataloging of Electronic Theses and Dissertations." Library Resources & Technical Services 43, no. 4 (2009): 243-50.
Thomas, Robert E. "Composition with Layered Structures, and, Trio for Violin, Clarinet in A and Marimba." ProQuest record. PhD diss., Rutgers, 2004. ProQuest (AAT 3134899). http://search.proquest.com/pqdtft/docview/305154730/abstract/.
Wolverton, Robert E., Lona Hoover, and Robert Fowler. "Subject Analysis of Theses and Dissertations: A Survey." Technical Services Quarterly 28, no. 2 (2011): 201-22. doi: 10.1080/07317131.2011.546276.
Rebecca Belford joined the University at Buffalo Libraries as Music Cataloger/Reference Librarian in 2010. Prior to joining the faculty at the University at Buffalo she held the position of Music Librarian at the University of Oregon. Focusing on representation of music in libraries, her research interests include assessment and enhancement of access to music-related material in library discovery tools, description and discovery of dissertations that include creative works, and description and preservation of nontraditionally-notated music and mixed media works. She has presented on library discovery tools, music cataloging, collection development, and music librarianship education regionally and nationally including at conferences of the Music Library Association and NASIG (North American Serials Interest Group). She holds an MLS in Library and Information Science and an MA in Musicology from the University at Buffalo.


The Simunovich Olive Estate in the Bombay Hills, 50 kilometres from Auckland City, produces premium quality Extra Virgin Olive Oil and an extensive range of Olive Oil based skincare and beauty products. The Simunovich family first began cultivating the olive on the beautiful island of Brac, Croatia. They also began crafting soaps, cleansers and moisturisers that soon found a following with our neighbours and fellow countrymen. Today on our Estate in the Bombay Hills, home also to Bracu Restaurant, this family tradition lives on with our skincare ranges. Honoured for generations, Extra Virgin Olive Oil has been a large part of our Simunovich family tradition. Extra Virgin Olive Oil based skincare products are manufactured in a purpose built, state-of-the-art laboratory and packaging facility on our Estate. With the technical expertise of our in-house research and development team, along with the most advanced equipment in New Zealand, we have formulated gentle, effective, natural formulations inspired by our original family recipes that refresh, cleanse and hydrate for a youthful, revitalised skin. Our Olive and Tebe Men's skincare ranges contain Extra Virgin Olive Oil, an antioxidant rich in vitamins and minerals which has been used as a beauty secret in the Mediterranean for centuries. Tebe also contains Olive Leaf Extract which is rich in Oleuropein, a natural antioxidant extremely beneficial for your skin. The purity and goodness of our very own Olive Oil, enhanced by carefully selected combinations of highly effective botanical plant extracts, ensures that we bring to our customers the best in natural quality skincare.


Did You Know You can Use Life Insurance to Maximize Your Pension?
Cameo Pulver epitomizes integrity, energy, hard work, and creative service in every detail of her insurance transactions. Cameo grew up in the Joshua Tree California area and started her sales habit at the age of ten, selling candy to her grade school class mates. She has continued rising early and has since built a successful career in Insurance for over 15 years in the Treasure Valley area. She has worked every aspect of the industry representing commercial, property and casualty lines to include health and life insurance.
Cameo is a family woman with a devotion to God, her wonderful husband, and her daughter. An athlete by nature, in the winter she is a lover of cross country skiing, taking her challenges from skiing Brundage Mountain to the back country of McCall's great outdoors. In the winter after a fresh rain you will probably find her on the green belt trying to pack the snow with that nice mountain bike of hers.
Cameo has been trained and inspired in sales by some of the best in the industry. She travels the Treasure Valley to build strong relationships with bankers, lenders, property managers so she can offer the greater Treasure Valley the best Insurance. Cameo uses her experience and foresight to proactively address details before they become a problem. She leads, trains and motivates her team to communicate with you better than none. Five words you can count on from Cameo Pulver love, integrity, commitment, passion and fun!
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text:
Wu Jinglian (; born January 24, 1930) is one of the preeminent economists of the People's Republic of China (PRC), primarily specializing in economic policy as it applies to China's ongoing series of economic reforms.

Renowned for his resolute conviction that socialism is compatible with a market system, he is affectionately referred to in the media as Wu Shichang ().

Wu currently () holds multiple positions, the most important of which are: Professor of Economics at both the China Europe International Business School and the Chinese Academy of Social Sciences; Senior Research Fellow for the Development Research Center of the State Council of the PRC; and Member of the Standing Committee of the Chinese People's Political Consultative Conference. As of 2021, he is also an adviser to the China Finance 40 Forum (CF40).

Wu graduated from Fudan University with a degree in economics in 1954. He later attended the Institute of Economics at the Chinese Academy of Social Sciences. Through his long career, he has, in addition to his professorships at Chinese universities, been visiting researcher and professor at a number of international universities, including Yale, MIT, Duke, Stanford, and Oxford.

A prominent target of political persecution during the Cultural Revolution, Wu was criticized for advocating the doctrine of "bourgeois right," more simply understood as the principle of "compensation according to work."

He was forced to make public denunciations of his revered teacher Sun Yefang, for which he later expressed deep regret. He has honoured the memory of another victim of political persecution, Gu Zhun, whose unyielding character and pioneering attempts to revise Marxian economics in a market-oriented direction were for Wu a source of enlightenment. In the 1960s, Wu participated in a group led by economist Yu Guangyuan to write a textbook on political economy. The first economics textbook printed in China after 1949, the Political Economy Reader () was widely circulated and played a significant role in later economic reforms.

Having called for China's opening up and celebrated its entry to the WTO, Wu was distressed by the side-effects of rapid growth: corruption, inequitable distribution, and crony capitalism (more often the "magnate capitalism" in Chinese). In the last ten years he has joined Qin Hui, He Qinglian and other public intellectuals in raising social justice to prominence on the policy agenda.

Wu is also the author of a number of books on China's economic reform.

In 2008, state-owned media in China started calling Wu a spy for the U.S.  The fact state-owned newspaper People's Daily was authorized to call him such indicates that his economic and political ideas are great annoyances for the current leadership.

Wu pointed out that "old-style Maoists" have been gaining influence in the government since 2004. These groups, he said, are pressing for a return to central planning and placing blame for corruption and social inequality on the very market reforms he championed.

Wu also pointed out that corrupt bureaucrats are pushing for the state to take a larger economic role so they can cash in on their positions through payoffs and bribes, as well as by steering business to allies.

Because of these developments, Wu is not optimistic about the future of China, because "[t]he Maoists want to go back to central planning and the cronies want to get richer."

Books
 Fifteen Critical Issues of the Reform of SOEs, 1999
 Reform: Now at a Critical Point, 2001
 Understanding and Interpreting Chinese Economic Reform, Texere, 2005 ()

References

Biography from the China Europe International Business School , retrieved June 7, 2006

1930 births
People's Republic of China economists
Living people
Duke University faculty
Massachusetts Institute of Technology faculty
Stanford University faculty
Yale University faculty
Chongqing Nankai Secondary School alumni
Fudan University alumni
Economists from Jiangsu
Educators from Nanjing
Writers from Nanjing
People's Republic of China writers
People of the Republic of China

redpajama_set_name: RedPajamaWikipedia


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text:
faqs.org > Rulings and Tariffs Home > Rulings By Number > 1991 HQ Rulings > HQ 0089039 - HQ 0089194 > HQ 0089043
CLA-2 CO:R:C:T 089043 JS
TARIFF NO.: 6505.90.5090; 6505.90.6090; 6505.90.7090; 6505.90.8090
Leisa Rich
Skin Covers
182 Ridout St. S.
N6C 3X9
RE: Handmade hats; classifiable heading 6505
Dear Ms. Rich:
This is in reference to your letter of March 27, 1991, requesting classification of handmade hats under the Harmonized Tariff Schedule of the United States Annotated (HTSUSA).
The merchandise at issue are handmade hats, made of various materials combined in unique ways to create one-of-a-kind headwear. You state that these hats will consist predominantly of man-made materials, such as polyester, poly-satin, poly-silk, velveteen, etc. Some natural fabrics such as cotton will also be used. In addition, old jewelry parts, buttons, trim, lace, etc. will adorn some of the designs. A postcard advertisement of two of the hats manufactured by Skin Covers depicts a cloche and a toque. A trim of what appears to be braid surrounds the bottom rim of the toque.
What is the appropriate classification of individually handmade hats under the HTSUSA.
LAW AND ANALYSIS:
Classification of goods under the HTSUSA is in accordance with the General Rules of Interpretation (GRI), taken in order. GRI 1 provides that classification will be determined by the terms of the headings, and any relevant section or chapter notes.
Heading 6505 provides for hats of various materials. The Explanatory Notes, the official interpretation of the tariff at the international level, state that the heading includes hat shapes made by sewing (but not by sewing or otherwise assembling plaits or strips), whether or not lined or trimmed, and:
1) hats, whether or not trimmed with ribbons, hat pins, buckles, artificial flowers, foliage or fruit, feathers or other trimming of any material. (However, headgear of feathers or artificial flowers is excluded, and classified under heading 65.06)
2) berets (other than those made directly from felt plateaux - heading 65.03), bonnets, skull caps and the like. These are usually made directly by knitting or crocheting, and are frequently fulled. .
6) headgear made up from woven fabric, lace, net fabric, etc.
Since the hats at issue are constructed with the materials and in the manners described above, classification of such headwear is appropriate under heading 6505, HTSUSA.
However, a further distinction exists at the subheading level with regard to whether a hat is "wholly or in part of braid" or not in part of braid." In lieu of the fact that the submitted photograph depicts at least one hat which appears to have a trim of braid, the following must be considered: General Note 7 provides that, for the purposes of the tariff schedule, and unless the context otherwise requires,
(e) the terms "wholly", "in part of" and "containing", when used between the description of an article and a material (e.g. woven fabrics, wholly of cotton"), have the following meanings:
(i) "wholly of" means that the goods are, except for negligible or insignificant quantities of some other material or materials, composed completely of the named material;
(ii)"in part of" or "containing" mean that the goods contain a significant quantity of the named material.
With regard to the application of the quantitative concepts specified above, it is intended that the de minimis rule apply.
The de minimis rule states that an ingredient or component of an article may be ignored for classification purposes depending upon "whether or not the amount used has really changed or affected the nature of the article and, of course, its salability." Varsity Watch Company v. United States, 34 CCPA 155, C.A.D. 359 (1947). A determination of whether some of your merchandise is considered in part of braid must be based on inspection of the actual goods.
HOLDING:
Assuming all of the headwear to be imported is of man-made fibers, or in chief weight of man-made fibers, the present merchandise is classified as follows: if of knit materials, and wholly or in part of braid, the merchandise is classified in subheading 6505.90.5090, which provides for hats and other headgear, knitted or crocheted, or made up from lace, felt or other textile fabric, in the piece (but not in strips), whether or not lined or trimmed; other: of man-made fibers: knitted or crocheted or made up from knitted or crocheted fabric: wholly or in part of braid, other, textile category 659. Articles which meet the definition "goods originating in the territory of Canada" (see General Note 3(c)(vii)(B), HTSUSA) are subject to reduced rates of duty under the United States - Canada Free Trade Agreement Implementation Act of 1988. If this merchandise constitutes "goods originating in the territory of Canada," the applicable rate of duty is 5 percent ad valorem; otherwise, the general rate of duty is 7.2 percent ad valorem.
If of knit material and not in part of braid, the merchandise will be classified under subheading 6505.90.6090, HTSUSA, textile category 659, duty assessed at 27.7 cents per kilogram and 9.8 percent ad valorem. The general rate of duty is 39.7 cents per kg and 14.1 percent ad valorem.
If of woven material and wholly or in part of braid, the merchandise will be classified under subheading 6505.90.7090, HTSUSA, textile category 659, dutiable at the rate of 5 percent ad valorem. The general rate of duty is 7.2 percent ad valorem.
If of woven material and not in part of braid, classification is under subheading 6505.90.8090, HTSUSA, textile category 659, dutiable at the rate of 15.4 cents per kilogram and 5.6 percent ad valorem. The general rate is 22 cents per kg and 8 percent ad valorem.
The designated textile and apparel category may be subdivided into parts. If so, visa and quota requirements applicable to the subject merchandise may be affected. Since part categories are the result of international bilateral agreements
which are subject to frequent renegotiations and changes, to obtain the most current information available, we suggest that you check, close to the time of shipment, the Status Report On Current Import Quotas (Restraint Levels), an issuance of the U.S. Customs Service, which is updated weekly and is available at your local Customs office.
Due to the changeable nature of the statistical annotation (the ninth and tenth digits of the classification) and the restraint (quota/visa) categories, you should contact your local Customs Office prior to importing the merchandise to determine the current applicability of any import restraints or requirements.
John Durant, Director
Commercial Rulings Division
Tariff No.: 6505.90.50 - Hats and headgear, of mmf, knitted or crocheted or made up from knitted or crocheted fabric, wholly or in part of braid
Tariff No.: 6505.90.60 - Hats and headgear, of mmf, knitted or crocheted or made up from knitted or crocheted fabrics, not in part of braid
Tariff No.: 6505.90.70 - Hats and headgear, of mmf, made up from felt or o/textile material (but n/knitted or crocheted), wholly or in part braid
Tariff No.: 6505.90.80 - Hats and headgear, of mmf, made up from felt or o/textile material (but n/knitted or crocheted), not in part of braid


This paper discusses the impact of technology on the art of American photographer, Jerry N. Uelsmann.
This paper explains that Jerry N. Uelsmann, born in 1934, is one of the pioneers of using darkroom and digital computer techniques. The author points out that, when shooting, Uelsmann begins with an image, builds upon it through the shoot, and then builds upon it even more in the darkroom and on the computer, rather than let any predetermined vision set the course of his work. The paper concludes that, in its artistic development, digital technology likewise will build upon works such as Uelsmann.
The transmission of photography has thus been changed because of digital use in the ability of images to be juxtaposed and fused, creating even more and newer ways of envisioning reality. Digital photography's use of cutting, melding, and blending, has enabled the creativity of new photographic minds and enabled the ease of transmitting the visions of artists into the photographic medium, beyond the page, beyond paint and physical clay. It has also emphasized the postmodern aesthetic of blending and the film-like jump cut of different visions. However, this aesthetic existed long before digital, the net, and even the post-structuralist movement, as is found in the photographic art of Jerry N. Uelsmann.


text:
1989: Dawn of Freedom Hot
Board Games 8214
April 19, 2019 (Updated: April 29, 2019)
I enjoy Twilight Struggle, even though I'm terrible at it, so I was really looking forward to this sort of sequel to it. It's strange that even though this was a period of time I actually lived through, I don't know much about the events around it. It feels a lot like TS, naturally, except for the weirdo scoring conflict bit that I really don't know how I feel about. It seems strange to me to have a lot of strategic play culminate in a separate card thinger which then determines a die roll. It seems oddly bolted on and incongruous. Still, I'd like to try it again and see if that part grows on me. Either way, I think I still prefer the original.
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When your garage door stops operating as it should, let us be the first call you make. We're a dedicated group of professionals with years of expertise installing, repairing and replacing garage doors in Red Mountain of each shape and size.
Your garage doors can quit functioning as they ought to for any number of reasons. At Insta Garage Doors, we'll quickly diagnose the problem and function to acquire your Red Mountain garage door back to normal as rapidly as possible.
Though we know that garage repairs may take place once you least expect them, and we are obtainable for 24/7 emergency calls, it's also important to make sure your garage doors are continuously maintained, to prevent these emergencies. Schedule a maintenance near your Red Mountain residency now.
The true mark of experience isn't necessarily in the display of awards and certifications, but rather it really is the public acknowledgement of their customers' satisfaction. Here's what our Red Mountain clientele have to say.
Insta Garage Door is a great company, from the call, to the completion of our project, they did a terrific job. They came on time as they promised, they were very professional and answered all my inquiries. I would extremely recommend their services again and again, thanks!
We contacted Insta Garage Doors for a issue we had, considering that we live in the South their speedy response surprised us, two experts showed up within 1.5 hours and fixed it within no time, I purchased an added maintenance service as well, Now I am very contained whenever i open my garage door.
Searching for and finding the right garage doors for your Red Mountain home can be a headache even if you use the Internet to perform your research. The best garage doors readily available are regularly the most expensive nevertheless you must not use garage doors pricing alone to make your choice. Your choice process ought to thoroughly consider installation expenses, building materials, removal of any existing door, kind of garage door opener and service warranty. Our garage doors installation costs are considered one of the very best buys on the marketplace today. Our installers are thought about and called partners and they should satisfy our strict requirements. Every setup is rated by the local Red Mountain purchaser to assure that clients are getting the quality services they are spending for.
Exactly how a brand-new garage door is set up in Red Mountain CA?
If you decide to install the garage gate yourself, ensure that you follow the user's manual correctly. You must be good with devices and tools if you are attempting to install the door. Also, having the right equipments and tools is incredibly essential for a proper garage gate installation.
Considering that the doors are available in several areas, you need to assemble them right, before you can install the door. It is incredibly crucial that you put the first section of the door in level, due to the fact that if this come out uneven, your whole door will be set up wrong. After you have managed to install the first area of the door, you need to connect it to the track and the rollers. You then need to keep doing this, till you have installed all the areas of the door. Next, you will have to install the spring system. However, take care as this can result in injuries and accidents.
Finally, when all is stated and done, it holds true that garage door setup can be done quite easily if you are good with devices. If not, taking the aid of some local Red Mountain expert garage door installation company will conserve you a lot of effort and time.
What is the price for having your garage door installed, repaired, or replaced in Red Mountain?
Also consider the door styles, and other functions including windows, decors and insulation, all which can increase the price from 15% to 20%. An automated opener will also increase the rate of the garage door, depending upon the style and additional features you purchase. An opener might hike up project cost from $150 to $300 – nevertheless, a semi-automatic opener ought to not be more than $50. The width can also impact the cost of the garage door, whether the door is double or single width. For example, if you choose to install a single width door for a 2 car garage, that has many more structural complexities than installing two garage doors for each cars and truck. Outside lighting can enormously increase the expense, due to the fact that the garage business usually needs to employ their own electrical contractor to get the job done.
Whether you're installing your own garage door or having a Red Mountain professional do it for you, keep these ideas in mind so your garage door stays safe for everyone.
Carry out a visual of the door on a monthly basis, watching out for signs of wear specifically in the strings. If you discover a repair that needs to be done, let a local repairman do it.
On a monthly basis, test the garage door opening system. Place a wood piece or other things under the door and close it. If the door doesn't stop when it strikes the object, contact your Red Mountain repairman.
Never put your fingers inside the joints of the door, and notify your kids of these threats. There are door panels designed so that they don't pinch.
Never ever leave the garage door partly open. When triggered it could fall, and struck whatever lies beneath it.
Keep your remote garage door opener on your person or in a safe place, never in the car or someplace out in the open. This is the latest technique of burglars to invade your house. Burglars will even take your car if your door is designed to open for it automatically.


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La cathédrale de Civita Castellana est une église catholique romaine de Civita Castellana, en Italie. Il s'agit de la cathédrale du diocèse de Civita Castellana.

Annexes

Liens internes
 Liste des cathédrales d'Italie

Civita Castellana
Monument dans la province de Rome


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Chronic alcohol use affects the brain in a multitude of ways, causing cognitive impairment, short-term memory loss, difficulty concentrating, confusion, and problems with learning and thinking. Long-term drinking, even at a moderate level, can cause damage to the brain, creating symptoms that mimic accelerated aging and present similarly to dementia, complicating proper diagnosis. But unlike progressive dementias like Alzheimer's disease, alcohol-related brain disorders (ARBD) do not inevitably worsen. If diagnosed and treated properly, there is a chance of recovery.
Early diagnosis of alcohol-related brain damage improves the likelihood that it can be undone, restoring some of the lost brain function. Some studies have shown that when abstinence is begun before age 50, the chances for healing alcohol-related brain damage are even greater.
Physicians may be under-diagnosing alcohol-related brain changes and doing so comes at a cost. One study found that of about 2,000 brains studied at autopsy, 25 were found to have Wernicke-Korsakoff's Syndrome (WKS), a severe brain disorder that can occur due to a thiamine deficiency associated with long-term drinking. Only four of those 25 cases had been diagnosed while the patients were living. WKS is associated with advanced alcohol use disorder and not very common, but less severe drinking can also cause damage.
ARBD is not necessarily confined to those with alcohol use disorder, as many people vacillate between healthy and unhealthy alcohol use throughout their lives, and can accumulate damage without forming a dependence. Because sensitivity to alcohol varies greatly from person to person, experts have been hesitant to say exactly how much alcohol use puts one at risk for ARBD. The National Institute of Alcohol Abuse and Alcoholism (NIAAA) guidelines say the risk of serious health issues is low for men who have no more than 14 drinks a week, or 4 on a single day, and women who have no more than 7 drinks a week or 3 on a single day. Some people, though, can experience severe effects at lower levels.
Calling into question recent thinking that moderate drinking (one drink per day for women and two for men) can have cardiovascular and other benefits, some researchers caution that the risks may outweigh the benefits.
ARBD is diagnosed when impaired memory, thinking, or reasoning is severe enough to affect daily life, accompanied by a recent history of alcohol misuse spanning multiple years. To differentiate ARBD from progressive dementias, the person should be monitored to see whether their condition stabilizes when drinking is stopped. If so, a progressive dementia can be ruled out and treatment for ARBD (including normalizing vitamin levels, improving diet and exercise patterns) can begin.
Symptoms of ARBD include confusion about time and place, poor concentration, difficulty processing new information, depression, irritability, problems with physical coordination, numbness or pins and needles in extremities, difficulty with planning and problem-solving, difficulty understanding implications of decisions, and disruptive behavior.
Long-term alcohol use affects the brain's ability to regulate emotion and manage stress and is correlated with disrupted sleep patterns and depression. People with alcohol-related brain damage can experience severe states of anxiety that are similar to post-traumatic stress disorder (PTSD).
Early diagnosis and treatment is key to recovering brain function. Older drinkers show greater alcohol-related cognitive changes and are less likely to regain lost brain function once they stop drinking [study]. However, for those who stop younger and earlier, even short periods of abstinence can resolve some of the cognitive deficits caused by heavy drinking. With sustained abstinence, further recovery can continue for many years.
Studies have shown that for people who aren't dependent, talking to a doctor about the risks of drinking for five minutes can reduce problem drinking by about 25%.


Paula Wynne, author of 'Create A Successful Website' and Pimp My Site, tells home business start-ups how to start branding their new venture.
He goes on to explain that a brand image is the set of beliefs that consumers hold about a particular brand. Philip's book is an excellent study of brand marketing and there are plenty of others.
Now that you have a definite idea for your business, you will need to decide on certain aspects of branding. Your brand will most likely be determined by your audience, either business clients (B2B) or consumer visitors (B2C).
With Remote Employment we have both. Our visitors are primarily consumers, who are working professional candidates or job seekers.
We also attract employers, agencies and companies that would post jobs, so we considered both audiences when we determined our brand.
Like us, you will want to ensure your site is not too busy with cheap clip art or graphic images, it should be easy to navigate and should look professional.
Create an impression that is suitable for your market and the position you want to fill within it.
Should your site look clean and smart? Or busy and full? Should it be young and modern or traditional and conventional? Do you want to portray an image of high luxury or good value?
The look and feel of these options will be different and guided by your business concept as well as the target audience you aim to attract.
The best looking sites are often clean and simple with a light and airy feel and a spacious design. Avoid heavy and dark backgrounds and overuse of flashy objects. It jars and gets on most people's nerves.
Even with fast speed broadband, they also take so long to download and often people give up before they find the solution you're offering.
Marketers use branding to make people sit up and take notice. They want people to know their company and their product or service from memory.
Aim to get them to trust you more than they trust your competitors. They should want to come back to your online business before thinking of any others.
Our Business Advice section includes articles on how to name and host your home business website, how to set and acheive goals, how to find a home business mentor and many more.


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Farmington, NM – The Farmington Police Department is seeking information on the disappearance of Melanie James. James was last seen by her sister on Sunday, April 20, 2014 walking on Butler Avenue near McKinley Elementary School with an African American male. James' sister did not recognize the male who was with her. By the time her sister was able to turn her vehicle around, James was gone. Family has not seen or heard from her since.
Family and friends would sometimes go days or even weeks without hearing from James, but by June it had been close to two months since anyone heard from her, which was out of character to go that long without phone contact. James' mother called the Farmington Police Department on June 12, 2014 to report her daughter as a missing person.
It's been nearly five years since anyone has seen or heard from James. Detectives followed up on tips and conducted interviews, but nothing led them to her. Over the years, leads in the case have been sporadic and investigative leads have been exhausted. The Farmington Police Department is reviewing this case again to determine if there are any other investigative avenues to follow.
Anyone with information regarding the whereabouts of Melanie James is urged to contact Detective Heather Chavez at (505) 566-2370 or non-emergency dispatch at (505) 334-6622. Anonymous tips may be submitted through the Farmington Police Department Detective Tip Hotline at (505) 599-1068.
The family of Melanie James is holding a community prayer vigil for Melanie and all the missing and murdered indigenous women and men on Saturday, April 20, 2019 from 1:00 to 3:00 p.m. at Orchard Park located at 105 N. Orchard in Farmington.


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Analysis Marketing Media Influence
Madeleine Ross
Acquisitions turn sour when cultures collide
With many agency groups growing by acquisition rather than organically, what is the best way of making sure they succeed?
All together: Maurice Levy and John Wren effusing about the merger. What can go wrong?
The past year has seen some mega acquisitions across Asia-Pacific. Japan's Dentsu is busy absorbing the London-based Aegis Group, which it bought in a US$5 billion deal finalised last March. We're now months away from the Publicis-Omnicom merger, announced last July, which will generate the largest advertising and communications company in the world by revenue. WPP agencies JWT and XM recently snapped up a string of creative and digital agencies, including Hungama Digital, Designercity and Thomas Idea Thailand.
Acquisitions have always been a key way to increase growth, and with Asian markets now some of the fastest growing globally, it's no surprise holding companies are keener than ever to build and expand their presences in the region. For smaller agency founders, there will always be an impetus to sell up in order to cash out the value of their businesses, and, in many cases, tie their companies to strong networks that can facilitate further opportunities.
When the two motivations collide, the stage is set for a takeover but, as R3 principal Greg Paull puts it, merging agencies should only ever take place when the end result is likely to be more than the sum of its parts.
Ensuring an acquisition is successful is a complex game, and history is littered with those that went wrong. Big name flops in recent history include the WPP/STW takeover of legendary Australian agency The Campaign Palace, as well as Photon's acquisition of Naked Communications. IPG has struggled to combine Lowe and Lintas, and Draft's 2005 takeover of FCB was nothing but trouble from the start. So why do so many turn sour? And what are the predicators for success?
Darren Woolley, MD of marketing management consultants TrinityP3, says things begin to go wrong when initial evaluations focus on pragmatic, tangible factors at the expense of culture and people. In the majority of takeovers, analysis of the agency's finances — its revenue, EBITD, client base and liabilities — is the priority. "The part they don't spend enough time with is ensuring there is also cultural alignment, because advertising is, fundamentally, a people business," says Woolley.
BIG IDEAS Hooray for holding companies
Adam Ferrier, partner and CSO at CumminsRoss
We should applaud companies that acquire independent agencies: they are investing in the industry and that's a good thing.
However, the holding company must be sure it offers the companies it acquires more than just money for the owners. They need to be clear what the end game is, and where the acquisition fits in with that vision.
Obviously, access to resources and a 'friendly network' makes expanding into new markets and investing in new tools possible as well.
Another clear value add is the strategic partnership, either vertically, such as the recent Droga5-William Morris Endeavor acquisition, or horizontally integrated, such as amalgamating a 'pitch village'.
Where things get difficult is when holding companies play around with the culture of the organisations they acquire. Offering things such as training and centralising people management functions might seem an obvious value add, but I wonder if this kind of thing just screws with the culture of the agencies and is too nuanced to be centralised.
As the saying goes: 'culture eats strategy for breakfast', and if I was a holding company I'd try and leave the culture of the agencies I acquire well alone. Leave the people stuff to the agency.
Further, if an agency has its own intellectual property, then it stands to reason the only people who should be training that agency is that agency itself. You're buying an agency for what they are — don't try and change them into something else.
Holding companies may not even be aware they are doing this.
In relation to the Photon-Enero acquisition of Naked, they were always incredibly supportive of the Naked brand, and from what I understand still are.
People like to give holding companies a hard time, but all of them, big and small are investors in advertising and media — and should be applauded for wanting to invest in our industry.
Be kind to holding companies — you never know, one day it might be your agency you want them to take an interest in.
Melding corporate process with independent culture and personality is no easy feat, and if cultures don't mesh, there is little hope.
Speaking about WPP's purchase of the Campaign Palace, a former employee says the 'one size fits all' approach thrust upon it by STW (which is 18 per cent owned by WPP in Australia) quickly curbed the agency's nimbleness.
"You become heavier on the process side and for some agencies it's a good thing because it makes them capable of operating solidly and effecting a much more predictable income. For some it works really badly because it drowns them in processes that they are not accustomed to follow and they lose their agility," he says.
For XM chief executive Paul Soon, who oversaw the agencies' three most recent takeovers, culture is never to be trifled with. "XM does not set out to change cultures. In fact we celebrate and embrace the difference in cultures and the different ways we speak of digital," he notes.
Another critical factor in determining whether an acquisition sinks or swims is ensuring the agency's founders stay committed to the cause after the event, and empowering them to do so.
In the case of Naked, Enero (formerly Photon) made every effort to let the renegade brand stand alone to preserve its culture. The consensus is that it was the loss of its cultural drivers that let it slip.
"Once they did their earn-out, they walked away," says Woolley. "Enero was left sitting there saying 'What have we really got left here? We really did buy those people. We bought Mike Wilson, Adam Ferrier and John Wilkins and now they've walked away'."
But it's not just about locking founders into a three-to-five-year earn-out period. It's also about empowering them to be decision makers in their new environment.
Isobar Asia-Pacific chief executive Jean Lin says this was a key part of Isobar's successful takeover of her agency, wwwins. "Holding companies must empower the founders to achieve what they cannot achieve alone to make it meaningful — and this was exactly my experience."
Her experience was clearly very different to that of Campaign Palace chief executive Jacques Burger, whose role — according to a former employee — was circumscribed so severely after the takeover that he became incapable of steering the ship away from the iceberg.
"[Burger] was an absolutely fantastic CEO. I couldn't have imagined anyone more visionary and spot-on for the Campaign Palace," says the former Palace employee. "But his decision-making was completely obliterated by the [STW] CFO, who disabled any decision he was capable of making.
"STW instigated stringent cost control to the point that they actually cut out a number of very valuable and valid opportunities for growth."
The best acquisitions are generally those where duplication of skill sets is minimised. Avoiding geographic duplication is also considered wise, although swallowing competitors is often one of the motivations for takeovers.
Choosing agencies which can offer complementary skills offers obvious new benefits, and also means little or no rationalisation is needed post takeover.
When it comes to XM's purchase of Hungama Digital, Designercity and Thomas Idea Thailand, all these acquisitions were about adding reciprocal capabilities. Dentsu's purchase of Aegis also talks to this point. At the time of the takeover, Dentsu chief executive and senior vice-president, Tim Andree, lauded the networks' complementary geographic and product portfolios, as well as strong, shared values.
But, says Soon, at the end of the day, the recipe for a successful acquisition is the same as it is for any partnership — you need high dosages of empathy, humility, sincerity and transparency.
Only then will one plus one equal three.
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